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He loves live performance, especially great theater, jazz, roots music, anything by Mahler. Cy has an MJ from UC Berkeley's School of Journalism, and got his BA from Hampshire College. His work has been recognized by the Society for Professional Journalists with their Sigma Delta Chi Award for Public Service in Journalism. When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.","avatar":"https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["Contributor","subscriber"]},{"site":"news","roles":["author"]},{"site":"bayareabites","roles":["contributor"]}],"headData":{"title":"Cy Musiker | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/cmusiker"},"rachael-myrow":{"type":"authors","id":"251","meta":{"index":"authors_1716337520","id":"251","found":true},"name":"Rachael Myrow","firstName":"Rachael","lastName":"Myrow","slug":"rachael-myrow","email":"rmyrow@kqed.org","display_author_email":false,"staff_mastheads":["news"],"title":"Senior Editor of KQED's Silicon Valley News Desk","bio":"Rachael Myrow is Senior Editor of KQED's Silicon Valley News Desk. You can hear her work on \u003ca href=\"https://www.npr.org/search?query=Rachael%20Myrow&page=1\">NPR\u003c/a>, \u003ca href=\"https://theworld.org/people/rachael-myrow\">The World\u003c/a>, WBUR's \u003ca href=\"https://www.wbur.org/search?q=Rachael%20Myrow\">\u003ci>Here & Now\u003c/i>\u003c/a> and the BBC. \u003c/i>She also guest hosts for KQED's \u003ci>\u003ca href=\"https://www.kqed.org/forum/tag/rachael-myrow\">Forum\u003c/a>\u003c/i>. Over the years, she's talked with Kamau Bell, David Byrne, Kamala Harris, Tony Kushner, Armistead Maupin, Van Dyke Parks, Arnold Schwarzenegger and Tommie Smith, among others.\r\n\r\nBefore all this, she hosted \u003cem>The California Report\u003c/em> for 7+ years, reporting on topics like \u003ca href=\"https://soundcloud.com/rmyrow/on-a-mission-to-reform-assisted-living\">assisted living facilities\u003c/a>, the \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2014/12/01/367703789/amazon-unleashes-robot-army-to-send-your-holiday-packages-faster\">robot takeover\u003c/a> of Amazon, and \u003ca href=\"https://www.kqed.org/bayareabites/50822/in-search-of-the-chocolate-persimmon\" rel=\"noopener noreferrer\">chocolate persimmons\u003c/a>.\r\n\r\nAwards? Sure: Peabody, Edward R. Murrow, Regional Edward R. Murrow, RTNDA, Northern California RTNDA, SPJ Northern California Chapter, LA Press Club, Golden Mic. Prior to joining KQED, Rachael worked in Los Angeles at KPCC and Marketplace. She holds degrees in English and journalism from UC Berkeley (where she got her start in public radio on KALX-FM).\r\n\r\nOutside of the studio, you'll find Rachael hiking Bay Area trails and whipping up Instagram-ready meals in her kitchen.","avatar":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twitter":"rachaelmyrow","facebook":null,"instagram":null,"linkedin":"https://www.linkedin.com/in/rachaelmyrow/","sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["edit_others_posts","editor"]},{"site":"futureofyou","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"stateofhealth","roles":["editor"]},{"site":"science","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"forum","roles":["editor"]}],"headData":{"title":"Rachael Myrow | KQED","description":"Senior Editor of KQED's Silicon Valley News Desk","ogImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/rachael-myrow"},"lclark":{"type":"authors","id":"3224","meta":{"index":"authors_1716337520","id":"3224","found":true},"name":"Leilani Clark","firstName":"Leilani","lastName":"Clark","slug":"lclark","email":"clark.leil@gmail.com","display_author_email":false,"staff_mastheads":[],"title":null,"bio":"Leilani Clark writes about books for KQED Arts. Her writing has been published at Mother Jones, The Guardian, Civil Eats, Time Magazine, Food & Wine, Edible Marin & Wine Country, and The Rumpus. She is the editor of Made Local magazine in Sonoma County. Find her on Twitter \u003ca href=\"https://twitter.com/leilclark\">@leilclark\u003c/a>.","avatar":"https://secure.gravatar.com/avatar/7f691fdc52ed2e3f4cf164d1f4ec0889?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]},{"site":"bayareabites","roles":["contributor"]},{"site":"food","roles":["contributor"]}],"headData":{"title":"Leilani Clark | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/7f691fdc52ed2e3f4cf164d1f4ec0889?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/7f691fdc52ed2e3f4cf164d1f4ec0889?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/lclark"},"cescoda":{"type":"authors","id":"11206","meta":{"index":"authors_1716337520","id":"11206","found":true},"name":"Carla Escoda","firstName":"Carla","lastName":"Escoda","slug":"cescoda","email":"ballettothepeople@gmail.com","display_author_email":false,"staff_mastheads":[],"title":null,"bio":"Carla can most often be found in theatres, airports and on airplanes, writing about dance and the arts for various websites whenever she can find wi-fi. Her blog Ballet to the People<\u003ca href=\"http://ballettothepeople.com/\" target=\"_blank\" rel=\"noreferrer\">http://\u003cwbr />ballettothepeople.com\u003c/a>> has become a street corner where dance-lovers enjoy loitering and plotting the revolution which will renew the populist roots of ballet.\r\n\u003cspan class=\"im\">\r\nIn her previous lives, Carla worked in scientific research, then in project finance in Asia. Prior to that, she trained as a ballet and modern dancer, and performed with the Yaledancers while getting her undergraduate degrees in Engineering and Applied Science and French Literature, and her graduate degree in Engineering.\u003c/span>","avatar":"https://secure.gravatar.com/avatar/3a012eb3749d4353e3e28aab414dd815?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]}],"headData":{"title":"Carla Escoda | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/3a012eb3749d4353e3e28aab414dd815?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/3a012eb3749d4353e3e28aab414dd815?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/cescoda"},"crnoveno":{"type":"authors","id":"11208","meta":{"index":"authors_1716337520","id":"11208","found":true},"name":"Creo Noveno","firstName":"Creo","lastName":"Noveno","slug":"crnoveno","email":"creonoveno@gmail.com","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":null,"avatar":"https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["subscriber"]},{"site":"pop","roles":["contributor"]}],"headData":{"title":"Creo Noveno | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/crnoveno"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13114497":{"type":"posts","id":"arts_13114497","meta":{"index":"posts_1716263798","site":"arts","id":"13114497","score":null,"sort":[1493268331000]},"parent":0,"labelTerm":{"site":"arts","term":407},"blocks":[],"publishDate":1493268331,"format":"standard","title":"Artists Evicted from Commercially Zoned Bernal Heights Warehouse","headTitle":"Artists Evicted from Commercially Zoned Bernal Heights Warehouse | KQED","content":"\u003cp>Deputies from the San Francisco Sheriff’s Department evicted tenants from an arts warehouse in Bernal Heights early Wednesday afternoon, marking what might be the first court-sanctioned San Francisco arts warehouse eviction since last December’s deadly \u003ca href=\"https://ww2.kqed.org/news/2017/01/12/ghost-ship-fire-prompts-sffd-to-consider-random-warehouse-inspections/\" target=\"_blank\" rel=\"noopener\">Ghost Ship fire\u003c/a>.\u003c/p>\n\u003cp>In March, a San Francisco Superior Court judge ruled that the occupants of 968 Peralta Avenue were living unlawfully in a commercially leased building. The eight residents, who failed to successfully appeal their eviction notice, had until Wednesday morning to load their belongings into boxes before deputies arrived to escort them out.\u003c/p>\n\u003cfigure id=\"attachment_13114711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13114711\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_6983-800x600.jpg\" alt=\"Tenants empty the Bernal Heights converted warehouse before deputies arrive.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tenants empty the Bernal Heights converted warehouse before deputies arrive. \u003ccite>(Photo: Nathan Cottam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Landlord Ron Erickson has owned and rented out the building for 17 years. Erickson says he called for the tenants’ eviction after visiting the space last December and finding out it had been converted into an eight-bedroom apartment.\u003c/p>\n\u003cp>“They violated the lease,” Erickson says. “My job is property management. I live by the rules and I live by the laws.”\u003c/p>\n\u003cp>Erickson says he plans to gut the building and turn it back into a warehouse, though he says he might eventually turn it into housing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Choreographer Nathan Cottam has been living in the building since October 2014. He says that the landlord has known people were living in the space for at least 15 years. Erickson denies this claim.\u003c/p>\n\u003cfigure id=\"attachment_13114715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13114715\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_6975-800x600.jpg\" alt=\"The Bernal Heights warehouse housed eight tenants, most of whom were artists in different mediums.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bernal Heights warehouse housed eight tenants, most of whom were artists in different mediums. \u003ccite>(Photo: Nathan Cottam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The whole lot has been used for residential purposes since 2001,” Cottam says. “The landlord had been operating under ‘I don’t care what you do there, just keep me out of it.’”\u003c/p>\n\u003cp>Following the Ghost Ship fire, Cottam says he and his fellow tenants hoped to ensure their safety by being upfront with the personnel from city agencies who came to inspect the property. Cottom says the building underwent multiple fire department inspections and hearings, and that it was cleared of safety breaches.\u003c/p>\n\u003cp>KQED \u003ca href=\"https://data.sfgov.org/Housing-and-Buildings/Fire-Inspections/wb4c-6hwj/data\" target=\"_blank\" rel=\"noopener\">was able to confirm\u003c/a> the fire department did conduct three violation inspections at the property and one hearing re-inspection between December of last year and this past February. The inspection status for all four is listed “pending.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4frp1ZnjO0Q&feature=youtu.be\u003c/p>\n\u003cp>Cottam says he and the other residents applied to get rent control on the building when they were first served their eviction notice. The city handles these types of issues on a \u003ca href=\"https://www.sftu.org/rentcontrol/#Commercial_Units_Used_as_Residential_with_the_Landlord8217s_Knowledge_Are_Not_Exempt_from_Rent_Control\" target=\"_blank\" rel=\"noopener\">case-by-case basis\u003c/a>. “This is an unusual case,” says San Francisco Rent Board executive director Robert Collins. Cottam had expected a response from the rent control board in the next two weeks — a decision that may now be moot.\u003c/p>\n\u003cp>Tenant and artist Tony Burgess, who has lived in the space for more than a year and a half, was loading his boxed belongings onto a U-Haul truck as deputies arrived. Burgess is well aware of the dangers that can befall converted spaces, and says he lost 10 friends to the Ghost Ship fire. But the eviction caught him off guard.\u003c/p>\n\u003cp>“I will probably get a storage unit for my stuff,” Burgess says. “I have no idea where I’ll go or where I’ll sleep tonight.”\u003c/p>\n\u003cp>Cottam plans on moving in with a friend in the Sunset for a few nights. He says he’s heartbroken about leaving the home he’s worked hard to make safe, but he’s trying to stay positive. “I’m gonna keep going,” Cottam says. I’m gonna find a way.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Claudia Escobar and Tiffany Camhi.\u003c/em>\u003c/p>\n\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":653,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":17},"modified":1705030834,"excerpt":"Eight artists living in a commercially-zoned property were served a court-ordered eviction notice on Wednesday. ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Eight artists living in a commercially-zoned property were served a court-ordered eviction notice on Wednesday. ","title":"Artists Evicted from Commercially Zoned Bernal Heights Warehouse | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Artists Evicted from Commercially Zoned Bernal Heights Warehouse","datePublished":"2017-04-26T21:45:31-07:00","dateModified":"2024-01-11T19:40:34-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"artists-evicted-from-commercially-zoned-bernal-heights-warehouse","status":"publish","sticky":false,"path":"/arts/13114497/artists-evicted-from-commercially-zoned-bernal-heights-warehouse","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Deputies from the San Francisco Sheriff’s Department evicted tenants from an arts warehouse in Bernal Heights early Wednesday afternoon, marking what might be the first court-sanctioned San Francisco arts warehouse eviction since last December’s deadly \u003ca href=\"https://ww2.kqed.org/news/2017/01/12/ghost-ship-fire-prompts-sffd-to-consider-random-warehouse-inspections/\" target=\"_blank\" rel=\"noopener\">Ghost Ship fire\u003c/a>.\u003c/p>\n\u003cp>In March, a San Francisco Superior Court judge ruled that the occupants of 968 Peralta Avenue were living unlawfully in a commercially leased building. The eight residents, who failed to successfully appeal their eviction notice, had until Wednesday morning to load their belongings into boxes before deputies arrived to escort them out.\u003c/p>\n\u003cfigure id=\"attachment_13114711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13114711\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_6983-800x600.jpg\" alt=\"Tenants empty the Bernal Heights converted warehouse before deputies arrive.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tenants empty the Bernal Heights converted warehouse before deputies arrive. \u003ccite>(Photo: Nathan Cottam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Landlord Ron Erickson has owned and rented out the building for 17 years. Erickson says he called for the tenants’ eviction after visiting the space last December and finding out it had been converted into an eight-bedroom apartment.\u003c/p>\n\u003cp>“They violated the lease,” Erickson says. “My job is property management. I live by the rules and I live by the laws.”\u003c/p>\n\u003cp>Erickson says he plans to gut the building and turn it back into a warehouse, though he says he might eventually turn it into housing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Choreographer Nathan Cottam has been living in the building since October 2014. He says that the landlord has known people were living in the space for at least 15 years. Erickson denies this claim.\u003c/p>\n\u003cfigure id=\"attachment_13114715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13114715\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_6975-800x600.jpg\" alt=\"The Bernal Heights warehouse housed eight tenants, most of whom were artists in different mediums.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bernal Heights warehouse housed eight tenants, most of whom were artists in different mediums. \u003ccite>(Photo: Nathan Cottam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The whole lot has been used for residential purposes since 2001,” Cottam says. “The landlord had been operating under ‘I don’t care what you do there, just keep me out of it.’”\u003c/p>\n\u003cp>Following the Ghost Ship fire, Cottam says he and his fellow tenants hoped to ensure their safety by being upfront with the personnel from city agencies who came to inspect the property. Cottom says the building underwent multiple fire department inspections and hearings, and that it was cleared of safety breaches.\u003c/p>\n\u003cp>KQED \u003ca href=\"https://data.sfgov.org/Housing-and-Buildings/Fire-Inspections/wb4c-6hwj/data\" target=\"_blank\" rel=\"noopener\">was able to confirm\u003c/a> the fire department did conduct three violation inspections at the property and one hearing re-inspection between December of last year and this past February. The inspection status for all four is listed “pending.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4frp1ZnjO0Q'\n title='//www.youtube.com/embed/4frp1ZnjO0Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cottam says he and the other residents applied to get rent control on the building when they were first served their eviction notice. The city handles these types of issues on a \u003ca href=\"https://www.sftu.org/rentcontrol/#Commercial_Units_Used_as_Residential_with_the_Landlord8217s_Knowledge_Are_Not_Exempt_from_Rent_Control\" target=\"_blank\" rel=\"noopener\">case-by-case basis\u003c/a>. “This is an unusual case,” says San Francisco Rent Board executive director Robert Collins. Cottam had expected a response from the rent control board in the next two weeks — a decision that may now be moot.\u003c/p>\n\u003cp>Tenant and artist Tony Burgess, who has lived in the space for more than a year and a half, was loading his boxed belongings onto a U-Haul truck as deputies arrived. Burgess is well aware of the dangers that can befall converted spaces, and says he lost 10 friends to the Ghost Ship fire. But the eviction caught him off guard.\u003c/p>\n\u003cp>“I will probably get a storage unit for my stuff,” Burgess says. “I have no idea where I’ll go or where I’ll sleep tonight.”\u003c/p>\n\u003cp>Cottam plans on moving in with a friend in the Sunset for a few nights. He says he’s heartbroken about leaving the home he’s worked hard to make safe, but he’s trying to stay positive. “I’m gonna keep going,” Cottam says. I’m gonna find a way.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Claudia Escobar and Tiffany Camhi.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13114497/artists-evicted-from-commercially-zoned-bernal-heights-warehouse","authors":["11208"],"series":["arts_407"],"categories":["arts_835","arts_235"],"tags":["arts_1448","arts_1118","arts_746","arts_596"],"featImg":"arts_13114714","label":"arts_407"},"arts_13062008":{"type":"posts","id":"arts_13062008","meta":{"index":"posts_1716263798","site":"arts","id":"13062008","score":null,"sort":[1492527611000]},"parent":0,"labelTerm":{"site":"arts","term":407},"blocks":[],"publishDate":1492527611,"format":"standard","title":"He Illustrated San Francisco for 12 Years — And Then Got Evicted","headTitle":"He Illustrated San Francisco for 12 Years — And Then Got Evicted | KQED","content":"\u003cp>In 2015, Paul Madonna — the artist behind the popular \u003ca href=\"http://paulmadonna.com/all_over_coffee/\">\u003ci>All Over Coffee \u003c/i>\u003c/a>column in the \u003cem>San Francisco Chronicle\u003c/em> — was evicted from the Mission District apartment where he’d lived with his wife for a decade. And with that, the artist who’d \u003ca href=\"https://ww2.kqed.org/spark/paul-madonna/\">built a career on drawing the sidewalks, spires and skylines of San Francisco\u003c/a> faced displacement from that very same city.\u003c/p>\n\u003cp>In the aftermath, Madonna, 44, captured in his column the tumult of looking for a new home in a feverish and outlandish housing market where more and more people were literally being left out on the street. He channeled his anxiety into taking a semi-fictional absurdist lens to the moody San Francisco moments for which he’d gained acclaim. The vignettes hit a nerve. One scene, of a fictional and freshly evicted Paul stumbling into an open-house next door to discover that what’s actually for sale is a million-dollar cardboard box, prompted some readers to wonder aloud if it were actually true.\u003c/p>\n\u003cp>What they didn’t know was that Madonna was slowly bringing the 12-year-old series to an end, winding his way towards the column’s final sentence — “on to the next dream” — which he’d known for five years would end \u003ci>All Over Coffee.\u003c/i> This month, Madonna’s third book arrives, also titled \u003ci>On to the Next Dream\u003c/i> (City Lights; 2017). The book collects those final columns, short bursts of flash fiction both absurdist and time-traveling, all wrapped up in Madonna’s \u003ca href=\"https://paul-madonna.myshopify.com/collections/prints-all-over-coffee\">singular melancholic way\u003c/a> of capturing San Francisco.\u003c/p>\n\u003cp>For Madonna and his wife, the story didn’t play out as a tragedy like it does for those with less of a safety net. In fact, they’re now settled in a house that belongs to a fan of Madonna’s work — even though it took about a year before they felt like the heartbeat of uncertainty and upheaval subsided. Ultimately, Madonna says, \u003ca href=\"http://paulmadonna.com/ontothenextdream/index.htm\">\u003ci>On to the Next Dream\u003c/i>\u003c/a> isn’t about the eviction. Losing his home may have been the igniting incident, but what he’s really telling is “the story of every person who wanted their version of the world to stay the same.”\u003c/p>\n\u003cp>\u003ci>The following interview had been edited for clarity and length. \u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>What was the genesis of \u003ci>On to the Next Dream\u003c/i>?\u003c/b>\u003c/p>\n\u003cp>When the eviction came, it was an emotional and stressful situation and I found myself wanting to talk about it. I wrote all of these first-person pieces but I would scrap them at the last moment. At midnight before deadline, I was calling friends and asking them to give me feedback, and I had never done that before with \u003ci>All Over Coffee \u003c/i>pieces. But then I realized I could use seemingly real situations and keep taking them one step further — an absurdist approach. Because I thought, right, that’s what we’re feeling, the anxiety and the absurdity.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13062009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI.jpg\" alt=\"OnToNextCoverHI\" width=\"1800\" height=\"2625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI-800x1167.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI-768x1120.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI-1020x1488.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI-1180x1721.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI-960x1400.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI-240x350.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI-375x547.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI-520x758.jpg 520w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003c/p>\n\u003cp>\u003cb>So amplifying true situations with absurdity allowed you to enter into the creative process? \u003c/b>\u003c/p>\n\u003cp>Exactly. I had this rule for myself that I would begin with a normal situation and then just turn up the volume increasingly until it was ridiculous. In the second chapter, the character goes next door to a house sale, and he realizes that it’s not actually the apartment they’re auctioning off — it’s the box in the corner. I thought that was a simple, clever metaphor. Nothing so outrageous, in terms of calling a small space a box. We do that all the time. But I thought it was humorous. And then I got emails asking whether that had really happened.\u003c/p>\n\u003cp>\u003cb>It’s a sign of the times that some of your readers thought the story about the box was actually true. \u003c/b>\u003c/p>\n\u003cp>You hit on the exact thing that I want to talk about. Which is that we’ve become desensitized to absurdity, and that happens incrementally. When small things happen over time, you wake up years later and realize that you’re living in a completely absurd situation — but you don’t think so anymore. The line I like to use is, “I lost miles by slipping inches.” That’s what the box showed me. And the absurdist metaphor was a big change for \u003ci>All Over Coffee\u003c/i>. It had never been a part of the toolbox that I allowed myself.\u003c/p>\n\u003cp>I like a limited palette — physical with my drawing materials and stylistically with my writing materials. \u003ci>All Over Coffee \u003c/i>was always about this simplicity of language and scenes. As I began to write more flash fiction pieces, I allowed myself more tools. The metaphorical tool became something different because I was making a statement: \u003cem>I’m showing you this for a reason\u003c/em>. I was very aware that I was taking a different step. These stories lead you to a specific spot rather than opening a door for you to wander out of.\u003c/p>\n\u003cp>\u003cb>You spent so much time illustrating San Francisco and capturing this specific energy. How did it feel for you to get that eviction letter?\u003c/b>\u003c/p>\n\u003cp>There’s a scene [in the new book] where I’m in the coffee shop and people’s faces are disappearing and the woman across from me can’t understand me because she’s a long-time San Franciscan whose family owns property. In that chapter I was saying, “You know, I feel like this is partially my fault.”\u003c/p>\n\u003cp>The word \u003cem>eviction\u003c/em> carries a lot of shame. In any place else but San Francisco, or maybe Manhattan, if you say you’re evicted it’s like, “Wow, what did you do? Your place must be infested with animals and you haven’t paid rent in a year and you must be a despicable person if that happened to you.” Anyone who lives in these highly charged urban environments knows that’s not the case. But there’s still this undercurrent. A feeling that people think: “Oh, you clearly didn’t take care of your life or this wouldn’t have happened to you.”\u003c/p>\n\u003cp>[The eviction] made me look at my definitions of success. Up until that point, I’d been fairly successful. I’d published two books, I was working on my third. I was selling artwork. I was making a living as an artist and a writer, and I had been for more than a decade. Which is not an easy task, and it took me many years to get to that point. I felt like I was living the life I wanted. I mean, I wasn’t able to buy a home in San Francisco, but my energy wasn’t focused on that. A lot of the money I made I would put it back into my work. Suddenly, when I was losing my home, I thought maybe I had my priorities wrong. How successful was I really if I couldn’t even secure a place for myself to live in a city, when I’m one of San Francisco’s creative people? I had to go through a period of thinking this was all my fault.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13062036\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street.jpg\" alt=\"ottnd_Chair-on-Street\" width=\"1421\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street.jpg 1421w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street-800x1153.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street-768x1107.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street-1020x1470.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street-1180x1701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street-960x1384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street-240x346.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street-375x541.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street-520x750.jpg 520w\" sizes=\"(max-width: 1421px) 100vw, 1421px\">\u003c/p>\n\u003cp>At the same time, by translating the experience into a story, I didn’t want it to be “my story.” It’s really not about what happened to me. It’s fantastical. I mean, my wife isn’t even in it. If I were really to write the story of what happened there would be a lot of sincere moments of what we went through, and how we dealt with it emotionally.\u003c/p>\n\u003cp>My wife and I went to a meeting down in the Tenderloin shortly after receiving the eviction notice. We walked into the room and there were hundreds of people there. We spent the afternoon listening to stories of people who were losing their homes, entire buildings of people who were being evicted. We left there saying, “We don’t belong here. All of those people were far worse off than we were.” There were people who had service jobs, who had families, English was their second language, they weren’t rooted in the community in the same way that we were, they had less options. Sure, we weren’t buying a home in Pacific Heights, but we weren’t about to fall out on the street either. We really felt like we were in the middle. It was like we didn’t belong in either world. People were saying, “You should be the face of eviction,” but I rejected that because I thought it was unfair. And it wasn’t my cause. \u003c/p>\n\u003cp>I had to wrestle with questions like: Who are you? What do you want to do? It forced me to ask a lot of these questions that I thought I had answered. I realized that was the common thread: We all feel powerless in the face of something.\u003c/p>\n\u003cp>\u003cb>Another idea that comes up is that change is inevitable. San Francisco has always been a boomtown, and a particular instability arises from that. But your character also says that it’s not okay that people are being displaced. And how do you reconcile those two realities?\u003c/b>\u003c/p>\n\u003cp>You know, talking about the eviction is easy, but ultimately I feel small if I’m out there saying, “This is the book about me being evicted.” What it’s really about is how I learned how to take an emotionally charged loss and how I learned to process it in a way where I could make something. I grew as a person, but also as an artist. Week by week, I was able to take crazy emotions and translate them into metaphors, and deliver them to an audience. I used the process of art to deal with my emotions and and give them to the world as a way to survive the experience. And those words sound extreme, because I feel like there’s far worse suffering in the city.\u003c/p>\n\u003cp>\u003cb>Eviction is a big deal, though. I wouldn’t underestimate how much it can upend your life. \u003c/b>\u003c/p>\n\u003cp>Ultimately, it’s about how we deal with loss and change. I also realized that I couldn’t go back to \u003ci>All Over Coffee \u003c/i>as it used to be when this story was over. That’s when it dawned on me that I wasn’t just writing about the end of the era in the Mission, I was ending the series. This big external change was actually changing me. What better way to express it than to end a 12-year-run, and by saying that life changes and you have to move on. It became bittersweet. \u003ci>All Over Coffee\u003c/i> was a dream come true. I got to do exactly what I wanted in a public forum and have the world respond to me, and now it was time to have another dream.\u003c/p>\n\u003cp>In a way, isn’t that what we all have to do all of the time? We have to take these crappy things that happen to us and we have to decide — are we going to be victims to it, or are we going to grow from it? I know I’m venturing into clichés, but it really is the truth. Are you going to carry stuff around with you? Or are you going figure out the best way to handle it? That’s really what I want the message of the book to be.\u003c/p>\n\u003cp>\u003cb>What about the burn marks that run through the book from the cover to the last pages? \u003c/b>\u003c/p>\n\u003cp>When I realized the series was ending, I thought, “I can no longer draw San Francisco the way I used to.” The burns became symbolic of this style of drawing, this love affair, this way of looking at the world that can no longer be the same.\u003c/p>\n\u003cp>I knew this wasn’t just my story, but the story of every person who ever wanted their version of their world to stay the same. And those are the final words of the book: It was time to let go. Time to move on. On to the next dream.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13062221\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn.jpg\" alt=\"ottnd_Last-Burn\" width=\"1421\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn.jpg 1421w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn-800x1153.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn-768x1107.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn-1020x1470.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn-1180x1701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn-960x1384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn-240x346.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn-375x541.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn-520x750.jpg 520w\" sizes=\"(max-width: 1421px) 100vw, 1421px\">\u003c/p>\n\u003cp>\u003cb>And the older you get, the more you realize it’s never going to stay the same. \u003c/b>\u003c/p>\n\u003cp>And so we have to change our definitions. We have to change what our version of the world is. These days I feel like life is just a series of disillusionments. We think that the world is getting worse but I actually think the world has always been what it is, we just grow to understand it more. \u003c/p>\n\u003cp>\u003cb>I love the part where Paul meets Future Paul who tells him what’s going to happen. How much of that is true? How has the story played out? \u003c/b>\u003c/p>\n\u003cp>The events on page 62 are essentially all true. I still live in the city. I live in the Excelsior now. We landed fine. We found a place. It was trying and difficult and expensive and it took a while. And I have to say that the first year felt pretty unsettled. We were still reacting and we had a hard time settling. It’s like once you fall in love again but you’re terrified of getting your heart broken. It’s underneath everything and you don’t realize that’s the heartbeat that is guiding you emotionally.\u003c/p>\n\u003cp>But, physically we’re fine. We were two healthy people with means and community. It was community that helped us find a place — a fan offered us their home. In that way, I’m not the everyman. Sure, I’m not a big-time celebrity, but the average person who loses their home doesn’t get people reading their story. I had to acknowledge that for myself. Again, that’s why I felt stuck in between both worlds. I wasn’t a big enough celebrity that I could just go buy a home overlooking the ocean, but I wasn’t so common that I got swept out to sea.\u003c/p>\n\u003cp>I didn’t have to move into a tent, which we see a lot more of. Remember, we lose miles by slipping inches. Because we no longer look at those tents and say: Good lord, why are there four times as many tents as last year? Who are these people? Could some of them be people that I interacted with on a daily basis and I didn’t notice when they disappeared from behind the coffee counter or from the grocery store? We don’t stop to think, “Did they have more?” Again, we assume that it’s their fault. We don’t think those things out loud. We just think they didn’t take care of their lives and that’s why they’re out there. And I think some of that attitude comes because it is difficult to make your way. We all have to do things that are uncomfortable and hard and take sacrifice. And we all want more.\u003c/p>\n\u003cp>\u003cb>And some of us have more of a safety net than others do.\u003c/b>\u003c/p>\n\u003cp>That’s why I don’t want the book to be about eviction. I don’t feel like I have a right to make any grand statements about it. There are many more people that are actively involved in the problems of eviction, who are helping people whose lives have been severely destroyed and upended. What I’m best at giving is this: I can write and I can draw and I can have the biggest effect possible through this medium. I have two guiding principles right now: beauty and entertainment. There is a lot of difficulty in the world. I want to be able to offer something that’s beautiful, entertaining, and thoughtful.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" class=\"aligncenter size-full wp-image-12935470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Paul Madonna appears at City Lights on April 19 at 7pm. For more details, as well as other upcoming book appearances, see \u003ca href=\"http://paulmadonna.com/ontothenextdream/index.htm\">here.\u003c/a> \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Watch Paul Madonna on an episode of KQED’s ‘Spark’ \u003ca href=\"https://ww2.kqed.org/spark/paul-madonna/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":2797,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":43},"modified":1705030925,"excerpt":"In his new book, 'All Over Coffee' creator Paul Madonna grapples with eviction -- and the emotional rollercoaster of moving 'On to the Next Dream.'","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"In his new book, 'All Over Coffee' creator Paul Madonna grapples with eviction -- and the emotional rollercoaster of moving 'On to the Next Dream.'","title":"He Illustrated San Francisco for 12 Years — And Then Got Evicted | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"He Illustrated San Francisco for 12 Years — And Then Got Evicted","datePublished":"2017-04-18T08:00:11-07:00","dateModified":"2024-01-11T19:42:05-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"he-illustrated-san-francisco-for-12-years-and-then-got-evicted","status":"publish","sticky":false,"path":"/arts/13062008/he-illustrated-san-francisco-for-12-years-and-then-got-evicted","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2015, Paul Madonna — the artist behind the popular \u003ca href=\"http://paulmadonna.com/all_over_coffee/\">\u003ci>All Over Coffee \u003c/i>\u003c/a>column in the \u003cem>San Francisco Chronicle\u003c/em> — was evicted from the Mission District apartment where he’d lived with his wife for a decade. And with that, the artist who’d \u003ca href=\"https://ww2.kqed.org/spark/paul-madonna/\">built a career on drawing the sidewalks, spires and skylines of San Francisco\u003c/a> faced displacement from that very same city.\u003c/p>\n\u003cp>In the aftermath, Madonna, 44, captured in his column the tumult of looking for a new home in a feverish and outlandish housing market where more and more people were literally being left out on the street. He channeled his anxiety into taking a semi-fictional absurdist lens to the moody San Francisco moments for which he’d gained acclaim. The vignettes hit a nerve. One scene, of a fictional and freshly evicted Paul stumbling into an open-house next door to discover that what’s actually for sale is a million-dollar cardboard box, prompted some readers to wonder aloud if it were actually true.\u003c/p>\n\u003cp>What they didn’t know was that Madonna was slowly bringing the 12-year-old series to an end, winding his way towards the column’s final sentence — “on to the next dream” — which he’d known for five years would end \u003ci>All Over Coffee.\u003c/i> This month, Madonna’s third book arrives, also titled \u003ci>On to the Next Dream\u003c/i> (City Lights; 2017). The book collects those final columns, short bursts of flash fiction both absurdist and time-traveling, all wrapped up in Madonna’s \u003ca href=\"https://paul-madonna.myshopify.com/collections/prints-all-over-coffee\">singular melancholic way\u003c/a> of capturing San Francisco.\u003c/p>\n\u003cp>For Madonna and his wife, the story didn’t play out as a tragedy like it does for those with less of a safety net. In fact, they’re now settled in a house that belongs to a fan of Madonna’s work — even though it took about a year before they felt like the heartbeat of uncertainty and upheaval subsided. Ultimately, Madonna says, \u003ca href=\"http://paulmadonna.com/ontothenextdream/index.htm\">\u003ci>On to the Next Dream\u003c/i>\u003c/a> isn’t about the eviction. Losing his home may have been the igniting incident, but what he’s really telling is “the story of every person who wanted their version of the world to stay the same.”\u003c/p>\n\u003cp>\u003ci>The following interview had been edited for clarity and length. \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>What was the genesis of \u003ci>On to the Next Dream\u003c/i>?\u003c/b>\u003c/p>\n\u003cp>When the eviction came, it was an emotional and stressful situation and I found myself wanting to talk about it. I wrote all of these first-person pieces but I would scrap them at the last moment. At midnight before deadline, I was calling friends and asking them to give me feedback, and I had never done that before with \u003ci>All Over Coffee \u003c/i>pieces. But then I realized I could use seemingly real situations and keep taking them one step further — an absurdist approach. Because I thought, right, that’s what we’re feeling, the anxiety and the absurdity.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13062009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI.jpg\" alt=\"OnToNextCoverHI\" width=\"1800\" height=\"2625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI-800x1167.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI-768x1120.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI-1020x1488.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI-1180x1721.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI-960x1400.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI-240x350.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI-375x547.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/OnToNextCoverHI-520x758.jpg 520w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003c/p>\n\u003cp>\u003cb>So amplifying true situations with absurdity allowed you to enter into the creative process? \u003c/b>\u003c/p>\n\u003cp>Exactly. I had this rule for myself that I would begin with a normal situation and then just turn up the volume increasingly until it was ridiculous. In the second chapter, the character goes next door to a house sale, and he realizes that it’s not actually the apartment they’re auctioning off — it’s the box in the corner. I thought that was a simple, clever metaphor. Nothing so outrageous, in terms of calling a small space a box. We do that all the time. But I thought it was humorous. And then I got emails asking whether that had really happened.\u003c/p>\n\u003cp>\u003cb>It’s a sign of the times that some of your readers thought the story about the box was actually true. \u003c/b>\u003c/p>\n\u003cp>You hit on the exact thing that I want to talk about. Which is that we’ve become desensitized to absurdity, and that happens incrementally. When small things happen over time, you wake up years later and realize that you’re living in a completely absurd situation — but you don’t think so anymore. The line I like to use is, “I lost miles by slipping inches.” That’s what the box showed me. And the absurdist metaphor was a big change for \u003ci>All Over Coffee\u003c/i>. It had never been a part of the toolbox that I allowed myself.\u003c/p>\n\u003cp>I like a limited palette — physical with my drawing materials and stylistically with my writing materials. \u003ci>All Over Coffee \u003c/i>was always about this simplicity of language and scenes. As I began to write more flash fiction pieces, I allowed myself more tools. The metaphorical tool became something different because I was making a statement: \u003cem>I’m showing you this for a reason\u003c/em>. I was very aware that I was taking a different step. These stories lead you to a specific spot rather than opening a door for you to wander out of.\u003c/p>\n\u003cp>\u003cb>You spent so much time illustrating San Francisco and capturing this specific energy. How did it feel for you to get that eviction letter?\u003c/b>\u003c/p>\n\u003cp>There’s a scene [in the new book] where I’m in the coffee shop and people’s faces are disappearing and the woman across from me can’t understand me because she’s a long-time San Franciscan whose family owns property. In that chapter I was saying, “You know, I feel like this is partially my fault.”\u003c/p>\n\u003cp>The word \u003cem>eviction\u003c/em> carries a lot of shame. In any place else but San Francisco, or maybe Manhattan, if you say you’re evicted it’s like, “Wow, what did you do? Your place must be infested with animals and you haven’t paid rent in a year and you must be a despicable person if that happened to you.” Anyone who lives in these highly charged urban environments knows that’s not the case. But there’s still this undercurrent. A feeling that people think: “Oh, you clearly didn’t take care of your life or this wouldn’t have happened to you.”\u003c/p>\n\u003cp>[The eviction] made me look at my definitions of success. Up until that point, I’d been fairly successful. I’d published two books, I was working on my third. I was selling artwork. I was making a living as an artist and a writer, and I had been for more than a decade. Which is not an easy task, and it took me many years to get to that point. I felt like I was living the life I wanted. I mean, I wasn’t able to buy a home in San Francisco, but my energy wasn’t focused on that. A lot of the money I made I would put it back into my work. Suddenly, when I was losing my home, I thought maybe I had my priorities wrong. How successful was I really if I couldn’t even secure a place for myself to live in a city, when I’m one of San Francisco’s creative people? I had to go through a period of thinking this was all my fault.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13062036\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street.jpg\" alt=\"ottnd_Chair-on-Street\" width=\"1421\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street.jpg 1421w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street-800x1153.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street-768x1107.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street-1020x1470.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street-1180x1701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street-960x1384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street-240x346.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street-375x541.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Chair-on-Street-520x750.jpg 520w\" sizes=\"(max-width: 1421px) 100vw, 1421px\">\u003c/p>\n\u003cp>At the same time, by translating the experience into a story, I didn’t want it to be “my story.” It’s really not about what happened to me. It’s fantastical. I mean, my wife isn’t even in it. If I were really to write the story of what happened there would be a lot of sincere moments of what we went through, and how we dealt with it emotionally.\u003c/p>\n\u003cp>My wife and I went to a meeting down in the Tenderloin shortly after receiving the eviction notice. We walked into the room and there were hundreds of people there. We spent the afternoon listening to stories of people who were losing their homes, entire buildings of people who were being evicted. We left there saying, “We don’t belong here. All of those people were far worse off than we were.” There were people who had service jobs, who had families, English was their second language, they weren’t rooted in the community in the same way that we were, they had less options. Sure, we weren’t buying a home in Pacific Heights, but we weren’t about to fall out on the street either. We really felt like we were in the middle. It was like we didn’t belong in either world. People were saying, “You should be the face of eviction,” but I rejected that because I thought it was unfair. And it wasn’t my cause. \u003c/p>\n\u003cp>I had to wrestle with questions like: Who are you? What do you want to do? It forced me to ask a lot of these questions that I thought I had answered. I realized that was the common thread: We all feel powerless in the face of something.\u003c/p>\n\u003cp>\u003cb>Another idea that comes up is that change is inevitable. San Francisco has always been a boomtown, and a particular instability arises from that. But your character also says that it’s not okay that people are being displaced. And how do you reconcile those two realities?\u003c/b>\u003c/p>\n\u003cp>You know, talking about the eviction is easy, but ultimately I feel small if I’m out there saying, “This is the book about me being evicted.” What it’s really about is how I learned how to take an emotionally charged loss and how I learned to process it in a way where I could make something. I grew as a person, but also as an artist. Week by week, I was able to take crazy emotions and translate them into metaphors, and deliver them to an audience. I used the process of art to deal with my emotions and and give them to the world as a way to survive the experience. And those words sound extreme, because I feel like there’s far worse suffering in the city.\u003c/p>\n\u003cp>\u003cb>Eviction is a big deal, though. I wouldn’t underestimate how much it can upend your life. \u003c/b>\u003c/p>\n\u003cp>Ultimately, it’s about how we deal with loss and change. I also realized that I couldn’t go back to \u003ci>All Over Coffee \u003c/i>as it used to be when this story was over. That’s when it dawned on me that I wasn’t just writing about the end of the era in the Mission, I was ending the series. This big external change was actually changing me. What better way to express it than to end a 12-year-run, and by saying that life changes and you have to move on. It became bittersweet. \u003ci>All Over Coffee\u003c/i> was a dream come true. I got to do exactly what I wanted in a public forum and have the world respond to me, and now it was time to have another dream.\u003c/p>\n\u003cp>In a way, isn’t that what we all have to do all of the time? We have to take these crappy things that happen to us and we have to decide — are we going to be victims to it, or are we going to grow from it? I know I’m venturing into clichés, but it really is the truth. Are you going to carry stuff around with you? Or are you going figure out the best way to handle it? That’s really what I want the message of the book to be.\u003c/p>\n\u003cp>\u003cb>What about the burn marks that run through the book from the cover to the last pages? \u003c/b>\u003c/p>\n\u003cp>When I realized the series was ending, I thought, “I can no longer draw San Francisco the way I used to.” The burns became symbolic of this style of drawing, this love affair, this way of looking at the world that can no longer be the same.\u003c/p>\n\u003cp>I knew this wasn’t just my story, but the story of every person who ever wanted their version of their world to stay the same. And those are the final words of the book: It was time to let go. Time to move on. On to the next dream.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13062221\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn.jpg\" alt=\"ottnd_Last-Burn\" width=\"1421\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn.jpg 1421w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn-800x1153.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn-768x1107.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn-1020x1470.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn-1180x1701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn-960x1384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn-240x346.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn-375x541.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/ottnd_Last-Burn-520x750.jpg 520w\" sizes=\"(max-width: 1421px) 100vw, 1421px\">\u003c/p>\n\u003cp>\u003cb>And the older you get, the more you realize it’s never going to stay the same. \u003c/b>\u003c/p>\n\u003cp>And so we have to change our definitions. We have to change what our version of the world is. These days I feel like life is just a series of disillusionments. We think that the world is getting worse but I actually think the world has always been what it is, we just grow to understand it more. \u003c/p>\n\u003cp>\u003cb>I love the part where Paul meets Future Paul who tells him what’s going to happen. How much of that is true? How has the story played out? \u003c/b>\u003c/p>\n\u003cp>The events on page 62 are essentially all true. I still live in the city. I live in the Excelsior now. We landed fine. We found a place. It was trying and difficult and expensive and it took a while. And I have to say that the first year felt pretty unsettled. We were still reacting and we had a hard time settling. It’s like once you fall in love again but you’re terrified of getting your heart broken. It’s underneath everything and you don’t realize that’s the heartbeat that is guiding you emotionally.\u003c/p>\n\u003cp>But, physically we’re fine. We were two healthy people with means and community. It was community that helped us find a place — a fan offered us their home. In that way, I’m not the everyman. Sure, I’m not a big-time celebrity, but the average person who loses their home doesn’t get people reading their story. I had to acknowledge that for myself. Again, that’s why I felt stuck in between both worlds. I wasn’t a big enough celebrity that I could just go buy a home overlooking the ocean, but I wasn’t so common that I got swept out to sea.\u003c/p>\n\u003cp>I didn’t have to move into a tent, which we see a lot more of. Remember, we lose miles by slipping inches. Because we no longer look at those tents and say: Good lord, why are there four times as many tents as last year? Who are these people? Could some of them be people that I interacted with on a daily basis and I didn’t notice when they disappeared from behind the coffee counter or from the grocery store? We don’t stop to think, “Did they have more?” Again, we assume that it’s their fault. We don’t think those things out loud. We just think they didn’t take care of their lives and that’s why they’re out there. And I think some of that attitude comes because it is difficult to make your way. We all have to do things that are uncomfortable and hard and take sacrifice. And we all want more.\u003c/p>\n\u003cp>\u003cb>And some of us have more of a safety net than others do.\u003c/b>\u003c/p>\n\u003cp>That’s why I don’t want the book to be about eviction. I don’t feel like I have a right to make any grand statements about it. There are many more people that are actively involved in the problems of eviction, who are helping people whose lives have been severely destroyed and upended. What I’m best at giving is this: I can write and I can draw and I can have the biggest effect possible through this medium. I have two guiding principles right now: beauty and entertainment. There is a lot of difficulty in the world. I want to be able to offer something that’s beautiful, entertaining, and thoughtful.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"Spine\" width=\"800\" height=\"42\" class=\"aligncenter size-full wp-image-12935470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Paul Madonna appears at City Lights on April 19 at 7pm. For more details, as well as other upcoming book appearances, see \u003ca href=\"http://paulmadonna.com/ontothenextdream/index.htm\">here.\u003c/a> \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Watch Paul Madonna on an episode of KQED’s ‘Spark’ \u003ca href=\"https://ww2.kqed.org/spark/paul-madonna/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13062008/he-illustrated-san-francisco-for-12-years-and-then-got-evicted","authors":["3224"],"series":["arts_407"],"categories":["arts_73"],"tags":["arts_1942","arts_1118","arts_596","arts_989","arts_769","arts_4360"],"featImg":"arts_13070292","label":"arts_407"},"arts_12804599":{"type":"posts","id":"arts_12804599","meta":{"index":"posts_1716263798","site":"arts","id":"12804599","score":null,"sort":[1487876631000]},"parent":0,"labelTerm":{"site":"arts","term":1272},"blocks":[],"publishDate":1487876631,"format":"standard","title":"New Grant Program Aims to Protect San Francisco Nonprofits","headTitle":"New Grant Program Aims to Protect San Francisco Nonprofits | KQED","content":"\u003cp>San Francisco is launching a new grant program to help nonprofits with limited funds defy the city’s booming real estate market. The grants are part of what Mayor Ed Lee is calling his \u003ca href=\"https://www.ncclf.org/sfsustainability/\" target=\"_blank\" rel=\"noopener\">“Nonprofit Sustainability Initiative”\u003c/a>, which includes a total investment of $6 million over two years.\u003c/p>\n\u003cp>“We’re shifting the balance toward purchasing permanent space,” said Lex Leifheit with the city’s \u003ca href=\"http://oewd.org/\" target=\"_blank\" rel=\"noopener\">Office of Economic and Workforce Development,\u003c/a> which will be administering the program. “And nonprofits interested in sharing space have support in this new program.”\u003c/p>\n\u003cp>Leifheit said she spoke to more than 100 nonprofits in developing the new funding program. She says that most of them, whether they’re arts organizations or child care providers, operate on razor-thin budgets. Even if the grants won’t go far in pricey San Francisco, she says, they’ll allow nonprofits to leverage bigger donations from other donors.\u003c/p>\n\u003cfigure id=\"attachment_12808115\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808115\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-800x486.jpg\" alt=\"Lex Leifheit of the San Francisco Office of Economic and Workforce Development\" width=\"800\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-800x486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-768x467.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-1020x620.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-1920x1166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-1180x717.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-960x583.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-375x228.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-520x316.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lex Leifheit of the San Francisco Office of Economic and Workforce Development \u003ccite>(Photo: Courtesy of Lex Leifheit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city is seeking \u003ca href=\"https://www.ncclf.org/sfsustainability/\" target=\"_blank\" rel=\"noopener\">grant applications\u003c/a> for $4.25 million over two years for organizations looking for seed funding to buy new, permanent space. There’s also almost $1.5 million in funds to cover such one-time costs as architectural, engineering, and legal services, rent stipends, and moving and tenant improvements.\u003c/p>\n\u003cp>As in past rounds of funding, the \u003ca href=\"https://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund (NCCLF)\u003c/a>, among the region’s most innovative lenders and real estate consultants, will work with nonprofits interested in learning how to share space with other nonprofits. “NCCLF helps nonprofits get ready to enter the real estate market,” Leifheit says. “So that when an opportunity comes up they can act fast and be competitive.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":307,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":7},"modified":1705031454,"excerpt":"San Francisco launches a new funding program to help threatened nonprofits stay in the city. ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"San Francisco launches a new funding program to help threatened nonprofits stay in the city. ","title":"New Grant Program Aims to Protect San Francisco Nonprofits | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"New Grant Program Aims to Protect San Francisco Nonprofits","datePublished":"2017-02-23T11:03:51-08:00","dateModified":"2024-01-11T19:50:54-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"new-grant-program-aims-to-protect-san-francisco-nonprofits","status":"publish","sticky":false,"path":"/arts/12804599/new-grant-program-aims-to-protect-san-francisco-nonprofits","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco is launching a new grant program to help nonprofits with limited funds defy the city’s booming real estate market. The grants are part of what Mayor Ed Lee is calling his \u003ca href=\"https://www.ncclf.org/sfsustainability/\" target=\"_blank\" rel=\"noopener\">“Nonprofit Sustainability Initiative”\u003c/a>, which includes a total investment of $6 million over two years.\u003c/p>\n\u003cp>“We’re shifting the balance toward purchasing permanent space,” said Lex Leifheit with the city’s \u003ca href=\"http://oewd.org/\" target=\"_blank\" rel=\"noopener\">Office of Economic and Workforce Development,\u003c/a> which will be administering the program. “And nonprofits interested in sharing space have support in this new program.”\u003c/p>\n\u003cp>Leifheit said she spoke to more than 100 nonprofits in developing the new funding program. She says that most of them, whether they’re arts organizations or child care providers, operate on razor-thin budgets. Even if the grants won’t go far in pricey San Francisco, she says, they’ll allow nonprofits to leverage bigger donations from other donors.\u003c/p>\n\u003cfigure id=\"attachment_12808115\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808115\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-800x486.jpg\" alt=\"Lex Leifheit of the San Francisco Office of Economic and Workforce Development\" width=\"800\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-800x486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-768x467.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-1020x620.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-1920x1166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-1180x717.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-960x583.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-375x228.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-520x316.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lex Leifheit of the San Francisco Office of Economic and Workforce Development \u003ccite>(Photo: Courtesy of Lex Leifheit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city is seeking \u003ca href=\"https://www.ncclf.org/sfsustainability/\" target=\"_blank\" rel=\"noopener\">grant applications\u003c/a> for $4.25 million over two years for organizations looking for seed funding to buy new, permanent space. There’s also almost $1.5 million in funds to cover such one-time costs as architectural, engineering, and legal services, rent stipends, and moving and tenant improvements.\u003c/p>\n\u003cp>As in past rounds of funding, the \u003ca href=\"https://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund (NCCLF)\u003c/a>, among the region’s most innovative lenders and real estate consultants, will work with nonprofits interested in learning how to share space with other nonprofits. “NCCLF helps nonprofits get ready to enter the real estate market,” Leifheit says. “So that when an opportunity comes up they can act fast and be competitive.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12804599/new-grant-program-aims-to-protect-san-francisco-nonprofits","authors":["32"],"programs":["arts_1272"],"series":["arts_407"],"categories":["arts_835","arts_235"],"tags":["arts_1448","arts_1254","arts_596"],"featImg":"arts_12807915","label":"arts_1272"},"arts_12644932":{"type":"posts","id":"arts_12644932","meta":{"index":"posts_1716263798","site":"arts","id":"12644932","score":null,"sort":[1484775631000]},"parent":0,"labelTerm":{"site":"arts","term":1272},"blocks":[],"publishDate":1484775631,"format":"standard","title":"Artists and Makers Lose Another East Bay Warehouse Space","headTitle":"Artists and Makers Lose Another East Bay Warehouse Space | KQED","content":"\u003cp>\u003ca href=\"http://www.edisoninternationalusa.com/about.html\" target=\"_blank\" rel=\"noopener\">Cheryl Edison\u003c/a> said she knew what was coming after the Ghost Ship Fire.\u003c/p>\n\u003cp>“Heads up,” Edison texted her boss the next day. “There’s been a big warehouse fire, and because our property is called a warehouse, there’s likely to be a backlash.”\u003c/p>\n\u003cp>Edison was a consultant, finding artists and makers to occupy a co-working space called \u003ca href=\"http://thefactory510.com/\" target=\"_blank\" rel=\"noopener\">Factory 510\u003c/a>, part of the \u003ca href=\"http://thegate510.com/the-team/\" target=\"_blank\" rel=\"noopener\">Gate 510\u003c/a> complex, which houses a number of retail, tech, maker, and artist spaces off Davis Street in San Leandro.\u003c/p>\n\u003cp>And Edison said her boss, \u003ca href=\"https://skbcos.com/expertise/#team_members\" target=\"_blank\" rel=\"noopener\">Steve Wong\u003c/a>, a property manager with the real estate merchant banker \u003ca href=\"https://skbcos.com/expertise/\" target=\"_blank\" rel=\"noopener\">ScanlanKemperBard \u003c/a>(SKB), based in Portland, texted her back.\u003c/p>\n\u003cp>“We have nothing to worry about. Our property is nothing like that (the Ghost Ship) property. We are concrete and steel beams, sprinklers throughout.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Edison was right. On the Monday morning after the fire, “came fire officials,” Edison said, “and representatives from the city of San Leandro, making a huge scene. I was called by tenants and members, I contacted SKB. And I said Steve, we have an issue here.”\u003c/p>\n\u003cp>\u003ca href=\"http://thegate510.com/about-the-gate/\" target=\"_blank\" rel=\"noopener\">Gate 510 \u003c/a>encompasses nearly a million square-feet of space. It was once a manufacturing plant for Dodges and Plymouths, and then Caterpillar tractors. Now there’s a Home Depot, a Ross Dress for Less and other retailers downstairs. Upstairs, SKB has built studios and offices for entrepreneurs, tech companies, artists, and makers.\u003c/p>\n\u003cp>Edison showed me around the huge modern looking space a few weeks ago. A few artists were there with her, packing their gear, because SKB terminated all the leases for Factory 510 as of Jan. 9.\u003c/p>\n\u003cfigure id=\"attachment_12644935\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12644935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/004-800x600.jpg\" alt=\"Cheryl Edison stand by a giant mural that used to decorate a common area of Factory 510 that safety inspectors told her was a fire hazard\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Edison stand by a giant mural that used to decorate a common area of Factory 510 that safety inspectors told her was a fire hazard \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What happened here, is like saying we’ve got a problem with forest fires, so let’s just cut all the trees down,” said Andrew Johnstone, an artist who designs and builds huge sculptures, including the iconic Burning Man figure used at last summer’s Burning Man Festival. “That’s not how you deal with this.”\u003c/p>\n\u003cp>\u003cstrong>The City Building Official\u003c/strong>\u003c/p>\n\u003cp>But Jerry Smith Jr., San Leandro’s chief building official, said the inspection on Dec. 5 was routine and not a crackdown.\u003c/p>\n\u003cp>“There’s this perception,” Smith said in a phone interview, “because of the Ghost Ship fire, that we suddenly had this interest in the Gate. I was at the gate my first week here.\u003c/p>\n\u003cp>“It’s so complex,” Smith said. “It’s so far ahead of the code, that we regularly go through to figure out what they’re doing, how do we protect them, what’s the best way to do this.”\u003c/p>\n\u003cp>Smith is like many city officials after the Ghost Ship fire, eager to work with artists, entrepreneurs, and makers — all of whom bring innovation and taxes to their cities. “This city is pro-artist and pro-maker,” Smith said. But he added that he always worries that he could be overlooking a major safety hazard.\u003c/p>\n\u003cp>“When we do our job, nothing happens,” Smith said. “I have prevented more death and injury than any first responder in the history of mankind.”\u003c/p>\n\u003cp>Smith said what he found at Factory 510 was a neon art installation with bare wires tied to the building steel in an area designated as a refuge, a safe room to which people could go in the event of a fire.\u003c/p>\n\u003cp>“People would have gotten electrocuted,” Smith said. “And the neon was suspended over the top of the exit path. Can you imagine if we had an earthquake event. It would have shattered, you would have gotten a glass shower.”\u003c/p>\n\u003cp>Edison said Smith and the fire inspector told her that “anything that could loosely be called art was no longer something that could be permitted.”\u003c/p>\n\u003cp>Artist Nick Randell, who installed the neon said, “I did some wonderful installations here which I assure you were perfectly safe. I’ve been setting up neon in places for over 30 years and I have yet to electrocute anyone or burn anything down.”\u003c/p>\n\u003cp>Johnstone said the inspectors warned him that he had flammable paintings hanging on a wall, and he was ordered to remove them. That established, what he called, an impossible safety standard for a working artist.\u003c/p>\n\u003cp>\u003cstrong>The Landlord\u003c/strong>\u003c/p>\n\u003cp>Meanwhile SKB’s Steve Wong said in a phone interview that the inspection was only a minor factor in ending the company’s arrangement with Edison and the artists she was leasing to. “Part of Edison’s job was going away,” Wong said, “because she’d done such a good job of leasing the space.\u003c/p>\n\u003cp>“If anything the timing of it relative to the Oakland fire may have accelerated it by a few months,” Wong said. “And some of those folks leaving were short term tenants under Cheryl’s purview.”\u003c/p>\n\u003cp>Wong said SKB was happy with the work Edison did bringing in artists and tech entrepreneurs. But the company “needed to take a couple of steps back because of the additional scrutiny on fire and safety.”\u003c/p>\n\u003cp>\u003cstrong>A Plea For a Home\u003c/strong>\u003c/p>\n\u003cp>Back at Factory 510, neon artist Nick Randell takes the long view on his eviction. “This is just a temporary setback,” said Randell. “Our work is done here. Artists come in when a place is down at the heels. And once it gets successful they get rid of us.”\u003c/p>\n\u003cp>And despite losing her consultancy with SKB, Edison said “There are no villains here.”\u003c/p>\n\u003cp>The real problem, she said, is that cities still don’t understand how to take the Bay Area’s many under-used warehouses and “upcycle those buildings to allow them to be used safely and adequately for new uses.”\u003c/p>\n\u003cp>Edison paused a minute. “I’m not going to cry,” she said, tearing up for just a second.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m reaching out to the mayor of Alameda, the mayor of Berkeley, the mayor of Oakland,” Edison said. “Have you got a space for dozens and dozens of tech companies and artists, who play by the rules, who want to be safe, and need a place to make innovation thrive, and make an economy thrive? Just like we did here in San Leandro. We need a place to be.”\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1132,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":32},"modified":1705031861,"excerpt":"How the Ghost Ship fire pushed a group of artists and makers out of a modern warehouse in San Leandro","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"How the Ghost Ship fire pushed a group of artists and makers out of a modern warehouse in San Leandro","title":"Artists and Makers Lose Another East Bay Warehouse Space | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Artists and Makers Lose Another East Bay Warehouse Space","datePublished":"2017-01-18T13:40:31-08:00","dateModified":"2024-01-11T19:57:41-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"artists-and-makers-lose-another-east-bay-warehouse-space","status":"publish","sticky":false,"path":"/arts/12644932/artists-and-makers-lose-another-east-bay-warehouse-space","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.edisoninternationalusa.com/about.html\" target=\"_blank\" rel=\"noopener\">Cheryl Edison\u003c/a> said she knew what was coming after the Ghost Ship Fire.\u003c/p>\n\u003cp>“Heads up,” Edison texted her boss the next day. “There’s been a big warehouse fire, and because our property is called a warehouse, there’s likely to be a backlash.”\u003c/p>\n\u003cp>Edison was a consultant, finding artists and makers to occupy a co-working space called \u003ca href=\"http://thefactory510.com/\" target=\"_blank\" rel=\"noopener\">Factory 510\u003c/a>, part of the \u003ca href=\"http://thegate510.com/the-team/\" target=\"_blank\" rel=\"noopener\">Gate 510\u003c/a> complex, which houses a number of retail, tech, maker, and artist spaces off Davis Street in San Leandro.\u003c/p>\n\u003cp>And Edison said her boss, \u003ca href=\"https://skbcos.com/expertise/#team_members\" target=\"_blank\" rel=\"noopener\">Steve Wong\u003c/a>, a property manager with the real estate merchant banker \u003ca href=\"https://skbcos.com/expertise/\" target=\"_blank\" rel=\"noopener\">ScanlanKemperBard \u003c/a>(SKB), based in Portland, texted her back.\u003c/p>\n\u003cp>“We have nothing to worry about. Our property is nothing like that (the Ghost Ship) property. We are concrete and steel beams, sprinklers throughout.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Edison was right. On the Monday morning after the fire, “came fire officials,” Edison said, “and representatives from the city of San Leandro, making a huge scene. I was called by tenants and members, I contacted SKB. And I said Steve, we have an issue here.”\u003c/p>\n\u003cp>\u003ca href=\"http://thegate510.com/about-the-gate/\" target=\"_blank\" rel=\"noopener\">Gate 510 \u003c/a>encompasses nearly a million square-feet of space. It was once a manufacturing plant for Dodges and Plymouths, and then Caterpillar tractors. Now there’s a Home Depot, a Ross Dress for Less and other retailers downstairs. Upstairs, SKB has built studios and offices for entrepreneurs, tech companies, artists, and makers.\u003c/p>\n\u003cp>Edison showed me around the huge modern looking space a few weeks ago. A few artists were there with her, packing their gear, because SKB terminated all the leases for Factory 510 as of Jan. 9.\u003c/p>\n\u003cfigure id=\"attachment_12644935\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12644935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/004-800x600.jpg\" alt=\"Cheryl Edison stand by a giant mural that used to decorate a common area of Factory 510 that safety inspectors told her was a fire hazard\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Edison stand by a giant mural that used to decorate a common area of Factory 510 that safety inspectors told her was a fire hazard \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What happened here, is like saying we’ve got a problem with forest fires, so let’s just cut all the trees down,” said Andrew Johnstone, an artist who designs and builds huge sculptures, including the iconic Burning Man figure used at last summer’s Burning Man Festival. “That’s not how you deal with this.”\u003c/p>\n\u003cp>\u003cstrong>The City Building Official\u003c/strong>\u003c/p>\n\u003cp>But Jerry Smith Jr., San Leandro’s chief building official, said the inspection on Dec. 5 was routine and not a crackdown.\u003c/p>\n\u003cp>“There’s this perception,” Smith said in a phone interview, “because of the Ghost Ship fire, that we suddenly had this interest in the Gate. I was at the gate my first week here.\u003c/p>\n\u003cp>“It’s so complex,” Smith said. “It’s so far ahead of the code, that we regularly go through to figure out what they’re doing, how do we protect them, what’s the best way to do this.”\u003c/p>\n\u003cp>Smith is like many city officials after the Ghost Ship fire, eager to work with artists, entrepreneurs, and makers — all of whom bring innovation and taxes to their cities. “This city is pro-artist and pro-maker,” Smith said. But he added that he always worries that he could be overlooking a major safety hazard.\u003c/p>\n\u003cp>“When we do our job, nothing happens,” Smith said. “I have prevented more death and injury than any first responder in the history of mankind.”\u003c/p>\n\u003cp>Smith said what he found at Factory 510 was a neon art installation with bare wires tied to the building steel in an area designated as a refuge, a safe room to which people could go in the event of a fire.\u003c/p>\n\u003cp>“People would have gotten electrocuted,” Smith said. “And the neon was suspended over the top of the exit path. Can you imagine if we had an earthquake event. It would have shattered, you would have gotten a glass shower.”\u003c/p>\n\u003cp>Edison said Smith and the fire inspector told her that “anything that could loosely be called art was no longer something that could be permitted.”\u003c/p>\n\u003cp>Artist Nick Randell, who installed the neon said, “I did some wonderful installations here which I assure you were perfectly safe. I’ve been setting up neon in places for over 30 years and I have yet to electrocute anyone or burn anything down.”\u003c/p>\n\u003cp>Johnstone said the inspectors warned him that he had flammable paintings hanging on a wall, and he was ordered to remove them. That established, what he called, an impossible safety standard for a working artist.\u003c/p>\n\u003cp>\u003cstrong>The Landlord\u003c/strong>\u003c/p>\n\u003cp>Meanwhile SKB’s Steve Wong said in a phone interview that the inspection was only a minor factor in ending the company’s arrangement with Edison and the artists she was leasing to. “Part of Edison’s job was going away,” Wong said, “because she’d done such a good job of leasing the space.\u003c/p>\n\u003cp>“If anything the timing of it relative to the Oakland fire may have accelerated it by a few months,” Wong said. “And some of those folks leaving were short term tenants under Cheryl’s purview.”\u003c/p>\n\u003cp>Wong said SKB was happy with the work Edison did bringing in artists and tech entrepreneurs. But the company “needed to take a couple of steps back because of the additional scrutiny on fire and safety.”\u003c/p>\n\u003cp>\u003cstrong>A Plea For a Home\u003c/strong>\u003c/p>\n\u003cp>Back at Factory 510, neon artist Nick Randell takes the long view on his eviction. “This is just a temporary setback,” said Randell. “Our work is done here. Artists come in when a place is down at the heels. And once it gets successful they get rid of us.”\u003c/p>\n\u003cp>And despite losing her consultancy with SKB, Edison said “There are no villains here.”\u003c/p>\n\u003cp>The real problem, she said, is that cities still don’t understand how to take the Bay Area’s many under-used warehouses and “upcycle those buildings to allow them to be used safely and adequately for new uses.”\u003c/p>\n\u003cp>Edison paused a minute. “I’m not going to cry,” she said, tearing up for just a second.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m reaching out to the mayor of Alameda, the mayor of Berkeley, the mayor of Oakland,” Edison said. “Have you got a space for dozens and dozens of tech companies and artists, who play by the rules, who want to be safe, and need a place to make innovation thrive, and make an economy thrive? Just like we did here in San Leandro. We need a place to be.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12644932/artists-and-makers-lose-another-east-bay-warehouse-space","authors":["32"],"programs":["arts_1272"],"series":["arts_407"],"categories":["arts_235","arts_70"],"tags":["arts_1448","arts_1559","arts_1627","arts_596","arts_1635"],"featImg":"arts_12644934","label":"arts_1272"},"arts_12631914":{"type":"posts","id":"arts_12631914","meta":{"index":"posts_1716263798","site":"arts","id":"12631914","score":null,"sort":[1484694053000]},"parent":0,"labelTerm":{"site":"arts","term":1272},"blocks":[],"publishDate":1484694053,"format":"standard","title":"Oakland Warehouse Artists Unite to Stay Safe — And to Petition City Hall","headTitle":"Oakland Warehouse Artists Unite to Stay Safe — And to Petition City Hall | KQED","content":"\u003cp>In the Bay Area, artists and makers are banding together because they’re spooked.\u003c/p>\n\u003cp>“This stuff makes me feel, oh my god, I have to go more underground,” said one San Francisco artist at a recent fire safety event. She wouldn’t give her name, for fear of attracting attention — like the two recent safety inspections that came after a complaint from a neighbor, despite her live/work space being legal.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/303184972″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“I don’t want to come from a place of fear. And now we’re all kind of like, oh my god, are they going to come and get us next.”\u003c/p>\n\u003cp>While artists in the Bay Area have spent the past month mourning the 36 people killed in the \u003ca href=\"https://ww2.kqed.org/news/2016/12/07/recovery-effort-ends-at-oakland-warehouse-fire-more-victims-identified/\" target=\"_blank\" rel=\"noopener\">Ghost Ship Fire\u003c/a>, they’ve also been organizing to protect unconventional, sometimes illegal, studio spaces. And they have good reason to worry: one artist group estimates that cities and landlords have shut down 20 artist and maker spaces nationwide in the past month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a Catch-22 for some: those living in warehouses can’t ask city departments for help with safety upgrades without alerting the powers that be to their existence. So they’re turning to grassroots organizations working as underground safety consultants.\u003c/p>\n\u003cfigure id=\"attachment_12631920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12631920 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/007-e1484526233461-800x530.jpg\" alt=\"David Keenan, an organizer with the DIY Safety Group and the Omni Commons collective\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-1920x1271.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-520x344.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Keenan, an organizer with the DIY Safety Group and the Omni Commons collective. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We tried to create an intake,” said David Keenan, an organizer with the DIY Safety Group, a coalition of artists, makers, contractors, and electricians. “Someone would email (us), saying, ‘Oh god, I’ve got this notice of inspection tomorrow, I’m trying to make it safer, can you guys help.”\u003c/p>\n\u003cp>Keenan said the safety group then sends out experts to fix the problems — experts who know the minutiae of the fire code. “Your fire extinguishers aren’t tagged right,” he says, “or they’re at the wrong height — or they’re not there.”\u003c/p>\n\u003cp>Another group, \u003ca href=\"https://www.facebook.com/wetheartists/\" target=\"_blank\" rel=\"noopener\">We the Artists of the Bay Area \u003c/a>has been providing similar help.\u003c/p>\n\u003cfigure id=\"attachment_12632118\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12632118\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-800x511.jpg\" alt=\"We the Artists of the Bay Area gave away free fire extinguishers and smoke alarms at a recent event\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-1920x1226.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-520x332.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">We the Artists of the Bay Area gave away free fire extinguishers and smoke alarms at a recent event. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few days ago, a steady stream of artists stopped by a West Oakland studio to pick up free fire extinguishers and get trained on how to use them. We the Artists had posted the giveaway on its Facebook page.\u003c/p>\n\u003cp>“You know when you’re living on the edge, behind the curtain in some of these spaces, your responsibility is almost tripled as far as life safety,” said \u003ca href=\"http://www.westword.com/arts/burning-man-flame-effects-specialist-davex-on-how-to-play-with-fire-safely-5816424\" target=\"_blank\" rel=\"noopener\">Dave X\u003c/a>. He had rigged up a propane stove to burst into flame so tenants could practice using a fire extinguisher the right way.\u003c/p>\n\u003cfigure id=\"attachment_12632117\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12632117\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-800x495.jpg\" alt=\"Dave X talks fire safety with artist Rose Kelly\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave X talks fire safety with artist Rose Kelly. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dave X manages events with fire and fireworks at the annual Burning Man festival. We the Artists, he said, is doing a kind of harm-reduction program to make legal and illegal studios safer.\u003c/p>\n\u003cp>“I hate to liken it to a needle exchange,” Dave X said, between demos. “But in a way it kind of is. People living in the fringe come to seek out safety services where they can, without exposing themselves to the repercussions of maybe going to a city agency to ask for that help.”\u003c/p>\n\u003cp>Still another artists group, the \u003ca href=\"https://www.facebook.com/OaktownWarehouseCoalition/\" target=\"_blank\" rel=\"noopener\">Oakland Warehouse Coalition\u003c/a>, has proposed a moratorium on evictions, and is asking the City Council to vote on it at their meeting scheduled for \u003cdel datetime=\"2017-01-20T05:47:28+00:00\">Jan 25\u003c/del>. [UPDATE: The meeting has been moved to Jan. 23.]\u003c/p>\n\u003cfigure id=\"attachment_12631917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12631917 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/008-e1484526462336-800x502.jpg\" alt=\"Jonah Strauss co-founder of the Oakland Warehouse Coalition\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-1920x1205.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-1180x740.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonah Strauss, co-founder of the Oakland Warehouse Coalition. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Our most at-risk and marginalized tenants are low-income people of color, immigrants, working class people, queer people, transgender, artists and musicians,” said Warehouse Coalition co-founder Jonah Strauss at a recent city council hearing. “These folks are crucial to maintaining our civic and cultural and racial balance, and we owe it to our people to keep Oakland diverse and protect them.”\u003c/p>\n\u003cfigure id=\"attachment_12631915\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12631915\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/002-e1484526541479-800x1154.jpg\" alt=\"A welcome sign at the Omni Commons collective in North Oakland\" width=\"800\" height=\"1154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479-800x1154.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479-768x1108.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479-1020x1472.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479-1180x1703.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479-960x1385.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479-240x346.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479-375x541.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479-520x750.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479.jpg 1341w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A welcome sign at the Omni Commons collective in North Oakland. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even the most safety-conscious artists and makers have felt under attack. DIY Safety Group’s David Keenan is also an organizer with the \u003ca href=\"https://omnicommons.org/\" target=\"_blank\" rel=\"noopener\">Omni Commons\u003c/a>, a group of maker collectives that recently bought an old Italian clubhouse in North Oakland. He showed me around the sprawling space, built in 1934. One room was cluttered with computers (the hacker collective Sudoroom) and lab equipment (the biohacker collective Counter Culture Labs). Keenan explained how the group did all its own code and safety upgrades.\u003c/p>\n\u003cp>“This is an exit sign with what’s called bug eyes,” Keenan said, standing in a doorway equipped with an exit sign plus battery and emergency lights.\u003c/p>\n\u003cp>Next to the doorway Keenan pointed to a DIY exit map, made by the collective, saving the five thousand dollars they’d been quoted for the service. “And they’re stamped and signed by the fire marshall, everything’s to code. The exact inches of the text. The colors of the stairs, the fact that this is a non-reflective plexiglass panel that’s exactly a ¼ inch thick.”\u003c/p>\n\u003cfigure id=\"attachment_12631916\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12631916\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/003-e1484526713153-800x508.jpg\" alt=\"An evacuation map signed by the Oakland Fire Marshall at the Omni Commons\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-1920x1219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-960x609.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-520x330.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An evacuation map signed by the Oakland Fire Marshall at the Omni Commons. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But just before Christmas, a senior Oakland building inspector threatened to revoke the building’s status as a meeting and maker space after misreading an old insurance map showing fire hazards in the neighborhood.\u003c/p>\n\u003cp>“I would say it’s an act of bad faith by the building official,” Keenan said, “who basically had an agenda, probably based on a fear of liability for the city; a knee-jerk reaction to shut down all assemblies.”\u003c/p>\n\u003cp>Keenan challenged the inspector’s reading of the map, and won the dispute.\u003c/p>\n\u003cp>Oakland officials say they’re still fine-tuning the balance between safety and protecting artists and makers against eviction. “We’ve learned a lot from that,” said Assistant City Administrator, Claudia Cappio, referring to what she called “the Omni Commons screwup.”\u003c/p>\n\u003cp>“Part of it is making sure that our on-the-ground folks have really consistent and clear direction from us,” Cappio said. “That’s in process.”\u003c/p>\n\u003cp>City officials around the Bay Area say they have to be extra conscious of safety after the deadly fire in the Ghost Ship warehouse, the inside of which Oakland fire officials had never inspected. “Safety first is a really big principle in all of this,” Cappio said. “And not to overreact, but there is an increased level of scrutiny.”\u003c/p>\n\u003cfigure id=\"attachment_12452198\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12452198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/12452197-thumb-800x450.jpg\" alt=\"Oakland Mayor Libby Schaaf at the Oakland Warehouse known as the Ghost Ship\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Mayor Libby Schaaf at the Oakland warehouse known as the Ghost Ship. \u003ccite>(Photo: Elijah Nouvelage/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last week, Mayor Libby Schaaf issued an \u003ca href=\"https://ww2.kqed.org/arts/2017/01/11/oakland-mayor-issues-exec-order-protecting-tenants-of-unsafe-warehouse-spaces/\" target=\"_blank\" rel=\"noopener\">executive order \u003c/a>that puts a high priority on avoiding eviction. City inspectors are ordered to give landlords with illegal units 60 days to come up with a safety plan, and more time to make necessary improvements, as long as there’s no immediate threat to tenant safety.\u003c/p>\n\u003cp>“While this executive order will not make everybody happy, it is a clear path that we believe does the best job of maximizing both safety as well as our need to preserve housing and creative space.”\u003c/p>\n\u003cp>Schaaf says the city has money from a housing bond and other sources to help landlords pay for safety improvements, so long as they can guarantee that rents will remain affordable. And she’s backing a measure from City Councilwoman Rebecca Kaplan that would provide tenants more relocation money if they are evicted due to code violations.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The executive order, Schaaf says, is a direct response to the lobbying of artist and maker groups. The question now is: will landlords join the effort?\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1399,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":30},"modified":1705031878,"excerpt":"As underground consultants continue to make Oakland warehouses safer, grassroots groups petition City Hall for leniency in evictions.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"As underground consultants continue to make Oakland warehouses safer, grassroots groups petition City Hall for leniency in evictions.","title":"Oakland Warehouse Artists Unite to Stay Safe — And to Petition City Hall | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Oakland Warehouse Artists Unite to Stay Safe — And to Petition City Hall","datePublished":"2017-01-17T15:00:53-08:00","dateModified":"2024-01-11T19:57:58-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"oakland-warehouse-artists-unite-to-stay-safe-and-to-petition-city-hall","status":"publish","sticky":false,"path":"/arts/12631914/oakland-warehouse-artists-unite-to-stay-safe-and-to-petition-city-hall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the Bay Area, artists and makers are banding together because they’re spooked.\u003c/p>\n\u003cp>“This stuff makes me feel, oh my god, I have to go more underground,” said one San Francisco artist at a recent fire safety event. She wouldn’t give her name, for fear of attracting attention — like the two recent safety inspections that came after a complaint from a neighbor, despite her live/work space being legal.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/303184972″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/303184972″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I don’t want to come from a place of fear. And now we’re all kind of like, oh my god, are they going to come and get us next.”\u003c/p>\n\u003cp>While artists in the Bay Area have spent the past month mourning the 36 people killed in the \u003ca href=\"https://ww2.kqed.org/news/2016/12/07/recovery-effort-ends-at-oakland-warehouse-fire-more-victims-identified/\" target=\"_blank\" rel=\"noopener\">Ghost Ship Fire\u003c/a>, they’ve also been organizing to protect unconventional, sometimes illegal, studio spaces. And they have good reason to worry: one artist group estimates that cities and landlords have shut down 20 artist and maker spaces nationwide in the past month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a Catch-22 for some: those living in warehouses can’t ask city departments for help with safety upgrades without alerting the powers that be to their existence. So they’re turning to grassroots organizations working as underground safety consultants.\u003c/p>\n\u003cfigure id=\"attachment_12631920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12631920 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/007-e1484526233461-800x530.jpg\" alt=\"David Keenan, an organizer with the DIY Safety Group and the Omni Commons collective\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-1920x1271.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-520x344.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Keenan, an organizer with the DIY Safety Group and the Omni Commons collective. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We tried to create an intake,” said David Keenan, an organizer with the DIY Safety Group, a coalition of artists, makers, contractors, and electricians. “Someone would email (us), saying, ‘Oh god, I’ve got this notice of inspection tomorrow, I’m trying to make it safer, can you guys help.”\u003c/p>\n\u003cp>Keenan said the safety group then sends out experts to fix the problems — experts who know the minutiae of the fire code. “Your fire extinguishers aren’t tagged right,” he says, “or they’re at the wrong height — or they’re not there.”\u003c/p>\n\u003cp>Another group, \u003ca href=\"https://www.facebook.com/wetheartists/\" target=\"_blank\" rel=\"noopener\">We the Artists of the Bay Area \u003c/a>has been providing similar help.\u003c/p>\n\u003cfigure id=\"attachment_12632118\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12632118\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-800x511.jpg\" alt=\"We the Artists of the Bay Area gave away free fire extinguishers and smoke alarms at a recent event\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-1920x1226.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-520x332.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">We the Artists of the Bay Area gave away free fire extinguishers and smoke alarms at a recent event. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few days ago, a steady stream of artists stopped by a West Oakland studio to pick up free fire extinguishers and get trained on how to use them. We the Artists had posted the giveaway on its Facebook page.\u003c/p>\n\u003cp>“You know when you’re living on the edge, behind the curtain in some of these spaces, your responsibility is almost tripled as far as life safety,” said \u003ca href=\"http://www.westword.com/arts/burning-man-flame-effects-specialist-davex-on-how-to-play-with-fire-safely-5816424\" target=\"_blank\" rel=\"noopener\">Dave X\u003c/a>. He had rigged up a propane stove to burst into flame so tenants could practice using a fire extinguisher the right way.\u003c/p>\n\u003cfigure id=\"attachment_12632117\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12632117\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-800x495.jpg\" alt=\"Dave X talks fire safety with artist Rose Kelly\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-8-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave X talks fire safety with artist Rose Kelly. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dave X manages events with fire and fireworks at the annual Burning Man festival. We the Artists, he said, is doing a kind of harm-reduction program to make legal and illegal studios safer.\u003c/p>\n\u003cp>“I hate to liken it to a needle exchange,” Dave X said, between demos. “But in a way it kind of is. People living in the fringe come to seek out safety services where they can, without exposing themselves to the repercussions of maybe going to a city agency to ask for that help.”\u003c/p>\n\u003cp>Still another artists group, the \u003ca href=\"https://www.facebook.com/OaktownWarehouseCoalition/\" target=\"_blank\" rel=\"noopener\">Oakland Warehouse Coalition\u003c/a>, has proposed a moratorium on evictions, and is asking the City Council to vote on it at their meeting scheduled for \u003cdel datetime=\"2017-01-20T05:47:28+00:00\">Jan 25\u003c/del>. [UPDATE: The meeting has been moved to Jan. 23.]\u003c/p>\n\u003cfigure id=\"attachment_12631917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12631917 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/008-e1484526462336-800x502.jpg\" alt=\"Jonah Strauss co-founder of the Oakland Warehouse Coalition\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-1920x1205.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-1180x740.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/008-e1484526462336.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonah Strauss, co-founder of the Oakland Warehouse Coalition. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Our most at-risk and marginalized tenants are low-income people of color, immigrants, working class people, queer people, transgender, artists and musicians,” said Warehouse Coalition co-founder Jonah Strauss at a recent city council hearing. “These folks are crucial to maintaining our civic and cultural and racial balance, and we owe it to our people to keep Oakland diverse and protect them.”\u003c/p>\n\u003cfigure id=\"attachment_12631915\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12631915\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/002-e1484526541479-800x1154.jpg\" alt=\"A welcome sign at the Omni Commons collective in North Oakland\" width=\"800\" height=\"1154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479-800x1154.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479-768x1108.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479-1020x1472.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479-1180x1703.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479-960x1385.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479-240x346.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479-375x541.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479-520x750.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/002-e1484526541479.jpg 1341w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A welcome sign at the Omni Commons collective in North Oakland. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even the most safety-conscious artists and makers have felt under attack. DIY Safety Group’s David Keenan is also an organizer with the \u003ca href=\"https://omnicommons.org/\" target=\"_blank\" rel=\"noopener\">Omni Commons\u003c/a>, a group of maker collectives that recently bought an old Italian clubhouse in North Oakland. He showed me around the sprawling space, built in 1934. One room was cluttered with computers (the hacker collective Sudoroom) and lab equipment (the biohacker collective Counter Culture Labs). Keenan explained how the group did all its own code and safety upgrades.\u003c/p>\n\u003cp>“This is an exit sign with what’s called bug eyes,” Keenan said, standing in a doorway equipped with an exit sign plus battery and emergency lights.\u003c/p>\n\u003cp>Next to the doorway Keenan pointed to a DIY exit map, made by the collective, saving the five thousand dollars they’d been quoted for the service. “And they’re stamped and signed by the fire marshall, everything’s to code. The exact inches of the text. The colors of the stairs, the fact that this is a non-reflective plexiglass panel that’s exactly a ¼ inch thick.”\u003c/p>\n\u003cfigure id=\"attachment_12631916\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12631916\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/003-e1484526713153-800x508.jpg\" alt=\"An evacuation map signed by the Oakland Fire Marshall at the Omni Commons\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-1920x1219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-960x609.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153-520x330.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/003-e1484526713153.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An evacuation map signed by the Oakland Fire Marshall at the Omni Commons. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But just before Christmas, a senior Oakland building inspector threatened to revoke the building’s status as a meeting and maker space after misreading an old insurance map showing fire hazards in the neighborhood.\u003c/p>\n\u003cp>“I would say it’s an act of bad faith by the building official,” Keenan said, “who basically had an agenda, probably based on a fear of liability for the city; a knee-jerk reaction to shut down all assemblies.”\u003c/p>\n\u003cp>Keenan challenged the inspector’s reading of the map, and won the dispute.\u003c/p>\n\u003cp>Oakland officials say they’re still fine-tuning the balance between safety and protecting artists and makers against eviction. “We’ve learned a lot from that,” said Assistant City Administrator, Claudia Cappio, referring to what she called “the Omni Commons screwup.”\u003c/p>\n\u003cp>“Part of it is making sure that our on-the-ground folks have really consistent and clear direction from us,” Cappio said. “That’s in process.”\u003c/p>\n\u003cp>City officials around the Bay Area say they have to be extra conscious of safety after the deadly fire in the Ghost Ship warehouse, the inside of which Oakland fire officials had never inspected. “Safety first is a really big principle in all of this,” Cappio said. “And not to overreact, but there is an increased level of scrutiny.”\u003c/p>\n\u003cfigure id=\"attachment_12452198\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12452198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/12452197-thumb-800x450.jpg\" alt=\"Oakland Mayor Libby Schaaf at the Oakland Warehouse known as the Ghost Ship\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12452197-thumb-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Mayor Libby Schaaf at the Oakland warehouse known as the Ghost Ship. \u003ccite>(Photo: Elijah Nouvelage/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last week, Mayor Libby Schaaf issued an \u003ca href=\"https://ww2.kqed.org/arts/2017/01/11/oakland-mayor-issues-exec-order-protecting-tenants-of-unsafe-warehouse-spaces/\" target=\"_blank\" rel=\"noopener\">executive order \u003c/a>that puts a high priority on avoiding eviction. City inspectors are ordered to give landlords with illegal units 60 days to come up with a safety plan, and more time to make necessary improvements, as long as there’s no immediate threat to tenant safety.\u003c/p>\n\u003cp>“While this executive order will not make everybody happy, it is a clear path that we believe does the best job of maximizing both safety as well as our need to preserve housing and creative space.”\u003c/p>\n\u003cp>Schaaf says the city has money from a housing bond and other sources to help landlords pay for safety improvements, so long as they can guarantee that rents will remain affordable. And she’s backing a measure from City Councilwoman Rebecca Kaplan that would provide tenants more relocation money if they are evicted due to code violations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The executive order, Schaaf says, is a direct response to the lobbying of artist and maker groups. The question now is: will landlords join the effort?\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12631914/oakland-warehouse-artists-unite-to-stay-safe-and-to-petition-city-hall","authors":["32"],"programs":["arts_1272"],"series":["arts_407"],"categories":["arts_1","arts_235"],"tags":["arts_1448","arts_1627","arts_1630","arts_596","arts_1143"],"featImg":"arts_12632114","label":"arts_1272"},"arts_12621797":{"type":"posts","id":"arts_12621797","meta":{"index":"posts_1716263798","site":"arts","id":"12621797","score":null,"sort":[1484689184000]},"parent":0,"labelTerm":{"site":"arts","term":1272},"blocks":[],"publishDate":1484689184,"format":"standard","title":"Future Uncertain for San Jose's Priced Out Empire Seven Studios","headTitle":"Future Uncertain for San Jose’s Priced Out Empire Seven Studios | KQED","content":"\u003cp>The last art show is up on the walls of \u003ca href=\"http://www.empiresevenstudios.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Empire Seven Studios\u003c/a> – at least, in the gallery Juan Carlos Araujo and Jennifer Ahn opened nearly 10 years ago. A luxury apartment developer bought the building near the corner of Empire and 7th in Japantown late last year, and in a story grown familiar to artists all over the Bay Area, the couple has to leave ahead of the bulldozers.\u003c/p>\n\u003cp>The new landlord has offered some give room. Empire Seven has until the end of February. After that? It’s anybody’s guess.\u003c/p>\n\u003cp>Araujo says he’s been exploring several prospects, “but so far, nothing has been signed in ink.” Ideally, he wants to stay in San Jose.\u003c/p>\n\u003cp>But the \u003ca href=\"https://www.gofundme.com/save-empire-seven\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe campaign\u003c/a> Araujo and Ahn launched has raised about $27,000 — a fraction of what’s necessary to buy another property in this Silicon Valley town. So while the original goal was buying a property, they’d settle for a place to rent at this point in time.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=rLlXlMLMNZ0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>A beloved local institution\u003c/strong>\u003c/p>\n\u003cp>“Empire Seven is a labor a love,” says Kristin Farr, a former KQED Arts writer who is now Deputy Editor for \u003ca href=\"http://www.juxtapoz.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juxtapoz Magazine\u003c/a>. She’s also a visual artist. “They’ve been very good to my husband and me. We’ve shown our art there a lot.”\u003c/p>\n\u003cp>Farr echoes a chorus of people who say Empire Seven is more than a gallery. For many, it’s a champion of emerging talent, and a go-between that brings under-the-radar artists together with established institutions and property owners for all sorts of public works, like murals.\u003c/p>\n\u003cp>Empire Seven’s current location is not in a fancy part of Japantown. Train tracks are steps away. Trash blows up against the front door. The place was a dusty mess when Araujo and Ahn came in with a broom and an idea nearly 10 years ago.\u003c/p>\n\u003cp>“You can hear the train in the back,” Araujo says as we talk. “It’s one of the things that sold me on the place. It looked like a diamond in the rough. I took a chance.”\u003c/p>\n\u003cfigure id=\"attachment_12622585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622585\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-800x450.jpg\" alt=\"A mural by Andrew Schoultz, right around the corner from Empire Seven Studios.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural by Andrew Schoultz, right around the corner from Empire Seven Studios. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Are we really doing this?” Ahn recollected on a recent episode of the San Jose-based podcast \u003ca href=\"https://soundcloud.com/jorge-m-sanchez/82-roberto-tinoco-duran\" target=\"_blank\" rel=\"noopener noreferrer\">JMS\u003c/a>. “Are we really, seriously doing this? It was nothing like it is now, but it all fell into place.” The drywall, the track lighting, the clean, white paint: that wasn’t here before them.\u003c/p>\n\u003cp>\u003cstrong>But Empire Seven is for-profit\u003c/strong>\u003c/p>\n\u003cp>The gallery does receive funding from the San Jose Office of Cultural Affairs. But there’s only so much support San Jose can offer, even though the city has gone to great lengths to help nonprofit arts organizations like the \u003ca href=\"http://www.bagi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Glass Institute\u003c/a> and \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Movimiento de Arte y Cultura Latino Americana\u003c/a> rent or buy.\u003c/p>\n\u003cp>Kerry Adams Hapner, Deputy Director of Economic Development for San Jose’s Director of Cultural Affairs, suggested that the couple should think seriously about becoming a nonprofit. “Empire Seven is a mission-driven organization with a public benefit. Becoming a nonprofit requires complete reconsideration of a business model and it is not for everyone, but it may enable them access to more resources. ”\u003c/p>\n\u003cp>Others aren’t so sure. Anjee Helstrup-Alvarez, Executive Director of MACLA, says “I would NOT suggest that they become a nonprofit organization. People often think that the 501(c)3 tax code structure is the holy grail of ‘free money’ and access to unlimited grants, but that is not the case. To be a nonprofit, you have be willing to live within the legal structure that governs our industry.”\u003c/p>\n\u003cfigure id=\"attachment_12622586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622586\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-800x450.jpg\" alt='The last show up on the walls, DY*NAS*TY, is representative of the political and artistic aesthetic of Empire Seven. All three artists -- Mesngr, SFaustina and Cristovoe -- came up in graffiti, but work as \"grown-ups\" now in graphic design, animation and retail clothing.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The last show up on the walls, DY*NAS*TY, is representative of the political and artistic aesthetic of Empire Seven. All three artists — Mesngr, SFaustina and Cristovoe — came up in graffiti, but work as “grown-ups” now in graphic design, animation and retail clothing. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That means a board of directors, by laws, etc, and all of that takes time to establish. It also takes even more time to apply for grants, and then to wait for that money to come through.\u003c/p>\n\u003cp>So what’s Empire Seven to do in the meantime? Araujo and Ahn are talking to the developer pushing them out about a gallery space in the new building. They might rent gallery space from other outfits to mount exhibitions. They might consult. They might pursue all those options simultaneously.\u003c/p>\n\u003cp>Whatever the case, Helstrup-Alvarez argues it’s a great idea for Empire Seven to “continue to build public awareness through their murals, public art projects, or pop-up exhibition spaces.”\u003c/p>\n\u003cp>Araujo is cagey about debt. He doesn’t want to take out loans or max out any credit cards. The GoFundMe campaign, he says, should at the least help Empire Seven survive the next few months.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He appreciates all the cash and advice coming his way lately. “You know that you can survive, having all these people behind you.”\u003c/p>\n\u003cfigure id=\"attachment_12622587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-800x451.jpg\" alt=\"A familiar sight in San Jose these days, warning of something new and upscale.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A familiar sight in San Jose these days, warning of something new and upscale. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":925,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":21},"modified":1705031879,"excerpt":"Empire Seven Studios of San Jose has until March 1st to figure out where it's going to live next.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Empire Seven Studios of San Jose has until March 1st to figure out where it's going to live next.","title":"Future Uncertain for San Jose's Priced Out Empire Seven Studios | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Future Uncertain for San Jose's Priced Out Empire Seven Studios","datePublished":"2017-01-17T13:39:44-08:00","dateModified":"2024-01-11T19:57:59-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"future-uncertain-for-san-joses-priced-out-empire-seven-studios","status":"publish","excludeFromSiteSearch":"Include","sticky":false,"path":"/arts/12621797/future-uncertain-for-san-joses-priced-out-empire-seven-studios","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last art show is up on the walls of \u003ca href=\"http://www.empiresevenstudios.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Empire Seven Studios\u003c/a> – at least, in the gallery Juan Carlos Araujo and Jennifer Ahn opened nearly 10 years ago. A luxury apartment developer bought the building near the corner of Empire and 7th in Japantown late last year, and in a story grown familiar to artists all over the Bay Area, the couple has to leave ahead of the bulldozers.\u003c/p>\n\u003cp>The new landlord has offered some give room. Empire Seven has until the end of February. After that? It’s anybody’s guess.\u003c/p>\n\u003cp>Araujo says he’s been exploring several prospects, “but so far, nothing has been signed in ink.” Ideally, he wants to stay in San Jose.\u003c/p>\n\u003cp>But the \u003ca href=\"https://www.gofundme.com/save-empire-seven\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe campaign\u003c/a> Araujo and Ahn launched has raised about $27,000 — a fraction of what’s necessary to buy another property in this Silicon Valley town. So while the original goal was buying a property, they’d settle for a place to rent at this point in time.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rLlXlMLMNZ0'\n title='//www.youtube.com/embed/rLlXlMLMNZ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A beloved local institution\u003c/strong>\u003c/p>\n\u003cp>“Empire Seven is a labor a love,” says Kristin Farr, a former KQED Arts writer who is now Deputy Editor for \u003ca href=\"http://www.juxtapoz.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juxtapoz Magazine\u003c/a>. She’s also a visual artist. “They’ve been very good to my husband and me. We’ve shown our art there a lot.”\u003c/p>\n\u003cp>Farr echoes a chorus of people who say Empire Seven is more than a gallery. For many, it’s a champion of emerging talent, and a go-between that brings under-the-radar artists together with established institutions and property owners for all sorts of public works, like murals.\u003c/p>\n\u003cp>Empire Seven’s current location is not in a fancy part of Japantown. Train tracks are steps away. Trash blows up against the front door. The place was a dusty mess when Araujo and Ahn came in with a broom and an idea nearly 10 years ago.\u003c/p>\n\u003cp>“You can hear the train in the back,” Araujo says as we talk. “It’s one of the things that sold me on the place. It looked like a diamond in the rough. I took a chance.”\u003c/p>\n\u003cfigure id=\"attachment_12622585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622585\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-800x450.jpg\" alt=\"A mural by Andrew Schoultz, right around the corner from Empire Seven Studios.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural by Andrew Schoultz, right around the corner from Empire Seven Studios. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Are we really doing this?” Ahn recollected on a recent episode of the San Jose-based podcast \u003ca href=\"https://soundcloud.com/jorge-m-sanchez/82-roberto-tinoco-duran\" target=\"_blank\" rel=\"noopener noreferrer\">JMS\u003c/a>. “Are we really, seriously doing this? It was nothing like it is now, but it all fell into place.” The drywall, the track lighting, the clean, white paint: that wasn’t here before them.\u003c/p>\n\u003cp>\u003cstrong>But Empire Seven is for-profit\u003c/strong>\u003c/p>\n\u003cp>The gallery does receive funding from the San Jose Office of Cultural Affairs. But there’s only so much support San Jose can offer, even though the city has gone to great lengths to help nonprofit arts organizations like the \u003ca href=\"http://www.bagi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Glass Institute\u003c/a> and \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Movimiento de Arte y Cultura Latino Americana\u003c/a> rent or buy.\u003c/p>\n\u003cp>Kerry Adams Hapner, Deputy Director of Economic Development for San Jose’s Director of Cultural Affairs, suggested that the couple should think seriously about becoming a nonprofit. “Empire Seven is a mission-driven organization with a public benefit. Becoming a nonprofit requires complete reconsideration of a business model and it is not for everyone, but it may enable them access to more resources. ”\u003c/p>\n\u003cp>Others aren’t so sure. Anjee Helstrup-Alvarez, Executive Director of MACLA, says “I would NOT suggest that they become a nonprofit organization. People often think that the 501(c)3 tax code structure is the holy grail of ‘free money’ and access to unlimited grants, but that is not the case. To be a nonprofit, you have be willing to live within the legal structure that governs our industry.”\u003c/p>\n\u003cfigure id=\"attachment_12622586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622586\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-800x450.jpg\" alt='The last show up on the walls, DY*NAS*TY, is representative of the political and artistic aesthetic of Empire Seven. All three artists -- Mesngr, SFaustina and Cristovoe -- came up in graffiti, but work as \"grown-ups\" now in graphic design, animation and retail clothing.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The last show up on the walls, DY*NAS*TY, is representative of the political and artistic aesthetic of Empire Seven. All three artists — Mesngr, SFaustina and Cristovoe — came up in graffiti, but work as “grown-ups” now in graphic design, animation and retail clothing. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That means a board of directors, by laws, etc, and all of that takes time to establish. It also takes even more time to apply for grants, and then to wait for that money to come through.\u003c/p>\n\u003cp>So what’s Empire Seven to do in the meantime? Araujo and Ahn are talking to the developer pushing them out about a gallery space in the new building. They might rent gallery space from other outfits to mount exhibitions. They might consult. They might pursue all those options simultaneously.\u003c/p>\n\u003cp>Whatever the case, Helstrup-Alvarez argues it’s a great idea for Empire Seven to “continue to build public awareness through their murals, public art projects, or pop-up exhibition spaces.”\u003c/p>\n\u003cp>Araujo is cagey about debt. He doesn’t want to take out loans or max out any credit cards. The GoFundMe campaign, he says, should at the least help Empire Seven survive the next few months.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He appreciates all the cash and advice coming his way lately. “You know that you can survive, having all these people behind you.”\u003c/p>\n\u003cfigure id=\"attachment_12622587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-800x451.jpg\" alt=\"A familiar sight in San Jose these days, warning of something new and upscale.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A familiar sight in San Jose these days, warning of something new and upscale. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12621797/future-uncertain-for-san-joses-priced-out-empire-seven-studios","authors":["251"],"programs":["arts_1272"],"series":["arts_407"],"categories":["arts_235","arts_75","arts_70"],"tags":["arts_1448","arts_14294","arts_596","arts_4642","arts_1084"],"featImg":"arts_12622581","label":"arts_1272"},"arts_12578740":{"type":"posts","id":"arts_12578740","meta":{"index":"posts_1716263798","site":"arts","id":"12578740","score":null,"sort":[1483561818000]},"parent":0,"labelTerm":{"site":"arts","term":407},"blocks":[],"publishDate":1483561818,"format":"standard","title":"Affordable Housing for Artists: Santa Cruz Shows Bay Area How It's Done","headTitle":"Affordable Housing for Artists: Santa Cruz Shows Bay Area How It’s Done | KQED","content":"\u003cp>In the wake of the \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">Ghost Ship\u003c/a> warehouse fire in Oakland, cities all over the country are looking into what they can do to create more affordable housing for artists that doesn’t trade basic safety for cheap rent. One answer lies to the south, with the \u003ca href=\"http://tanneryartscenter.org/\" target=\"_blank\" rel=\"noopener\">Tannery Arts Center\u003c/a> in Santa Cruz.\u003c/p>\n\u003cp>When the \u003ca href=\"http://tanneryartscenter.org/history/\" target=\"_blank\" rel=\"noopener\">Salz Tannery closed\u003c/a> in 2001, the local redevelopment agency decided the cluster of funky, red-and-white 19th century warehouses near downtown was a perfect place to build affordable housing for artists. The agency then sought out one of the nation’s biggest developers of affordable housing for artists, \u003ca href=\"http://www.artspace.org/our-places/artspace-tannery-lofts\" target=\"_blank\" rel=\"noopener\">Artspace\u003c/a>.\u003c/p>\n\u003cp>The nonprofit, based in Minneapolis, has helped develop 43 different projects around the country since it launched in 1979, including three loft spaces in Seattle and five in Chicago. The Tannery Arts Center is arguably its most ambitious project: a $42 million complex on eight acres, including 28 commercial art studios and 100 live/work studios.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/300923160″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Greg Handberg of Artspace, who oversaw the development of the Tannery Arts Center, explains “Artspace lives at the intersection of affordable housing needs, economic development needs, cultural facility needs, historic preservation needs. When a community is grappling with those issues, they find us.”\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>What Paid for the Tannery Arts Center\u003c/h3>\n\u003ch4>Public Agencies\u003c/h4>\n\u003cul>\n\u003cli>California Department of Community Redevelopment Housing\u003c/li>\n\u003cli>California Tax Credit Allocation Committee\u003c/li>\n\u003cli>City of Santa Cruz Housing Trust Fund\u003c/li>\n\u003cli>City of Santa Cruz Redevelopment Agency\u003c/li>\n\u003cli>County of Santa Cruz Housing Trust Fund\u003c/li>\n\u003cli>Federal Home Loan Bank\u003c/li>\n\u003cli>Affordable Housing Program\u003c/li>\n\u003c/ul>\n\u003ch4>Private Entities\u003c/h4>\n\u003cul>\n\u003cli>RBC–Apollo Equity Partners\u003c/li>\n\u003cli>J.P. Morgan Chase\u003c/li>\n\u003cli>U.S. Bancorp Foundation\u003c/li>\n\u003cli>Washington Mutual Foundation\u003c/li>\n\u003cli>Wells Fargo Foundation\u003c/li>\n\u003c/ul>\n\u003ch5>\u003cem>Source: \u003ca href=\"http://www.artspace.org/our-places/artspace-tannery-lofts\" target=\"_blank\" rel=\"noopener\">Artspace\u003c/a>\u003c/em>\u003c/h5>\n\u003c/aside>\n\u003cp>Artspace helps cities pull together the local, state and federal funding required to develop affordable housing for artists. Handberg says every project is different, but the financing works in much the same way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The most important tool in the Tannery financial picture was something called a federal low income housing tax credit,” he says. That means companies like US Bancorp and Washington Mutual paid for much of the project in exchange for tax breaks. Grants covered the rest – and a city like Santa Cruz got a multi-million dollar complex for a fraction of the cost and a low debt load going forward.\u003c/p>\n\u003cp>Eligibility for the units is federally proscribed by US Department of Housing and Urban Development. Applicants must be making less than 50 percent of the area median income for Santa Cruz County, which was about $67,000 in 2015, according to the US Census.\u003c/p>\n\u003cfigure id=\"attachment_12579915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579915\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-800x450.jpg\" alt=\"The Salz Tannery closed in 2001. It was the oldest operating leather tannery West of the Mississippi – quaint, completely out of step with 20th century safety codes, but Santa Cruz saw it as a redevelopment opportunity.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Salz Tannery closed in 2001. It was the oldest operating leather tannery West of the Mississippi – quaint, and completely out of step with 20th century safety codes. Santa Cruz saw it as a redevelopment opportunity. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual artist \u003ca href=\"https://www.facebook.com/heejin.lee.338863\" target=\"_blank\" rel=\"noopener\">Heejin Lee\u003c/a> pays $1,224 a month for a three-bedroom unit, something that would cost her two or three times as much on the open market. “This is very safe and also peaceful place for concentrate your art,” she says.\u003c/p>\n\u003cp>\u003cstrong>A space space for creative artists\u003c/strong>\u003c/p>\n\u003cp>Lee, a soft-spoken Korean-American, has lived in Santa Cruz for 14 years and the last three have been spent at Tannery. Her studio, filled with paints and easels and work up on the walls, looks out over the San Lorenzo River. She loves that she’s surrounded by art inside her studio and outside. “We have painter, writer, dancers, musicians. We share all our thoughts and our passion together,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12579919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579919\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-800x451.jpg\" alt=\"Artist tenants at the Tannery Arts Center are enthusiastically encouraging to install art in the hallways.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist tenants at the Tannery Arts Center are enthusiastically encouraging to install art in the hallways. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lee sells her work at a gallery over in the commercial studio complex across the way. Like most residents here, she survives on a diversified economic portfolio that includes, in her case, teaching and a part-time job at a sushi restaurant.\u003c/p>\n\u003cp>Given the way real estate developers have co-opted the phrase “artist loft,” it’s easy to forget what real artists want in a live/work space. It’s not a fancy kitchen or plush carpets. A real artist’s loft is the kind of space you can make a creative mess in.\u003c/p>\n\u003cp>\u003cstrong>Spare units, filled with creative possibility\u003c/strong>\u003c/p>\n\u003cp>“They’re very simple,” explains Warren Reed, who works for the \u003ca href=\"http://jsco.net/\" target=\"_blank\" rel=\"noopener\">John Stewart Company\u003c/a>, the firm managing the Tannery Arts Center. “Hard surfaces on the floor. Easy to maintain for the residents, but also gives them the flexibility to design their space however they want to use it.”\u003c/p>\n\u003cfigure id=\"attachment_12579921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579921\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-800x481.jpg\" alt='Greg Handberg of Artspace says affordable housing projects for artists are \"a little more complicated\" these days because of Governor Jerry Brown’s decision to dissolve the state’s redevelopment agencies in 2011. \"The Tannery project really was led by the redevelopment agency of the city of Santa Cruz in the 2000s. But that’s not a challenge we haven’t faced in places like New York, or new Orleans, or Hawaii or Minneapolis. We just have to figure it out.\"' width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-1180x710.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-960x578.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-520x313.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Handberg of Artspace says affordable housing projects for artists are “a little more complicated” these days because of Governor Jerry Brown’s decision to dissolve the state’s redevelopment agencies in 2011. “The Tannery project really was led by the redevelopment agency of the city of Santa Cruz in the 2000s. But that’s not a challenge we haven’t faced in places like New York, or new Orleans, or Hawaii or Minneapolis. We just have to figure it out.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Of course, here being a lot of the residents are visual artists, they hang their art out in the hallways and it changes,” Reed says. “It’s like an open air gallery. So it’s kind of exciting to walk through the halls and see what’s happening.”\u003c/p>\n\u003cp>Now, why prioritize artists over other people who need help, like veterans, seniors and disabled folks?\u003c/p>\n\u003cp>Bonnie Lipscomb, Director of Economic Development for Santa Cruz, says it’s not a zero sum game. “We’ve housed over 1,200 units of affordable housing in our community in the last 20 years. So we are concerned about everyone. What we saw here was that a very specific, vital part of our community was leaving, cause they couldn’t afford to live here anymore, and that’s part of our whole cultural identity,” she said.\u003c/p>\n\u003cp>\u003cstrong>A model for others to follow\u003c/strong>\u003c/p>\n\u003cp>So is Tannery a model for the rest of the Bay Area, and beyond? Absolutely, says Lipscomb. “It’s a matter of leveraging the various sources. I think it could happen today. It might be a slightly different path, but the funding is there.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Tannery was the first Artspace project in California, but two more are in the works, one of them in Monterey. That said, supply will probably never meet demand. It took nearly 15 years to develop the Tannery Arts Center. The units filled as soon as they opened, and now, there are around 300 people on the waiting list.\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1187,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":23},"modified":1705032004,"excerpt":"How Santa Cruz and the nonprofit Artspace developed affordable housing at the Tannery Arts Center.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"How Santa Cruz and the nonprofit Artspace developed affordable housing at the Tannery Arts Center.","title":"Affordable Housing for Artists: Santa Cruz Shows Bay Area How It's Done | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Affordable Housing for Artists: Santa Cruz Shows Bay Area How It's Done","datePublished":"2017-01-04T12:30:18-08:00","dateModified":"2024-01-11T20:00:04-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"affordable-housing-for-artists-santa-cruz-shows-bay-area-how-its-done","status":"publish","sticky":false,"path":"/arts/12578740/affordable-housing-for-artists-santa-cruz-shows-bay-area-how-its-done","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the wake of the \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">Ghost Ship\u003c/a> warehouse fire in Oakland, cities all over the country are looking into what they can do to create more affordable housing for artists that doesn’t trade basic safety for cheap rent. One answer lies to the south, with the \u003ca href=\"http://tanneryartscenter.org/\" target=\"_blank\" rel=\"noopener\">Tannery Arts Center\u003c/a> in Santa Cruz.\u003c/p>\n\u003cp>When the \u003ca href=\"http://tanneryartscenter.org/history/\" target=\"_blank\" rel=\"noopener\">Salz Tannery closed\u003c/a> in 2001, the local redevelopment agency decided the cluster of funky, red-and-white 19th century warehouses near downtown was a perfect place to build affordable housing for artists. The agency then sought out one of the nation’s biggest developers of affordable housing for artists, \u003ca href=\"http://www.artspace.org/our-places/artspace-tannery-lofts\" target=\"_blank\" rel=\"noopener\">Artspace\u003c/a>.\u003c/p>\n\u003cp>The nonprofit, based in Minneapolis, has helped develop 43 different projects around the country since it launched in 1979, including three loft spaces in Seattle and five in Chicago. The Tannery Arts Center is arguably its most ambitious project: a $42 million complex on eight acres, including 28 commercial art studios and 100 live/work studios.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/300923160″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/300923160″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Greg Handberg of Artspace, who oversaw the development of the Tannery Arts Center, explains “Artspace lives at the intersection of affordable housing needs, economic development needs, cultural facility needs, historic preservation needs. When a community is grappling with those issues, they find us.”\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>What Paid for the Tannery Arts Center\u003c/h3>\n\u003ch4>Public Agencies\u003c/h4>\n\u003cul>\n\u003cli>California Department of Community Redevelopment Housing\u003c/li>\n\u003cli>California Tax Credit Allocation Committee\u003c/li>\n\u003cli>City of Santa Cruz Housing Trust Fund\u003c/li>\n\u003cli>City of Santa Cruz Redevelopment Agency\u003c/li>\n\u003cli>County of Santa Cruz Housing Trust Fund\u003c/li>\n\u003cli>Federal Home Loan Bank\u003c/li>\n\u003cli>Affordable Housing Program\u003c/li>\n\u003c/ul>\n\u003ch4>Private Entities\u003c/h4>\n\u003cul>\n\u003cli>RBC–Apollo Equity Partners\u003c/li>\n\u003cli>J.P. Morgan Chase\u003c/li>\n\u003cli>U.S. Bancorp Foundation\u003c/li>\n\u003cli>Washington Mutual Foundation\u003c/li>\n\u003cli>Wells Fargo Foundation\u003c/li>\n\u003c/ul>\n\u003ch5>\u003cem>Source: \u003ca href=\"http://www.artspace.org/our-places/artspace-tannery-lofts\" target=\"_blank\" rel=\"noopener\">Artspace\u003c/a>\u003c/em>\u003c/h5>\n\u003c/aside>\n\u003cp>Artspace helps cities pull together the local, state and federal funding required to develop affordable housing for artists. Handberg says every project is different, but the financing works in much the same way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The most important tool in the Tannery financial picture was something called a federal low income housing tax credit,” he says. That means companies like US Bancorp and Washington Mutual paid for much of the project in exchange for tax breaks. Grants covered the rest – and a city like Santa Cruz got a multi-million dollar complex for a fraction of the cost and a low debt load going forward.\u003c/p>\n\u003cp>Eligibility for the units is federally proscribed by US Department of Housing and Urban Development. Applicants must be making less than 50 percent of the area median income for Santa Cruz County, which was about $67,000 in 2015, according to the US Census.\u003c/p>\n\u003cfigure id=\"attachment_12579915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579915\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-800x450.jpg\" alt=\"The Salz Tannery closed in 2001. It was the oldest operating leather tannery West of the Mississippi – quaint, completely out of step with 20th century safety codes, but Santa Cruz saw it as a redevelopment opportunity.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Salz Tannery closed in 2001. It was the oldest operating leather tannery West of the Mississippi – quaint, and completely out of step with 20th century safety codes. Santa Cruz saw it as a redevelopment opportunity. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual artist \u003ca href=\"https://www.facebook.com/heejin.lee.338863\" target=\"_blank\" rel=\"noopener\">Heejin Lee\u003c/a> pays $1,224 a month for a three-bedroom unit, something that would cost her two or three times as much on the open market. “This is very safe and also peaceful place for concentrate your art,” she says.\u003c/p>\n\u003cp>\u003cstrong>A space space for creative artists\u003c/strong>\u003c/p>\n\u003cp>Lee, a soft-spoken Korean-American, has lived in Santa Cruz for 14 years and the last three have been spent at Tannery. Her studio, filled with paints and easels and work up on the walls, looks out over the San Lorenzo River. She loves that she’s surrounded by art inside her studio and outside. “We have painter, writer, dancers, musicians. We share all our thoughts and our passion together,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12579919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579919\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-800x451.jpg\" alt=\"Artist tenants at the Tannery Arts Center are enthusiastically encouraging to install art in the hallways.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist tenants at the Tannery Arts Center are enthusiastically encouraging to install art in the hallways. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lee sells her work at a gallery over in the commercial studio complex across the way. Like most residents here, she survives on a diversified economic portfolio that includes, in her case, teaching and a part-time job at a sushi restaurant.\u003c/p>\n\u003cp>Given the way real estate developers have co-opted the phrase “artist loft,” it’s easy to forget what real artists want in a live/work space. It’s not a fancy kitchen or plush carpets. A real artist’s loft is the kind of space you can make a creative mess in.\u003c/p>\n\u003cp>\u003cstrong>Spare units, filled with creative possibility\u003c/strong>\u003c/p>\n\u003cp>“They’re very simple,” explains Warren Reed, who works for the \u003ca href=\"http://jsco.net/\" target=\"_blank\" rel=\"noopener\">John Stewart Company\u003c/a>, the firm managing the Tannery Arts Center. “Hard surfaces on the floor. Easy to maintain for the residents, but also gives them the flexibility to design their space however they want to use it.”\u003c/p>\n\u003cfigure id=\"attachment_12579921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579921\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-800x481.jpg\" alt='Greg Handberg of Artspace says affordable housing projects for artists are \"a little more complicated\" these days because of Governor Jerry Brown’s decision to dissolve the state’s redevelopment agencies in 2011. \"The Tannery project really was led by the redevelopment agency of the city of Santa Cruz in the 2000s. But that’s not a challenge we haven’t faced in places like New York, or new Orleans, or Hawaii or Minneapolis. We just have to figure it out.\"' width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-1180x710.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-960x578.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-520x313.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Handberg of Artspace says affordable housing projects for artists are “a little more complicated” these days because of Governor Jerry Brown’s decision to dissolve the state’s redevelopment agencies in 2011. “The Tannery project really was led by the redevelopment agency of the city of Santa Cruz in the 2000s. But that’s not a challenge we haven’t faced in places like New York, or new Orleans, or Hawaii or Minneapolis. We just have to figure it out.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Of course, here being a lot of the residents are visual artists, they hang their art out in the hallways and it changes,” Reed says. “It’s like an open air gallery. So it’s kind of exciting to walk through the halls and see what’s happening.”\u003c/p>\n\u003cp>Now, why prioritize artists over other people who need help, like veterans, seniors and disabled folks?\u003c/p>\n\u003cp>Bonnie Lipscomb, Director of Economic Development for Santa Cruz, says it’s not a zero sum game. “We’ve housed over 1,200 units of affordable housing in our community in the last 20 years. So we are concerned about everyone. What we saw here was that a very specific, vital part of our community was leaving, cause they couldn’t afford to live here anymore, and that’s part of our whole cultural identity,” she said.\u003c/p>\n\u003cp>\u003cstrong>A model for others to follow\u003c/strong>\u003c/p>\n\u003cp>So is Tannery a model for the rest of the Bay Area, and beyond? Absolutely, says Lipscomb. “It’s a matter of leveraging the various sources. I think it could happen today. It might be a slightly different path, but the funding is there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tannery was the first Artspace project in California, but two more are in the works, one of them in Monterey. That said, supply will probably never meet demand. It took nearly 15 years to develop the Tannery Arts Center. The units filled as soon as they opened, and now, there are around 300 people on the waiting list.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12578740/affordable-housing-for-artists-santa-cruz-shows-bay-area-how-its-done","authors":["251"],"series":["arts_407"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_1037","arts_1118","arts_1559","arts_596"],"featImg":"arts_12579916","label":"arts_407"},"arts_12443354":{"type":"posts","id":"arts_12443354","meta":{"index":"posts_1716263798","site":"arts","id":"12443354","score":null,"sort":[1481055379000]},"parent":0,"labelTerm":{"site":"arts","term":1272},"blocks":[],"publishDate":1481055379,"format":"standard","title":"$1.7 Million Real Estate Grant Aims to Keep Artists in Oakland","headTitle":"$1.7 Million Real Estate Grant Aims to Keep Artists in Oakland | KQED","content":"\u003cp>City and arts leaders in Oakland are looking ahead to a more hopeful future, even as authorities work to identify victims of the fire that killed at least 36 people at an underground dance party on the night of Friday, Dec. 2.\u003c/p>\n\u003cp>On Tuesday, Oakland officials announced the \u003ca href=\"http://www.hewlett.org/\" target=\"_blank\" rel=\"noopener\">William and Flora Hewlett Foundation\u003c/a> and the \u003ca href=\"http://krfoundation.org/\" target=\"_blank\" rel=\"noopener\">Kenneth Rainin Foundation\u003c/a> are providing Oakland with a $1.7 million grant to help arts groups stay in Oakland in a viciously competitive real estate market.\u003c/p>\n\u003cp>At the heart of the initiative is the idea that the arts help make a city great. The most recent study, from 2010, found that Oakland arts groups generate an impact of $53 million a year.\u003c/p>\n\u003cp>But cultural activity doesn’t just fuel the local economy. It’s part of the very fabric of Oakland.\u003c/p>\n\u003cp>“We’re trying to get the cultural arts in there as a survival program just as essential as housing and health care and jobs,” says Elena Serrano, who runs Oakland’s \u003ca href=\"http://www.eastsideartsalliance.com/community/\" target=\"_blank\" rel=\"noopener\">Eastside Arts Alliance\u003c/a> in the San Antonio neighborhood. Serrano is hoping for funds to develop a Black Arts center in Deep East Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"http://cast-sf.org/\" target=\"_blank\" rel=\"noopener\">Community Arts Stabilization Trust (CAST)\u003c/a>, an organization which helps broker real estate deals for cultural organizations, will administer the grants. “The assumption is not that artists or arts organizations are un-businesslike, but simply the making of art is a different core business than real estate development,” CAST executive director Moy Eng says.\u003c/p>\n\u003cp>Eng ran \u003ca href=\"https://ww2.kqed.org/arts/2015/06/17/san-francisco-arts-groups-on-path-to-becoming-property-owners/\" target=\"_blank\" rel=\"noopener\">an identical program\u003c/a> in San Francisco, where she helped two groups, \u003ca href=\"http://www.counterpulse.org/\" target=\"_blank\" rel=\"noopener\">CounterPulse\u003c/a> and the \u003ca href=\"http://www.luggagestoregallery.org/\" target=\"_blank\" rel=\"noopener\">Luggage Store Gallery\u003c/a>, obtain financing to buy permanent homes in 2015, despite San Francisco’s soaring commercial rents.\u003c/p>\n\u003cp>The announcement is bittersweet, though, coming as\u003ca href=\"https://ww2.kqed.org/news/2016/12/03/at-least-nine-people-dead-in-large-fire-at-oakland-party/\" target=\"_blank\" rel=\"noopener\"> Oakland mourns the victims of the warehouse dance party fire\u003c/a>. There are no grants from this program for individual artists, who often work and live in spaces that aren’t up to code. Many worry the city will crack down on safety, with upgrades making their studios too expensive.\u003c/p>\n\u003cp>Oakland Mayor Libby Schaaf said the city has to balance public safety with the needs of artists. “The safety of the cultural community in Oakland has a more nuanced meaning,” Schaaf says. “Oakland has to keep its residents safe. But we also have to keep safe this incredible creative energy that makes this the city that we love so much.”\u003c/p>\n\u003cp>Oakland recently hired Roberto Bedoya as its new cultural affairs manager. Bedoya says the new grant program is a sign to artists that Oakland has their backs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What I find dynamic about the Oakland arts community is just how vibrant it is,” Bedoya says. “It’s got what I would characterize as a poetic will. And it’s now also working with a political will to realize how we can advance the community.”\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":492,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":13},"modified":1705032297,"excerpt":"Oakland taps nearly $2 million in grant funds to help arts organizations find permanent homes, even as the city reels from last weekend's warehouse fire which took the lives of at least 36 people, many of them artists.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Oakland taps nearly $2 million in grant funds to help arts organizations find permanent homes, even as the city reels from last weekend's warehouse fire which took the lives of at least 36 people, many of them artists.","title":"$1.7 Million Real Estate Grant Aims to Keep Artists in Oakland | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"$1.7 Million Real Estate Grant Aims to Keep Artists in Oakland","datePublished":"2016-12-06T12:16:19-08:00","dateModified":"2024-01-11T20:04:57-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"1-7-million-real-estate-grant-aims-to-keep-artists-in-oakland","status":"publish","sticky":false,"path":"/arts/12443354/1-7-million-real-estate-grant-aims-to-keep-artists-in-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>City and arts leaders in Oakland are looking ahead to a more hopeful future, even as authorities work to identify victims of the fire that killed at least 36 people at an underground dance party on the night of Friday, Dec. 2.\u003c/p>\n\u003cp>On Tuesday, Oakland officials announced the \u003ca href=\"http://www.hewlett.org/\" target=\"_blank\" rel=\"noopener\">William and Flora Hewlett Foundation\u003c/a> and the \u003ca href=\"http://krfoundation.org/\" target=\"_blank\" rel=\"noopener\">Kenneth Rainin Foundation\u003c/a> are providing Oakland with a $1.7 million grant to help arts groups stay in Oakland in a viciously competitive real estate market.\u003c/p>\n\u003cp>At the heart of the initiative is the idea that the arts help make a city great. The most recent study, from 2010, found that Oakland arts groups generate an impact of $53 million a year.\u003c/p>\n\u003cp>But cultural activity doesn’t just fuel the local economy. It’s part of the very fabric of Oakland.\u003c/p>\n\u003cp>“We’re trying to get the cultural arts in there as a survival program just as essential as housing and health care and jobs,” says Elena Serrano, who runs Oakland’s \u003ca href=\"http://www.eastsideartsalliance.com/community/\" target=\"_blank\" rel=\"noopener\">Eastside Arts Alliance\u003c/a> in the San Antonio neighborhood. Serrano is hoping for funds to develop a Black Arts center in Deep East Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"http://cast-sf.org/\" target=\"_blank\" rel=\"noopener\">Community Arts Stabilization Trust (CAST)\u003c/a>, an organization which helps broker real estate deals for cultural organizations, will administer the grants. “The assumption is not that artists or arts organizations are un-businesslike, but simply the making of art is a different core business than real estate development,” CAST executive director Moy Eng says.\u003c/p>\n\u003cp>Eng ran \u003ca href=\"https://ww2.kqed.org/arts/2015/06/17/san-francisco-arts-groups-on-path-to-becoming-property-owners/\" target=\"_blank\" rel=\"noopener\">an identical program\u003c/a> in San Francisco, where she helped two groups, \u003ca href=\"http://www.counterpulse.org/\" target=\"_blank\" rel=\"noopener\">CounterPulse\u003c/a> and the \u003ca href=\"http://www.luggagestoregallery.org/\" target=\"_blank\" rel=\"noopener\">Luggage Store Gallery\u003c/a>, obtain financing to buy permanent homes in 2015, despite San Francisco’s soaring commercial rents.\u003c/p>\n\u003cp>The announcement is bittersweet, though, coming as\u003ca href=\"https://ww2.kqed.org/news/2016/12/03/at-least-nine-people-dead-in-large-fire-at-oakland-party/\" target=\"_blank\" rel=\"noopener\"> Oakland mourns the victims of the warehouse dance party fire\u003c/a>. There are no grants from this program for individual artists, who often work and live in spaces that aren’t up to code. Many worry the city will crack down on safety, with upgrades making their studios too expensive.\u003c/p>\n\u003cp>Oakland Mayor Libby Schaaf said the city has to balance public safety with the needs of artists. “The safety of the cultural community in Oakland has a more nuanced meaning,” Schaaf says. “Oakland has to keep its residents safe. But we also have to keep safe this incredible creative energy that makes this the city that we love so much.”\u003c/p>\n\u003cp>Oakland recently hired Roberto Bedoya as its new cultural affairs manager. Bedoya says the new grant program is a sign to artists that Oakland has their backs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What I find dynamic about the Oakland arts community is just how vibrant it is,” Bedoya says. “It’s got what I would characterize as a poetic will. And it’s now also working with a political will to realize how we can advance the community.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12443354/1-7-million-real-estate-grant-aims-to-keep-artists-in-oakland","authors":["32"],"programs":["arts_1272"],"series":["arts_407"],"categories":["arts_1","arts_835","arts_235"],"tags":["arts_1448","arts_1118","arts_596","arts_1143"],"featImg":"arts_12443727","label":"arts_1272"},"arts_12428141":{"type":"posts","id":"arts_12428141","meta":{"index":"posts_1716263798","site":"arts","id":"12428141","score":null,"sort":[1480716043000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1480716043,"format":"standard","title":"CounterPulse’s ‘Performing Diaspora’ Provides Sanctuary in Time of Strife","headTitle":"CounterPulse’s ‘Performing Diaspora’ Provides Sanctuary in Time of Strife | KQED","content":"\u003cp>All art is politics, as Ai Weiwei and Pussy Riot, among others, have famously preached. All art is real estate, too — especially in San Francisco, where tech companies have driven up property prices and forced many artists and their sponsoring organizations out of the city.\u003c/p>\n\u003cp>\u003ca href=\"http://www.counterpulse.org/\" target=\"_blank\" rel=\"noopener\">CounterPulse\u003c/a>, a San Francisco-based presenter and incubator of activist performing arts, lost its longtime SOMA perch when Twitter and others in that cohort cast their long shadows over downtown San Francisco.\u003c/p>\n\u003cp>\u003ca href=\"http://cast-sf.org/\" target=\"_blank\" rel=\"noopener\">The Community Arts Stabilization Trust\u003c/a> (CAST) staged an 11th hour rescue, and, after an extensive overhaul of an old theater at 80 Turk Street, CounterPulse’s new home feels like a sanctuary in the grim Tenderloin: warmly lit, spare but functional, sleek and welcoming, with its audacious crimson neon sign signaling the venue’s past as a burlesque club.\u003c/p>\n\u003cp>“Sanctuary” is also a fitting term for the twin bill from artists SAMMAY (a.k.a. Samantha Peñaflor Dizon) and dana e. fitchett that runs through Sunday, Dec. 4, at CounterPulse. The newest resident choreographers in a long-established program at CounterPulse known as \u003ca href=\"http://www.counterpulse.org/event/performing-diaspora-2016/\" target=\"_blank\" rel=\"noopener\">\u003cem>Performing Diaspora\u003c/em>\u003c/a>, these two women prove a striking study in contrasts — and not just in the deployment of upper- and lower-case in their names.\u003c/p>\n\u003cfigure id=\"attachment_12428954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12428954\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-800x500.jpg\" alt=\"Samantha "SAMMAY" Dizon in her work, 'silbihan.'\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Samantha “SAMMAY” Dizon in her work, ‘silbihan.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of the two works, SAMMAY’s \u003cem>silbihan\u003c/em>, which filters ancient Philippine rituals of faith healers into contemporary crises of migration, is the more expansive and messy — and gloriously so.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>SAMMAY weaves her own matrilineal heritage into pre- and post-colonial mythology, singing and dancing the angst of a family torn apart. Slight but compact and powerful, SAMMAY sways and convulses against a backdrop on which film clips of a mysterious female dancer – at times herself, at others Joanna Ursal — are projected.\u003c/p>\n\u003cp>In some of these clips we see her in sensual, sometimes disorienting close-up, shrouded in sheer stretchy fabric. Others capture long shots of the dancer braving a rugged coastline, drowning in a stormy sea, enveloped in flames, chicly costumed as a firebird-like deity of an uncertain era. Dancing live onstage with these dramatic visuals behind her, SAMMAY layers ancient traditions impressionistically onto the reality of her existence as a child of the diaspora.\u003c/p>\n\u003cp>fitchett’s piece, \u003cem>unending\u003c/em>, is more tightly welded, minimalist in design, at one with its dynamite score that stitches together Thom Yorke, Blaq Soul, and Mos Def, among others.\u003c/p>\n\u003cp>The piece begins and ends in silence, with the dancers’ footfalls, catches of breath and occasional finger snaps serving as the only accompaniment. The insouciant, freewheeling spirit of house dance pervades, yet the movement vocabulary is magnificently disciplined and contained.\u003c/p>\n\u003cp>Transitions are as smooth as butter, with a dusting of capoeira, dashes of ballet, social dance and contact improv, blithely embellished by a cartoon-like animation of aimless doodles that appear on the backdrop.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FQ8O-gIcD_A\u003c/p>\n\u003cp>At the heart of \u003cem>unending\u003c/em> is \u003ca href=\"https://www.youtube.com/watch?v=FQ8O-gIcD_A\" target=\"_blank\" rel=\"noopener\">an affecting cover of Kendrick Lamar’s “Dying of Thirst”\u003c/a> by jazz pianist Robert Glasper, who enlists his six-year-old son and his son’s classmates to recite the names of African-American victims of police shootings, and lines that include:\u003c/p>\n\u003cblockquote>\u003cp>I enjoy being brown. Especially if my skin rips, I am thinking about brown. And I’m thinking about what color I am, but I have to be myself. You have to be happy of who you are.\u003c/p>\u003c/blockquote>\n\u003cp>The serene yet fierce movement of fitchett and her three dancer-collaborators fuses a childlike innocence with the reality of violence and an instinct for self-preservation.\u003c/p>\n\u003cp>fitchett identifies herself in program notes as a radical mixed-race black woman; each of the individuals that make up the quartet of mixed-ethnicity dancers mostly inhabit their own tiny sectors of real estate on the stage, intent on solving specific logistical problems.\u003c/p>\n\u003cp>They rarely look at one another, though they sporadically unite to dance in unison or canon, and appear to have negotiated a territorial peace treaty. In one poignant sequence, Lauren Benjamin and Lindsay Leonard travel a diagonal path together, rarely touching but very close together – as if they were taking turns to protect each other from some unseen threat.\u003c/p>\n\u003cfigure id=\"attachment_12429616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12429616\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-800x500.jpg\" alt=\"Lauren Benjamin and dana e. fitchett in fitchett's 'unending.'\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Benjamin and dana e. fitchett in fitchett’s ‘unending.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>fitchett’s movement seems to spring organically from her score, whereas SAMMAY’s score sits lightly and not always convincingly atop her grand scheme of images and ideas. Both dance works are preoccupied with tensions over real estate that threaten the homeland of native peoples. These tensions threaten to dispossess the powerless and force migrations that tear the fabric of society.\u003c/p>\n\u003cp>Another real estate issue looms over the production. For the first time in U.S. history, our government is to be helmed by a \u003ca href=\"https://en.wikipedia.org/wiki/Donald_Trump's_Real_Estate_Tycoon\" target=\"_blank\" rel=\"noopener\">real estate tycoon\u003c/a> with a pronounced territorial agenda. Will the interests of property magnates, developers and other enterprises that live and die by real estate be advanced at the expense of the business of culture?\u003c/p>\n\u003cp>In this climate, CounterPulse has seven years to raise the funding to make 80 Turk its permanent home. May it continue to provide sanctuary to performing artists of the multitude of diasporas that make San Francisco great.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Performing Diaspora 2016’ runs through Sunday, Dec. 4 at CounterPulse in San Francisco. \u003ca href=\"http://www.counterpulse.org/event/performing-diaspora-2016/\" target=\"_blank\" rel=\"noopener\">Information and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":917,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":22},"modified":1705032328,"excerpt":"On a contrasting twin bill, artists SAMMAY and dana e. fitchett share a preoccupation with tensions over real estate that threaten the homeland of native peoples.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"On a contrasting twin bill, artists SAMMAY and dana e. fitchett share a preoccupation with tensions over real estate that threaten the homeland of native peoples.","title":"CounterPulse’s ‘Performing Diaspora’ Provides Sanctuary in Time of Strife | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"CounterPulse’s ‘Performing Diaspora’ Provides Sanctuary in Time of Strife","datePublished":"2016-12-02T14:00:43-08:00","dateModified":"2024-01-11T20:05:28-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"counterpulses-performing-diaspora-provides-sanctuary-in-time-of-strife","status":"publish","sticky":false,"path":"/arts/12428141/counterpulses-performing-diaspora-provides-sanctuary-in-time-of-strife","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>All art is politics, as Ai Weiwei and Pussy Riot, among others, have famously preached. All art is real estate, too — especially in San Francisco, where tech companies have driven up property prices and forced many artists and their sponsoring organizations out of the city.\u003c/p>\n\u003cp>\u003ca href=\"http://www.counterpulse.org/\" target=\"_blank\" rel=\"noopener\">CounterPulse\u003c/a>, a San Francisco-based presenter and incubator of activist performing arts, lost its longtime SOMA perch when Twitter and others in that cohort cast their long shadows over downtown San Francisco.\u003c/p>\n\u003cp>\u003ca href=\"http://cast-sf.org/\" target=\"_blank\" rel=\"noopener\">The Community Arts Stabilization Trust\u003c/a> (CAST) staged an 11th hour rescue, and, after an extensive overhaul of an old theater at 80 Turk Street, CounterPulse’s new home feels like a sanctuary in the grim Tenderloin: warmly lit, spare but functional, sleek and welcoming, with its audacious crimson neon sign signaling the venue’s past as a burlesque club.\u003c/p>\n\u003cp>“Sanctuary” is also a fitting term for the twin bill from artists SAMMAY (a.k.a. Samantha Peñaflor Dizon) and dana e. fitchett that runs through Sunday, Dec. 4, at CounterPulse. The newest resident choreographers in a long-established program at CounterPulse known as \u003ca href=\"http://www.counterpulse.org/event/performing-diaspora-2016/\" target=\"_blank\" rel=\"noopener\">\u003cem>Performing Diaspora\u003c/em>\u003c/a>, these two women prove a striking study in contrasts — and not just in the deployment of upper- and lower-case in their names.\u003c/p>\n\u003cfigure id=\"attachment_12428954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12428954\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-800x500.jpg\" alt=\"Samantha "SAMMAY" Dizon in her work, 'silbihan.'\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SAMMAY.performance-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Samantha “SAMMAY” Dizon in her work, ‘silbihan.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of the two works, SAMMAY’s \u003cem>silbihan\u003c/em>, which filters ancient Philippine rituals of faith healers into contemporary crises of migration, is the more expansive and messy — and gloriously so.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SAMMAY weaves her own matrilineal heritage into pre- and post-colonial mythology, singing and dancing the angst of a family torn apart. Slight but compact and powerful, SAMMAY sways and convulses against a backdrop on which film clips of a mysterious female dancer – at times herself, at others Joanna Ursal — are projected.\u003c/p>\n\u003cp>In some of these clips we see her in sensual, sometimes disorienting close-up, shrouded in sheer stretchy fabric. Others capture long shots of the dancer braving a rugged coastline, drowning in a stormy sea, enveloped in flames, chicly costumed as a firebird-like deity of an uncertain era. Dancing live onstage with these dramatic visuals behind her, SAMMAY layers ancient traditions impressionistically onto the reality of her existence as a child of the diaspora.\u003c/p>\n\u003cp>fitchett’s piece, \u003cem>unending\u003c/em>, is more tightly welded, minimalist in design, at one with its dynamite score that stitches together Thom Yorke, Blaq Soul, and Mos Def, among others.\u003c/p>\n\u003cp>The piece begins and ends in silence, with the dancers’ footfalls, catches of breath and occasional finger snaps serving as the only accompaniment. The insouciant, freewheeling spirit of house dance pervades, yet the movement vocabulary is magnificently disciplined and contained.\u003c/p>\n\u003cp>Transitions are as smooth as butter, with a dusting of capoeira, dashes of ballet, social dance and contact improv, blithely embellished by a cartoon-like animation of aimless doodles that appear on the backdrop.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FQ8O-gIcD_A'\n title='//www.youtube.com/embed/FQ8O-gIcD_A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the heart of \u003cem>unending\u003c/em> is \u003ca href=\"https://www.youtube.com/watch?v=FQ8O-gIcD_A\" target=\"_blank\" rel=\"noopener\">an affecting cover of Kendrick Lamar’s “Dying of Thirst”\u003c/a> by jazz pianist Robert Glasper, who enlists his six-year-old son and his son’s classmates to recite the names of African-American victims of police shootings, and lines that include:\u003c/p>\n\u003cblockquote>\u003cp>I enjoy being brown. Especially if my skin rips, I am thinking about brown. And I’m thinking about what color I am, but I have to be myself. You have to be happy of who you are.\u003c/p>\u003c/blockquote>\n\u003cp>The serene yet fierce movement of fitchett and her three dancer-collaborators fuses a childlike innocence with the reality of violence and an instinct for self-preservation.\u003c/p>\n\u003cp>fitchett identifies herself in program notes as a radical mixed-race black woman; each of the individuals that make up the quartet of mixed-ethnicity dancers mostly inhabit their own tiny sectors of real estate on the stage, intent on solving specific logistical problems.\u003c/p>\n\u003cp>They rarely look at one another, though they sporadically unite to dance in unison or canon, and appear to have negotiated a territorial peace treaty. In one poignant sequence, Lauren Benjamin and Lindsay Leonard travel a diagonal path together, rarely touching but very close together – as if they were taking turns to protect each other from some unseen threat.\u003c/p>\n\u003cfigure id=\"attachment_12429616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12429616\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-800x500.jpg\" alt=\"Lauren Benjamin and dana e. fitchett in fitchett's 'unending.'\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Benjamin-and-fitchett-2-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Benjamin and dana e. fitchett in fitchett’s ‘unending.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>fitchett’s movement seems to spring organically from her score, whereas SAMMAY’s score sits lightly and not always convincingly atop her grand scheme of images and ideas. Both dance works are preoccupied with tensions over real estate that threaten the homeland of native peoples. These tensions threaten to dispossess the powerless and force migrations that tear the fabric of society.\u003c/p>\n\u003cp>Another real estate issue looms over the production. For the first time in U.S. history, our government is to be helmed by a \u003ca href=\"https://en.wikipedia.org/wiki/Donald_Trump's_Real_Estate_Tycoon\" target=\"_blank\" rel=\"noopener\">real estate tycoon\u003c/a> with a pronounced territorial agenda. Will the interests of property magnates, developers and other enterprises that live and die by real estate be advanced at the expense of the business of culture?\u003c/p>\n\u003cp>In this climate, CounterPulse has seven years to raise the funding to make 80 Turk its permanent home. May it continue to provide sanctuary to performing artists of the multitude of diasporas that make San Francisco great.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Performing Diaspora 2016’ runs through Sunday, Dec. 4 at CounterPulse in San Francisco. \u003ca href=\"http://www.counterpulse.org/event/performing-diaspora-2016/\" target=\"_blank\" rel=\"noopener\">Information and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12428141/counterpulses-performing-diaspora-provides-sanctuary-in-time-of-strife","authors":["11206"],"programs":["arts_140"],"series":["arts_610","arts_407"],"categories":["arts_966"],"tags":["arts_1118","arts_596","arts_769"],"featImg":"arts_12428752","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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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. 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