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"content": "\u003cp>On a sunny afternoon, the Mission District’s colorful streets are even more vibrant than usual. Light reflects off of large-scale murals that bring to life the symbols and stories of the neighborhood’s history of Latinx migration and activism. But entering \u003ca href=\"https://grayarea.org/\">Gray Area\u003c/a> — a low-key and intimate art space on Mission at 23rd — can feel like wandering into a dark abyss, where the outside world has been brought to a halt.\u003c/p>\n\u003cp>[aside postID=\"arts_13912474\"]It’s an ideal environment for Mexican Canadian artist \u003ca href=\"https://www.instagram.com/lozanohemmer/\">Rafael Lozano-Hemmer\u003c/a>’s exhibition \u003ca href=\"https://grayarea.org/exhibitions/techs-mechs/\">\u003cem>TECHS-MECHS\u003c/em>\u003c/a>, where visitors are invited to interact with a number of immersive electronic art pieces that ponder human connection in an increasingly divisive and surveilled world.\u003c/p>\n\u003cp>\u003cem>TECHS-MECHS\u003c/em>, on view until May 31, is the first event in Gray Area’s \u003ca href=\"https://grayarea.org/visit/events/access-2023/\">ACCESS programming\u003c/a>, a three-part series that explores how technology is impacting artists and communities from varying cultural backgrounds and identities. With an emphasis on Latinx activism and politics, Lozano-Hemmer’s exhibition digs into how technology is part of Mexican history, and how tools have been used for understanding, progress and resistance. His pieces offer descriptions in both English and Spanish, and admission is free for Mission District residents — many of whom identify as Chicano or Mexican American.\u003c/p>\n\u003cfigure id=\"attachment_13927057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/TECHS-MECHS-4-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/TECHS-MECHS-4-800x600.jpg\" alt=\"empty large brown bottles are positioned on a table in an art exhibit\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-4-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-4-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-4-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-4-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-4-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-4-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Synaptic Caguamas,’ a moving installation of a Mexican cantina bar table with 30 beer bottles that spin according to algorithms that are reset every few minutes. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Powered by thermal cameras, computerized tracking systems, heart rate sensors and generative software, the exhibition reclaims technology that has been utilized to police migrants across the U.S.-Mexico border to instead create connections and raise awareness on the issue. “The idea is to use the language of technology and spectacle and scale to bring people into the area,” said Lozano-Hemmer, reflecting on his work in the 2020 documentary \u003cem>Borderlands\u003c/em>.\u003c/p>\n\u003cp>Each piece in \u003cem>TECHS-MECHS\u003c/em> consists of several complex mechanisms and unique algorithms where the main apparatus for activation is a participant’s touch. On its own, \u003cem>Pulse Topology\u003c/em> is a massive installation of 3,000 light bulbs that flickers and weaves its way across an otherwise vast and empty expanse. It is luminous but static until somebody reaches beneath one of its pulse sensors, holding still until the room begins to thrum with the sound of their heartbeat. For a few seconds, wrapped within this shimmering cocoon, people and time freeze as a new pulse courses through the space. Afterwards, the heartbeat is preserved into one of the bulbs, becoming a droplet in an ocean of blinking light.\u003c/p>\n\u003cfigure id=\"attachment_13927055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/TECHS-MECHS-3-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/TECHS-MECHS-3-800x600.jpg\" alt=\"a large screen shows hundreds of tiny colorful images of news reporters \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-3-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-3-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-3-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Reporters Without Borders,’ an interactive display at ‘TECHS-MECHS.’ \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In adjoining rooms, other pieces sit and wait to be interacted with. \u003cem>Airborne Newscasts\u003c/em> features projections of real-time stories from Mexican newspapers like \u003cem>El Universal\u003c/em> and \u003cem>La Jornada\u003c/em> that evaporate and billow away when a visitor’s shadow comes into contact with them. As people flit across the screen, moving their arms and legs around, the once-prominent words disappear in an instance: fleeting and weightless.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The longer they spend in the show, the more the participants become aware of the effect they have on the art around them. Their presence is meaningful. By reaching out to touch a piece, they are able to alter its image permanently. From the moment they step inside and release their curiosity upon their surroundings, the small connections they make represent the myriad of ways people and space bleed into one another. “I learned that you can’t make an artwork impalpable,” said Lozano-Hemmer in \u003cem>Borderlands\u003c/em>. “To create an artwork for listening is really what the project became.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" 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>‘TECHS-MECHS’ is on view at Gray Area through May 31. Admission is free for Mission District residents. \u003ca href=\"https://grayarea.org/exhibitions/techs-mechs/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a sunny afternoon, the Mission District’s colorful streets are even more vibrant than usual. Light reflects off of large-scale murals that bring to life the symbols and stories of the neighborhood’s history of Latinx migration and activism. But entering \u003ca href=\"https://grayarea.org/\">Gray Area\u003c/a> — a low-key and intimate art space on Mission at 23rd — can feel like wandering into a dark abyss, where the outside world has been brought to a halt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s an ideal environment for Mexican Canadian artist \u003ca href=\"https://www.instagram.com/lozanohemmer/\">Rafael Lozano-Hemmer\u003c/a>’s exhibition \u003ca href=\"https://grayarea.org/exhibitions/techs-mechs/\">\u003cem>TECHS-MECHS\u003c/em>\u003c/a>, where visitors are invited to interact with a number of immersive electronic art pieces that ponder human connection in an increasingly divisive and surveilled world.\u003c/p>\n\u003cp>\u003cem>TECHS-MECHS\u003c/em>, on view until May 31, is the first event in Gray Area’s \u003ca href=\"https://grayarea.org/visit/events/access-2023/\">ACCESS programming\u003c/a>, a three-part series that explores how technology is impacting artists and communities from varying cultural backgrounds and identities. With an emphasis on Latinx activism and politics, Lozano-Hemmer’s exhibition digs into how technology is part of Mexican history, and how tools have been used for understanding, progress and resistance. His pieces offer descriptions in both English and Spanish, and admission is free for Mission District residents — many of whom identify as Chicano or Mexican American.\u003c/p>\n\u003cfigure id=\"attachment_13927057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/TECHS-MECHS-4-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/TECHS-MECHS-4-800x600.jpg\" alt=\"empty large brown bottles are positioned on a table in an art exhibit\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-4-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-4-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-4-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-4-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-4-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-4-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Synaptic Caguamas,’ a moving installation of a Mexican cantina bar table with 30 beer bottles that spin according to algorithms that are reset every few minutes. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Powered by thermal cameras, computerized tracking systems, heart rate sensors and generative software, the exhibition reclaims technology that has been utilized to police migrants across the U.S.-Mexico border to instead create connections and raise awareness on the issue. “The idea is to use the language of technology and spectacle and scale to bring people into the area,” said Lozano-Hemmer, reflecting on his work in the 2020 documentary \u003cem>Borderlands\u003c/em>.\u003c/p>\n\u003cp>Each piece in \u003cem>TECHS-MECHS\u003c/em> consists of several complex mechanisms and unique algorithms where the main apparatus for activation is a participant’s touch. On its own, \u003cem>Pulse Topology\u003c/em> is a massive installation of 3,000 light bulbs that flickers and weaves its way across an otherwise vast and empty expanse. It is luminous but static until somebody reaches beneath one of its pulse sensors, holding still until the room begins to thrum with the sound of their heartbeat. For a few seconds, wrapped within this shimmering cocoon, people and time freeze as a new pulse courses through the space. Afterwards, the heartbeat is preserved into one of the bulbs, becoming a droplet in an ocean of blinking light.\u003c/p>\n\u003cfigure id=\"attachment_13927055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/TECHS-MECHS-3-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/TECHS-MECHS-3-800x600.jpg\" alt=\"a large screen shows hundreds of tiny colorful images of news reporters \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-3-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-3-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TECHS-MECHS-3-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Reporters Without Borders,’ an interactive display at ‘TECHS-MECHS.’ \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In adjoining rooms, other pieces sit and wait to be interacted with. \u003cem>Airborne Newscasts\u003c/em> features projections of real-time stories from Mexican newspapers like \u003cem>El Universal\u003c/em> and \u003cem>La Jornada\u003c/em> that evaporate and billow away when a visitor’s shadow comes into contact with them. As people flit across the screen, moving their arms and legs around, the once-prominent words disappear in an instance: fleeting and weightless.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The longer they spend in the show, the more the participants become aware of the effect they have on the art around them. Their presence is meaningful. By reaching out to touch a piece, they are able to alter its image permanently. From the moment they step inside and release their curiosity upon their surroundings, the small connections they make represent the myriad of ways people and space bleed into one another. “I learned that you can’t make an artwork impalpable,” said Lozano-Hemmer in \u003cem>Borderlands\u003c/em>. “To create an artwork for listening is really what the project became.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" 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>‘TECHS-MECHS’ is on view at Gray Area through May 31. Admission is free for Mission District residents. \u003ca href=\"https://grayarea.org/exhibitions/techs-mechs/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Crossroads 2022 Celebrates Avant-Garde Film’s Pandemic Poets",
"headTitle": "Crossroads 2022 Celebrates Avant-Garde Film’s Pandemic Poets | KQED",
"content": "\u003cp>The first film in the first program of \u003ca href=\"https://www.sfcinematheque.org/festival/crossroads-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">Crossroads\u003c/a>, San Francisco Cinematheque’s annual festival of experimental film, wittily probes an animated character’s inner despair. Thai filmmaker Tulapop Saenjaroen employed a cadre of artists for his wildly creative and weirdly disturbing 18-minute marriage of live action, animation and digital manipulation, yet \u003cem>Squish!\u003c/em> plays like a pastel shriek of isolation depression. And that’s just the festival’s Side 1, Track 1, as it were.\u003c/p>\n\u003cp>Organized across 10 programs this weekend (Aug. 26-28) at Gray Area in the Mission, Crossroads 2022 includes some 67 works, all carefully arranged by longtime Cinematheque director and curator par excellence Steve Polta. The majority were created over the last year—that is, post-lockdown. Yet many of them, crafted start to finish by a single filmmaker, exude a delicate feeling of introspective solitude. Maybe it’s the occasional whiff of obsessiveness that wafts through the lineup, or perhaps just my imagination that the 13th Crossroads festival is as much a reflection (and record) of the pandemic as last year’s edition.\u003c/p>\n\u003cfigure id=\"attachment_13918071\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6-Prometheus-Angerame-1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918071\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6-Prometheus-Angerame-1.jpeg\" alt=\"a black and white abstract image\" width=\"594\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6-Prometheus-Angerame-1.jpeg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6-Prometheus-Angerame-1-160x130.jpeg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Prometheus’ by Dominic Angerame. \u003ccite>(San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pensive portraits of states of mind, no matter how piercing or profound, may not comport with those hustling across town or around the globe to recapture lost social time and shed the pandemic mentality. But Crossroads’ return to in-person screenings, and the mysterious magic of strangers sharing tone- and mood-shifting experiences in the dark, should counteract the manic impulses of the present moment.\u003c/p>\n\u003cp>Given its dearth of images and reliance on sound, Ernst Karel and Veronika Kusumaryati’s feature-length \u003cem>Expedition Content\u003c/em> (program 5) represents a unique act of mass conjuring. The filmmakers excavated the 1961 audio recordings made by one Michael Rockefeller (an heir to the Standard Oil family fortune) during a five-month Harvard Peabody expedition focused on the Hubula (or Dani) people in West Papua, then known as Netherlands New Guinea. \u003cem>Expedition Content\u003c/em> exposes the fault lines in ethnography (fascinatingly), and colonialism (naturally), from a historical distance that shrinks as the work progresses.\u003c/p>\n\u003cfigure id=\"attachment_13918070\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918070\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-800x534.jpg\" alt=\"a starry night sky with trees\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-2048x1368.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Curve the Night Sky’ by Peggy Ahwesh. \u003ccite>(Courtesy San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Poetry and film are both web-spinning art forms, of course. Jodie Mack’s color 16mm marvel, \u003cem>Wasteland No. 3: Moons, Sons\u003c/em> (in program 2, \u003cem>table of the elements\u003c/em>) mesmerizes with time-lapse studies of flowered orbs that transport us from wherever we are to a strange yet familiar world. It is preceded by a pair of digital videos by Oregon artist Brandon Wilson: \u003cem>The Day Lives Briefly Unscented\u003c/em> honors his late grandmother and the fleeting, ephemeral nature of life through vintage snapshots and images of water, fire, smoke and suburban life, while the monochrome, electrified \u003cem>Ghost is Hungry\u003c/em> evokes an elemental, non-human force field hunting in the woods.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This program also features the U.S. premiere of Canadian filmmaker Matthieu Hallé’s candle-lit (via video feed) 2017 work \u003cem>The Waterfall\u003c/em>, accompanied by a live performance of the score by Unitions (Umesh Mallery & Marshall Trammell).\u003c/p>\n\u003cp>Because the viewer experiences Crossroads through an entire program, describing individual films risks taking them out of context. In addition, Polta has framed each collection with an enveloping yet open-ended, Ferlinghettian lower-case title: \u003cem>it takes the world to make a feather fall; before you witnessed this entropy; i remember those days (it could have been different); around her the shadows trembled.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918069\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/4-puncture-Maur-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918069\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/4-puncture-Maur-3-800x570.jpg\" alt=\"a red background with the word 'us' in white\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-1536x1095.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-2048x1460.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-1920x1369.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Puncture’ by Carleen Maur \u003ccite>(Courtesy San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But I can’t resist citing some of my favorites. In Carleen Maur’s cryptic off-road video \u003cem>Puncture\u003c/em> (in program 4, \u003cem>before you witnessed this entropy\u003c/em>), the word “us” is repeated over a montage of trees on fire, at first slowly and deliberately, then faster until the female speaker becomes orgasmic. Brooklyn master Peggy Ahwesh’s painterly \u003cem>Curve the Night Sky\u003c/em> (in program 7, \u003cem>we have tasted planets\u003c/em>), shot in her backyard in 2020, highlights the abundant beauty in nocturnal compositions. San Francisco stalwart Dominic Angerame returns with the brutally direct \u003cem>Prometheus\u003c/em> (program 8, \u003cem>divisions of labor\u003c/em>), a black-and-white experiment in abstract terror.\u003c/p>\n\u003cp>The aforementioned opening program, enticingly titled \u003cem>beauty can fool you\u003c/em>, is dedicated to longtime S.F. video artist Dale Hoyt, who passed away earlier this year. Hoyt is represented with a rueful 2009 rumination on childhood naiveté and adult disillusionment that’s set to, and takes its title from, the sensuous, seductive strains of composer/singer Annette Peacock’s \u003cem>Young,\u003c/em> (with comma). A powerful music video that serves as an ode to father-daughter connection as well as lingering loss, it’s suited to a period of reflection, regret and ravage—like the one from which we are presently emerging.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" 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>Crossroads Film Festival runs Aug. 26-28 at Gray Area in San Francisco. Tickets to individual programs are $12 and up; \u003ca href=\"https://www.sfcinematheque.org/festival/crossroads-2022/\">more details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first film in the first program of \u003ca href=\"https://www.sfcinematheque.org/festival/crossroads-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">Crossroads\u003c/a>, San Francisco Cinematheque’s annual festival of experimental film, wittily probes an animated character’s inner despair. Thai filmmaker Tulapop Saenjaroen employed a cadre of artists for his wildly creative and weirdly disturbing 18-minute marriage of live action, animation and digital manipulation, yet \u003cem>Squish!\u003c/em> plays like a pastel shriek of isolation depression. And that’s just the festival’s Side 1, Track 1, as it were.\u003c/p>\n\u003cp>Organized across 10 programs this weekend (Aug. 26-28) at Gray Area in the Mission, Crossroads 2022 includes some 67 works, all carefully arranged by longtime Cinematheque director and curator par excellence Steve Polta. The majority were created over the last year—that is, post-lockdown. Yet many of them, crafted start to finish by a single filmmaker, exude a delicate feeling of introspective solitude. Maybe it’s the occasional whiff of obsessiveness that wafts through the lineup, or perhaps just my imagination that the 13th Crossroads festival is as much a reflection (and record) of the pandemic as last year’s edition.\u003c/p>\n\u003cfigure id=\"attachment_13918071\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6-Prometheus-Angerame-1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918071\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6-Prometheus-Angerame-1.jpeg\" alt=\"a black and white abstract image\" width=\"594\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6-Prometheus-Angerame-1.jpeg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6-Prometheus-Angerame-1-160x130.jpeg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Prometheus’ by Dominic Angerame. \u003ccite>(San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pensive portraits of states of mind, no matter how piercing or profound, may not comport with those hustling across town or around the globe to recapture lost social time and shed the pandemic mentality. But Crossroads’ return to in-person screenings, and the mysterious magic of strangers sharing tone- and mood-shifting experiences in the dark, should counteract the manic impulses of the present moment.\u003c/p>\n\u003cp>Given its dearth of images and reliance on sound, Ernst Karel and Veronika Kusumaryati’s feature-length \u003cem>Expedition Content\u003c/em> (program 5) represents a unique act of mass conjuring. The filmmakers excavated the 1961 audio recordings made by one Michael Rockefeller (an heir to the Standard Oil family fortune) during a five-month Harvard Peabody expedition focused on the Hubula (or Dani) people in West Papua, then known as Netherlands New Guinea. \u003cem>Expedition Content\u003c/em> exposes the fault lines in ethnography (fascinatingly), and colonialism (naturally), from a historical distance that shrinks as the work progresses.\u003c/p>\n\u003cfigure id=\"attachment_13918070\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918070\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-800x534.jpg\" alt=\"a starry night sky with trees\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-2048x1368.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Curve the Night Sky’ by Peggy Ahwesh. \u003ccite>(Courtesy San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Poetry and film are both web-spinning art forms, of course. Jodie Mack’s color 16mm marvel, \u003cem>Wasteland No. 3: Moons, Sons\u003c/em> (in program 2, \u003cem>table of the elements\u003c/em>) mesmerizes with time-lapse studies of flowered orbs that transport us from wherever we are to a strange yet familiar world. It is preceded by a pair of digital videos by Oregon artist Brandon Wilson: \u003cem>The Day Lives Briefly Unscented\u003c/em> honors his late grandmother and the fleeting, ephemeral nature of life through vintage snapshots and images of water, fire, smoke and suburban life, while the monochrome, electrified \u003cem>Ghost is Hungry\u003c/em> evokes an elemental, non-human force field hunting in the woods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This program also features the U.S. premiere of Canadian filmmaker Matthieu Hallé’s candle-lit (via video feed) 2017 work \u003cem>The Waterfall\u003c/em>, accompanied by a live performance of the score by Unitions (Umesh Mallery & Marshall Trammell).\u003c/p>\n\u003cp>Because the viewer experiences Crossroads through an entire program, describing individual films risks taking them out of context. In addition, Polta has framed each collection with an enveloping yet open-ended, Ferlinghettian lower-case title: \u003cem>it takes the world to make a feather fall; before you witnessed this entropy; i remember those days (it could have been different); around her the shadows trembled.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918069\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/4-puncture-Maur-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918069\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/4-puncture-Maur-3-800x570.jpg\" alt=\"a red background with the word 'us' in white\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-1536x1095.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-2048x1460.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-1920x1369.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Puncture’ by Carleen Maur \u003ccite>(Courtesy San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But I can’t resist citing some of my favorites. In Carleen Maur’s cryptic off-road video \u003cem>Puncture\u003c/em> (in program 4, \u003cem>before you witnessed this entropy\u003c/em>), the word “us” is repeated over a montage of trees on fire, at first slowly and deliberately, then faster until the female speaker becomes orgasmic. Brooklyn master Peggy Ahwesh’s painterly \u003cem>Curve the Night Sky\u003c/em> (in program 7, \u003cem>we have tasted planets\u003c/em>), shot in her backyard in 2020, highlights the abundant beauty in nocturnal compositions. San Francisco stalwart Dominic Angerame returns with the brutally direct \u003cem>Prometheus\u003c/em> (program 8, \u003cem>divisions of labor\u003c/em>), a black-and-white experiment in abstract terror.\u003c/p>\n\u003cp>The aforementioned opening program, enticingly titled \u003cem>beauty can fool you\u003c/em>, is dedicated to longtime S.F. video artist Dale Hoyt, who passed away earlier this year. Hoyt is represented with a rueful 2009 rumination on childhood naiveté and adult disillusionment that’s set to, and takes its title from, the sensuous, seductive strains of composer/singer Annette Peacock’s \u003cem>Young,\u003c/em> (with comma). A powerful music video that serves as an ode to father-daughter connection as well as lingering loss, it’s suited to a period of reflection, regret and ravage—like the one from which we are presently emerging.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" 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>Crossroads Film Festival runs Aug. 26-28 at Gray Area in San Francisco. Tickets to individual programs are $12 and up; \u003ca href=\"https://www.sfcinematheque.org/festival/crossroads-2022/\">more details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When night blankets Mission Street on Saturday, the walls of Gray Area’s Grand Theater will light up with animator and electronic musician Perfect Chao’s trippy 3D cartoon renderings and hypnotic electronic beats.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13911657,arts_13837846\"]Chao is one of several artists performing at SMARTBOMB and Loud Cinema’s collaborative live event on Aug. 20, which will include a screening of experimental shorts, music videos and live scores. (One of the Bay Area’s most revered experimental hip-hop parties, \u003ca href=\"https://www.kqed.org/arts/13911657/smartbomb-oaklands-favorite-experimental-hip-hop-party-continues-its-perpetual-reinvention\">SMARTBOMB has expanded in recent years\u003c/a> into more multimedia efforts, making the group a perfect collaborator for Loud Cinema, a recurring short film-and-music night from Intersection for the Arts.)\u003c/p>\n\u003cp>This event will also feature remotely recorded sets from Video Home System, SMARTBOMB’s audiovisual series that blends together the fuzzy static of analog VHS tapes with raw, modern music. Over the course of the night, organizers hope that attendants will feel transported to a world where sensations, genres and visual effects collide to form new portals for expression.\u003c/p>\n\u003cp>The lineup includes Oakland R&B/retro-soul artist Astu, premiering a new performance video; filmmaker Kris Contreras, screening a short film titled \u003cem>Planned Obsolescence\u003c/em>; Oakland singer \u003ca href=\"https://www.kqed.org/arts/13903130/coming-out-changed-her-life-now-lalin-st-juste-is-ready-to-sing-about-it\">Lalin St. Juste\u003c/a> with an original live score; and rapper Pink Siifu and San Francisco director Skyler Vander Molen, screening a smokey, cinematic music video called “Fk U Mean.”\u003c/p>\n\u003cp>Other performers include dancer and visual artist Jin Lee Baobei, diverse photo collective &TheOthers, filmmaker BILLIE0CEAN and more. Tickets are $20; \u003ca href=\"https://grayarea.org/event/smartbomb-x-loud-cinema/\">more details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gH4RFal-IF4\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Chao is one of several artists performing at SMARTBOMB and Loud Cinema’s collaborative live event on Aug. 20, which will include a screening of experimental shorts, music videos and live scores. (One of the Bay Area’s most revered experimental hip-hop parties, \u003ca href=\"https://www.kqed.org/arts/13911657/smartbomb-oaklands-favorite-experimental-hip-hop-party-continues-its-perpetual-reinvention\">SMARTBOMB has expanded in recent years\u003c/a> into more multimedia efforts, making the group a perfect collaborator for Loud Cinema, a recurring short film-and-music night from Intersection for the Arts.)\u003c/p>\n\u003cp>This event will also feature remotely recorded sets from Video Home System, SMARTBOMB’s audiovisual series that blends together the fuzzy static of analog VHS tapes with raw, modern music. Over the course of the night, organizers hope that attendants will feel transported to a world where sensations, genres and visual effects collide to form new portals for expression.\u003c/p>\n\u003cp>The lineup includes Oakland R&B/retro-soul artist Astu, premiering a new performance video; filmmaker Kris Contreras, screening a short film titled \u003cem>Planned Obsolescence\u003c/em>; Oakland singer \u003ca href=\"https://www.kqed.org/arts/13903130/coming-out-changed-her-life-now-lalin-st-juste-is-ready-to-sing-about-it\">Lalin St. Juste\u003c/a> with an original live score; and rapper Pink Siifu and San Francisco director Skyler Vander Molen, screening a smokey, cinematic music video called “Fk U Mean.”\u003c/p>\n\u003cp>Other performers include dancer and visual artist Jin Lee Baobei, diverse photo collective &TheOthers, filmmaker BILLIE0CEAN and more. Tickets are $20; \u003ca href=\"https://grayarea.org/event/smartbomb-x-loud-cinema/\">more details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Frustrating’ Delays in City Funding Affect Over 200 SF Arts Nonprofits",
"headTitle": "‘Frustrating’ Delays in City Funding Affect Over 200 SF Arts Nonprofits | KQED",
"content": "\u003cp>Every year, \u003ca href=\"https://sfgfta.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Grants for the Arts\u003c/a> awards the most sought-after type of nonprofit funding to San Francisco arts organizations: unrestricted general operating support. This kind of money isn’t sexy or splashy, but it helps nonprofits keep the lights on, pay their staff and maintain public programming in one of the most expensive cities in the United States.\u003c/p>\n\u003cp>[aside postID='arts_13907929']Established by the city of San Francisco in 1961 and funded by hotel tax revenue, Grants for the Arts (GFTA) is a much-relied-upon funding source in the city’s arts nonprofit world. Its recipients range from the very large (the San Francisco Symphony, the Exploratorium) to the very small (SF Urban Film Fest, Western Neighborhoods Project). Since its inception, it has distributed nearly $400 million to hundreds of San Francisco arts nonprofits. In 2018, San Francisco voters \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" rel=\"noopener noreferrer\" target=\"_blank\">overwhelmingly supported its funding\u003c/a>.\u003c/p>\n\u003cp>But over the past few months, arts administrators across the city have become increasingly distressed by the significant delays they’ve experienced while trying to get the money they were promised—and by the confusing communications they’re getting from the city’s granting organization itself.\u003c/p>\n\u003ch2>‘Nobody’s gotten the money yet’\u003c/h2>\n\u003cp>The July 2021–June 2022 GFTA grantees include \u003ca href=\"https://sfgfta.org/wp-content/uploads/2021/09/FY22-Allocation-Index-Arts-for-Website.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">226 organizations\u003c/a> who were awarded amounts ranging from $10,000 to $450,000. (Instead of receiving that amount upfront, nonprofits spend against their grant amount and submit paperwork for reimbursement.) KQED reached out to 34 GFTA grantees for this story. Of the 20 nonprofits KQED was able to contact as of publication, five had not yet received grant agreements. Two nonprofits received their agreements in just the past three days. And only one of the nonprofits who had submitted the paperwork for reimbursements (some as long ago as November) had received any funds—six months into the grant cycle.\u003c/p>\n\u003cp>Based on his own reconnaissance, Barry Threw, executive director of Gray Area Foundation for the Arts, says, “Nobody’s gotten the money yet.” That’s a stark difference from years past. “Usually you’re able to invoice half of it the year of the announcement and then invoice the other half in the spring of the next year,” he explains. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='news_11704700']Adding to nonprofits’ frustrations, GFTA has not yet released any information about their FY23 grant cycle, applications for which would normally be due in February 2022. Arts administrators emphasize this is not an easy application process. The packet of required materials can run to dozens of pages, including a lengthy narrative, a budget snapshot, materials relating to board membership, a recent financial review, multiple tax forms, a list of previous and planned events, brochures and press clippings. \u003c/p>\n\u003cp>Last year, GFTA even teamed up with Intersection for the Arts to offer a four-part workshop and lab series to coach nonprofits through the process and make the grant more accessible to first-time applicants. But if last year’s GFTA watchword was “equity,” this year’s seems to be “TBD.”\u003c/p>\n\u003ch2>‘The process has become a big mystery’\u003c/h2>\n\u003cp>Seeking information on the status of their current grant cycle, KQED received an auto-reply from GFTA that paints a picture of a severely understaffed organization. The email explains that GFTA is “down to a team of two,” and that two employees from the San Francisco Arts Commission have been brought on to help with the workload. In a bullet-point list of what appear to be frequent email topics, the auto-reply states that the release date for the next grant cycle “has not been identified.”\u003c/p>\n\u003cp>A spokesperson from the Office of the City Administrator, which oversees GFTA, provided KQED with a statement about the delays: “Many city departments are experiencing staffing impacts currently as the result of the pandemic. It has and will continue to be a priority to get grant funding and contracts out to all of our city service providers and the Arts Commission and Grants for the Arts staff are working together to do just that.”\u003c/p>\n\u003cp>GFTA grantees who spoke to KQED say it’s been difficult to get in contact with anyone at the organization to even check on the status of their grant agreements. KQED’s multiple calls to the office went unanswered.\u003c/p>\n\u003cp>Arts administrators say that in past years, even during the pandemic, the granting process worked fairly smoothly and on schedule; staff were accessible and supportive of the organizations GFTA funded. But they began to notice a string of departures from GFTA after Director Vallie Brown was \u003ca href=\"https://www.kqed.org/arts/13892925/vallie-brown-appointed-to-lead-sfs-main-nonprofit-arts-funding-agency\" rel=\"noopener noreferrer\" target=\"_blank\">appointed to the position\u003c/a> by Mayor London Breed in February 2021. All four staff members who worked at GFTA prior to Brown’s arrival have since retired or left, and only one new employee has joined. \u003c/p>\n\u003cfigure id=\"attachment_13892960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/VallieBrown.jpg\" alt=\"A woman in a blue patterned shirt poses smiling\" width=\"800\" height=\"619\" class=\"size-full wp-image-13892960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/VallieBrown.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/VallieBrown-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/VallieBrown-768x594.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vallie Brown was appointed as director of Grants for the Arts by Mayor London Breed. \u003ccite>(Andrew Rettmann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps as a result of these staffing changes, current GFTA grantees have been asked to re-submit their information as many as four or five times in recent months, sowing confusion and anxiety in an already strained sector. \u003c/p>\n\u003cp>Jeff Thomas, executive director of San Francisco Center for the Book, remembers when GFTA had a staff of five. “The general feeling is that a lot of really good people have left for whatever reason, that it’s now vastly understaffed in order to be able to do all the good things that they had been doing in the past,” he says. “And that the process has become a big mystery that is really sort of stressing people out.”\u003c/p>\n\u003ch2>‘What if I lose my funding?’\u003c/h2>\n\u003cp>After months of being asked for and resubmitting their information, GFTA grantees received a Nov. 11 email from Brown. The subject line read “URGENT”: \u003c/p>\n\u003cblockquote>\u003cp>I appreciate how the lion’s share of the organizations we’re privileged to support have diligently worked to meet the requirements for our FY22 General Operating Support grant. However, many of you continue to have outstanding documentation, which impedes my staff’s (and those who are helping us from the SFAC) ability to generate your contracts. … \u003c/p>\n\u003cp>If GFTA does not have all of your documents by Wednesday, November 17, 2021, we cannot guarantee your contract will be executed in a timely manner. The onus is on you to make sure you are in compliance with my department and the City, and I hope you’re able to be responsive to the emails that my staff has been distributing for several weeks.\u003c/p>\u003c/blockquote>\n\u003cp>Even administrators who knew all their materials were in good standing suddenly felt doubt. The mass email, says Gray Area’s Threw, made it unclear who was actually missing information. “Do you have our stuff or not?” he wondered. \u003c/p>\n\u003cp>“It just got to be very frustrating where people were thinking they were done, and then all of a sudden, everybody was thrown off,” says Thomas. “What if I can’t prove that I sent it in? And what if I lose my funding?” he remembers asking. “I mean, it’s a major source of funding for a lot of small organizations.”\u003c/p>\n\u003cp>Jennifer Walsh, executive director of ABADÁ-Capoeira San Francisco, says they still don’t have a grant agreement despite having submitted all the required documents. “We did receive an email explaining they are working hard to get agreements out so they can begin processing reimbursements,” Walsh wrote via email, emphasizing that GFTA is one of the organization’s primary funders and they are deeply grateful for the support. While hopeful that GFTA will get agreements and payments out to people as soon as possible, Walsh wrote, “Funding delays do put a strain on our operating budget, since we use funding for fixed costs, including rent.”\u003c/p>\n\u003cp>Many of the arts administrators KQED reached out to for this article would not go on the record about their experiences. \u003c/p>\n\u003cp>“The pandemic is still going on,” says Thomas of San Francisco Center for the Book. “There’s no more Paycheck Protection Program, there’s no more of this other funding. No one wants to speak out against an organization where they may be getting some substantial funding.”\u003c/p>\n\u003cp>“I think that GFTA has been such an amazing organization,” Thomas continues. “There’s no reason it couldn’t come back and be that again, but it just feels like it’s going through a rough patch.” \u003c/p>\n\u003cp>A rough patch, unfortunately, that affects the bottom line of 226 San Francisco arts nonprofits.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>This story includes reporting by Julian Sorapuru.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every year, \u003ca href=\"https://sfgfta.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Grants for the Arts\u003c/a> awards the most sought-after type of nonprofit funding to San Francisco arts organizations: unrestricted general operating support. This kind of money isn’t sexy or splashy, but it helps nonprofits keep the lights on, pay their staff and maintain public programming in one of the most expensive cities in the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Established by the city of San Francisco in 1961 and funded by hotel tax revenue, Grants for the Arts (GFTA) is a much-relied-upon funding source in the city’s arts nonprofit world. Its recipients range from the very large (the San Francisco Symphony, the Exploratorium) to the very small (SF Urban Film Fest, Western Neighborhoods Project). Since its inception, it has distributed nearly $400 million to hundreds of San Francisco arts nonprofits. In 2018, San Francisco voters \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" rel=\"noopener noreferrer\" target=\"_blank\">overwhelmingly supported its funding\u003c/a>.\u003c/p>\n\u003cp>But over the past few months, arts administrators across the city have become increasingly distressed by the significant delays they’ve experienced while trying to get the money they were promised—and by the confusing communications they’re getting from the city’s granting organization itself.\u003c/p>\n\u003ch2>‘Nobody’s gotten the money yet’\u003c/h2>\n\u003cp>The July 2021–June 2022 GFTA grantees include \u003ca href=\"https://sfgfta.org/wp-content/uploads/2021/09/FY22-Allocation-Index-Arts-for-Website.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">226 organizations\u003c/a> who were awarded amounts ranging from $10,000 to $450,000. (Instead of receiving that amount upfront, nonprofits spend against their grant amount and submit paperwork for reimbursement.) KQED reached out to 34 GFTA grantees for this story. Of the 20 nonprofits KQED was able to contact as of publication, five had not yet received grant agreements. Two nonprofits received their agreements in just the past three days. And only one of the nonprofits who had submitted the paperwork for reimbursements (some as long ago as November) had received any funds—six months into the grant cycle.\u003c/p>\n\u003cp>Based on his own reconnaissance, Barry Threw, executive director of Gray Area Foundation for the Arts, says, “Nobody’s gotten the money yet.” That’s a stark difference from years past. “Usually you’re able to invoice half of it the year of the announcement and then invoice the other half in the spring of the next year,” he explains. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Adding to nonprofits’ frustrations, GFTA has not yet released any information about their FY23 grant cycle, applications for which would normally be due in February 2022. Arts administrators emphasize this is not an easy application process. The packet of required materials can run to dozens of pages, including a lengthy narrative, a budget snapshot, materials relating to board membership, a recent financial review, multiple tax forms, a list of previous and planned events, brochures and press clippings. \u003c/p>\n\u003cp>Last year, GFTA even teamed up with Intersection for the Arts to offer a four-part workshop and lab series to coach nonprofits through the process and make the grant more accessible to first-time applicants. But if last year’s GFTA watchword was “equity,” this year’s seems to be “TBD.”\u003c/p>\n\u003ch2>‘The process has become a big mystery’\u003c/h2>\n\u003cp>Seeking information on the status of their current grant cycle, KQED received an auto-reply from GFTA that paints a picture of a severely understaffed organization. The email explains that GFTA is “down to a team of two,” and that two employees from the San Francisco Arts Commission have been brought on to help with the workload. In a bullet-point list of what appear to be frequent email topics, the auto-reply states that the release date for the next grant cycle “has not been identified.”\u003c/p>\n\u003cp>A spokesperson from the Office of the City Administrator, which oversees GFTA, provided KQED with a statement about the delays: “Many city departments are experiencing staffing impacts currently as the result of the pandemic. It has and will continue to be a priority to get grant funding and contracts out to all of our city service providers and the Arts Commission and Grants for the Arts staff are working together to do just that.”\u003c/p>\n\u003cp>GFTA grantees who spoke to KQED say it’s been difficult to get in contact with anyone at the organization to even check on the status of their grant agreements. KQED’s multiple calls to the office went unanswered.\u003c/p>\n\u003cp>Arts administrators say that in past years, even during the pandemic, the granting process worked fairly smoothly and on schedule; staff were accessible and supportive of the organizations GFTA funded. But they began to notice a string of departures from GFTA after Director Vallie Brown was \u003ca href=\"https://www.kqed.org/arts/13892925/vallie-brown-appointed-to-lead-sfs-main-nonprofit-arts-funding-agency\" rel=\"noopener noreferrer\" target=\"_blank\">appointed to the position\u003c/a> by Mayor London Breed in February 2021. All four staff members who worked at GFTA prior to Brown’s arrival have since retired or left, and only one new employee has joined. \u003c/p>\n\u003cfigure id=\"attachment_13892960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/VallieBrown.jpg\" alt=\"A woman in a blue patterned shirt poses smiling\" width=\"800\" height=\"619\" class=\"size-full wp-image-13892960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/VallieBrown.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/VallieBrown-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/VallieBrown-768x594.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vallie Brown was appointed as director of Grants for the Arts by Mayor London Breed. \u003ccite>(Andrew Rettmann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps as a result of these staffing changes, current GFTA grantees have been asked to re-submit their information as many as four or five times in recent months, sowing confusion and anxiety in an already strained sector. \u003c/p>\n\u003cp>Jeff Thomas, executive director of San Francisco Center for the Book, remembers when GFTA had a staff of five. “The general feeling is that a lot of really good people have left for whatever reason, that it’s now vastly understaffed in order to be able to do all the good things that they had been doing in the past,” he says. “And that the process has become a big mystery that is really sort of stressing people out.”\u003c/p>\n\u003ch2>‘What if I lose my funding?’\u003c/h2>\n\u003cp>After months of being asked for and resubmitting their information, GFTA grantees received a Nov. 11 email from Brown. The subject line read “URGENT”: \u003c/p>\n\u003cblockquote>\u003cp>I appreciate how the lion’s share of the organizations we’re privileged to support have diligently worked to meet the requirements for our FY22 General Operating Support grant. However, many of you continue to have outstanding documentation, which impedes my staff’s (and those who are helping us from the SFAC) ability to generate your contracts. … \u003c/p>\n\u003cp>If GFTA does not have all of your documents by Wednesday, November 17, 2021, we cannot guarantee your contract will be executed in a timely manner. The onus is on you to make sure you are in compliance with my department and the City, and I hope you’re able to be responsive to the emails that my staff has been distributing for several weeks.\u003c/p>\u003c/blockquote>\n\u003cp>Even administrators who knew all their materials were in good standing suddenly felt doubt. The mass email, says Gray Area’s Threw, made it unclear who was actually missing information. “Do you have our stuff or not?” he wondered. \u003c/p>\n\u003cp>“It just got to be very frustrating where people were thinking they were done, and then all of a sudden, everybody was thrown off,” says Thomas. “What if I can’t prove that I sent it in? And what if I lose my funding?” he remembers asking. “I mean, it’s a major source of funding for a lot of small organizations.”\u003c/p>\n\u003cp>Jennifer Walsh, executive director of ABADÁ-Capoeira San Francisco, says they still don’t have a grant agreement despite having submitted all the required documents. “We did receive an email explaining they are working hard to get agreements out so they can begin processing reimbursements,” Walsh wrote via email, emphasizing that GFTA is one of the organization’s primary funders and they are deeply grateful for the support. While hopeful that GFTA will get agreements and payments out to people as soon as possible, Walsh wrote, “Funding delays do put a strain on our operating budget, since we use funding for fixed costs, including rent.”\u003c/p>\n\u003cp>Many of the arts administrators KQED reached out to for this article would not go on the record about their experiences. \u003c/p>\n\u003cp>“The pandemic is still going on,” says Thomas of San Francisco Center for the Book. “There’s no more Paycheck Protection Program, there’s no more of this other funding. No one wants to speak out against an organization where they may be getting some substantial funding.”\u003c/p>\n\u003cp>“I think that GFTA has been such an amazing organization,” Thomas continues. “There’s no reason it couldn’t come back and be that again, but it just feels like it’s going through a rough patch.” \u003c/p>\n\u003cp>A rough patch, unfortunately, that affects the bottom line of 226 San Francisco arts nonprofits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://grayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Gray Area\u003c/a> is a go-to destination in the Bay Area for thoughtful, experimental art that pushes the limits of the latest technology. The San Francisco Mission District venue has hosted virtual reality installations, experimental video art from the likes of Radiohead’s Thom Yorke and shows for techno and arts festival Mutek.\u003c/p>\n\u003cp>While Gray Area’s doors are closed, the organization has launched a new online community called \u003ca href=\"https://www.patch.grayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Patch\u003c/a>. With only an email signup, Patch members are granted access to workshops, curated playlists, streams of talks and performances, and virtual happy hours and book clubs.\u003c/p>\n\u003cp>While much of the new venture’s programming has yet to be announced, a few things are already brewing: Gray Area executive director Barry Threw is \u003ca href=\"https://sfcm.edu/performance-calendar/event/tac-online-festival-barry-threw\" target=\"_blank\" rel=\"noopener noreferrer\">giving a talk\u003c/a> for the TAC (\u003ca href=\"https://www.kqed.org/arts/13826120/in-san-francisco-video-games-are-classical-musics-new-frontier\" target=\"_blank\" rel=\"noopener noreferrer\">Technology and Applied Composition\u003c/a>) Online Festival, presented by the San Francisco Conservatory of Music. On April 4, he joins a weekend of programming that includes live-streamed concerts by \u003ca href=\"https://www.kqed.org/arts/13857405/holly-herndons-remarkable-ai-assisted-new-music\" target=\"_blank\" rel=\"noopener noreferrer\">Holly Herndon\u003c/a>, the electronic musician who built an artificial intelligence algorithm to help her compose her latest album, and Austin Wintory, an acclaimed soundtrack composer for games such as \u003cem>Assassin’s Creed\u003c/em>.\u003c/p>\n\u003cp>A virtual \u003ca href=\"https://grayarea.org/event/expanded-cinema-book-club-with-gene-youngblood/\" target=\"_blank\" rel=\"noopener noreferrer\">book club\u003c/a> with author Gene Youngblood kicks off on April 5, where readers can Zoom directly with the author of \u003cem>Expanded Cinema\u003c/em>, a 1970 book considered a foundational text for digital art. And a storytelling with augmented reality \u003ca href=\"https://zero1.org/programs/storytelling-augmented-reality\" target=\"_blank\" rel=\"noopener noreferrer\">workshop for teens\u003c/a> ages 15–18 is underway starting April 6.\u003c/p>\n\u003cp>More programming is to come on the \u003ca href=\"https://www.patch.grayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Patch\u003c/a> website.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://grayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Gray Area\u003c/a> is a go-to destination in the Bay Area for thoughtful, experimental art that pushes the limits of the latest technology. The San Francisco Mission District venue has hosted virtual reality installations, experimental video art from the likes of Radiohead’s Thom Yorke and shows for techno and arts festival Mutek.\u003c/p>\n\u003cp>While Gray Area’s doors are closed, the organization has launched a new online community called \u003ca href=\"https://www.patch.grayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Patch\u003c/a>. With only an email signup, Patch members are granted access to workshops, curated playlists, streams of talks and performances, and virtual happy hours and book clubs.\u003c/p>\n\u003cp>While much of the new venture’s programming has yet to be announced, a few things are already brewing: Gray Area executive director Barry Threw is \u003ca href=\"https://sfcm.edu/performance-calendar/event/tac-online-festival-barry-threw\" target=\"_blank\" rel=\"noopener noreferrer\">giving a talk\u003c/a> for the TAC (\u003ca href=\"https://www.kqed.org/arts/13826120/in-san-francisco-video-games-are-classical-musics-new-frontier\" target=\"_blank\" rel=\"noopener noreferrer\">Technology and Applied Composition\u003c/a>) Online Festival, presented by the San Francisco Conservatory of Music. On April 4, he joins a weekend of programming that includes live-streamed concerts by \u003ca href=\"https://www.kqed.org/arts/13857405/holly-herndons-remarkable-ai-assisted-new-music\" target=\"_blank\" rel=\"noopener noreferrer\">Holly Herndon\u003c/a>, the electronic musician who built an artificial intelligence algorithm to help her compose her latest album, and Austin Wintory, an acclaimed soundtrack composer for games such as \u003cem>Assassin’s Creed\u003c/em>.\u003c/p>\n\u003cp>A virtual \u003ca href=\"https://grayarea.org/event/expanded-cinema-book-club-with-gene-youngblood/\" target=\"_blank\" rel=\"noopener noreferrer\">book club\u003c/a> with author Gene Youngblood kicks off on April 5, where readers can Zoom directly with the author of \u003cem>Expanded Cinema\u003c/em>, a 1970 book considered a foundational text for digital art. And a storytelling with augmented reality \u003ca href=\"https://zero1.org/programs/storytelling-augmented-reality\" target=\"_blank\" rel=\"noopener noreferrer\">workshop for teens\u003c/a> ages 15–18 is underway starting April 6.\u003c/p>\n\u003cp>More programming is to come on the \u003ca href=\"https://www.patch.grayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Patch\u003c/a> website.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco arts organizations anticipate losing up to $73 million in earned income and donations if the novel coronavirus crisis proceeds through the summer, the results of a new survey show. More than half of the 145 surveyed organizations have reduced or suspended contractor work, and 28 percent of them reported contemplating employee layoffs.\u003c/p>\n\u003cp>Museums and performance venues are closed for the foreseeable future during a statewide shelter-in-place order. While some organizations \u003ca href=\"https://www.kqed.org/arts/13876676/livestreaming-through-the-pandemic-shuttered-bay-area-venues-get-inventive\" target=\"_blank\" rel=\"noopener noreferrer\">turn to livestreaming\u003c/a>, many more face at least a season’s worth of canceled or postponed programming. Now the San Francisco Arts Alliance survey shows how the sudden shutdown jeopardizes thousands of jobs in the cultural sector.\u003c/p>\n\u003cp>“It’s an unprecedented situation,” Deborah Cullinan, Yerba Buena Center for the Arts chief executive and co-chair of the SF Arts Alliance, an informal group of local arts leaders, said in an interview. “It requires us to really reconsider what we do and how we do it and who we do it for.”\u003c/p>\n\u003cp>[aside label=\"More Coverage\" tag=\"coronavirus\"]\u003c/p>\n\u003cp>The survey particularly impressed on Cullinan the art world’s reliance on independent contractors, and their unique vulnerability at a time of cutbacks. “We’re not alone in depending on contractors,” she said. “This is an opportunity for us to work across sectors with small businesses and other enterprises and push policy that benefits contractors at large.”\u003c/p>\n\u003cp>“We haven’t seen the worst,” Cullinan added. “All we can do is come out of this with new ideas.”\u003c/p>\n\u003cp>The San Francisco COVID-19 Arts Impact Survey results, which reflect large institutions and shoestring operations alike, as of Friday, Mar. 20 show anticipated losses of $47.8 million in earned income and $25.5 million in contributed income if the crisis proceeds until mid-September. Already, the survey respondents reported losses totaling tens of millions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More difficult than regaining visitors when the shelter orders lift will be recovering fundraising momentum. Individual and institutional donors tend to prioritize food, housing and other safety net services over arts and culture nonprofits, and arts fundraisers worry the declining stock market and likely economic recession will diminish the endowments of private foundations.\u003c/p>\n\u003cfigure id=\"attachment_13877357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png\" alt=\"The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus' impact on revenue.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13877357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-1020x574.png 1020w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus’ impact on revenue. \u003ccite>(San Francisco Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The immediate effects on arts workers have been unevenly distributed. Some major institutions, such as the San Francisco Museum of Modern Art, are currently paying regular wages to employees working remotely as well as most frontline staff, such as ticket takers, who cannot report to work. Yet even the San Francisco Symphony reported that it is considering hiring freezes and layoffs.\u003c/p>\n\u003cp>Contractors, though, such as audio-visual technicians and other event workers, have been the first to miss expected paychecks. The survey results show the 145 organizations employ 4,129 of these gig workers, twice the number of full-time staff, and because they lack benefits such as paid sick leave and healthcare, they’re especially threatened by the sudden loss of income.\u003c/p>\n\u003cp>Gabriel Nunez de Arco, 26, is a lighting designer and sound engineer who made some $2,000 a month working gigs at small theaters such as Joe Goode Annex and Counterpulse. Now his projected income is zero. He can pay his rent in April. After that, he’ll sell music gear. Otherwise he’s relying on community \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">mutual aid\u003c/a> efforts: “Passing around the same $20,” as he put it. [aside postid='science_1957877']\u003c/p>\n\u003cp>De Arco was disappointed that the \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> announced by San Francisco Mayor London Breed on Monday didn’t appear to benefit freelance arts workers such as himself, and feels neglected by the organizations that once offered steady if low-paid gigs. “When shit hits the fan we’re disposable,” he said. “It’s very much parallel with all other kinds of gig workers.”\u003c/p>\n\u003cfigure id=\"attachment_10897951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10897951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg\" alt=\"Davies Symphony Hall\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-1180x753.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night.jpg 1200w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony is considering hiring freezes and layoffs. Pictured is Davies Symphony Hall. \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At SOMArts Cultural Center, technical event staff are furloughed, and a temporary worker was laid off, according to operations director Jena McRae Schwirtz. The organization is funneling cancellation fees to event staff. SOMArts is so far losing $20,000 due to cancellations, and expects the number to grow to $100,000, or 30% of projected annual rental revenue. Its annual spring fundraiser event, which last year brought in more than $20,000, is also cancelled.\u003c/p>\n\u003cp>In notoriously costly San Francisco, many arts workers lack savings. Renae Moua, 28, was contracted with SOMArts as an interim community engagement and impact manager through May, but they were let go after the fundraiser cancellation. “I don’t know what to do,” Moua said. “Housing and basic necessities like food are at the forefront of my worries.” (A SOMArts spokesperson said Moua’s healthcare coverage has been extended for two additional months.)\u003c/p>\n\u003cp>Most performing arts organizations are encouraging ticket holders to donate the ticket cost, while many others have launched online fundraisers. Gray Area, which restored and operates the Mission District’s Grand Theater, derives 75% of its revenue from rentals and tickets, and stands to lose $350,000. The lapse in programming, executive director Barry Threw said in a letter soliciting contributions to its $300,000 crowdfunding campaign, is an existential threat to the organization.\u003c/p>\n\u003cp>Many write-in comments on the survey describe pivots to digital programming and pledges to pay employees during the closures. Others are more grim. One large museum wrote: “Looking for funds to keep the organization going.” A performing arts group explained: “Without programming we have no income revenue to pay our teaching artists and facility staff. They are currently NOT being paid.”\u003c/p>\n\u003cp>And an indie musician wrote one word in an other personnel decisions column: “Cry.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco arts organizations anticipate losing up to $73 million in earned income and donations if the novel coronavirus crisis proceeds through the summer, the results of a new survey show. More than half of the 145 surveyed organizations have reduced or suspended contractor work, and 28 percent of them reported contemplating employee layoffs.\u003c/p>\n\u003cp>Museums and performance venues are closed for the foreseeable future during a statewide shelter-in-place order. While some organizations \u003ca href=\"https://www.kqed.org/arts/13876676/livestreaming-through-the-pandemic-shuttered-bay-area-venues-get-inventive\" target=\"_blank\" rel=\"noopener noreferrer\">turn to livestreaming\u003c/a>, many more face at least a season’s worth of canceled or postponed programming. Now the San Francisco Arts Alliance survey shows how the sudden shutdown jeopardizes thousands of jobs in the cultural sector.\u003c/p>\n\u003cp>“It’s an unprecedented situation,” Deborah Cullinan, Yerba Buena Center for the Arts chief executive and co-chair of the SF Arts Alliance, an informal group of local arts leaders, said in an interview. “It requires us to really reconsider what we do and how we do it and who we do it for.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The survey particularly impressed on Cullinan the art world’s reliance on independent contractors, and their unique vulnerability at a time of cutbacks. “We’re not alone in depending on contractors,” she said. “This is an opportunity for us to work across sectors with small businesses and other enterprises and push policy that benefits contractors at large.”\u003c/p>\n\u003cp>“We haven’t seen the worst,” Cullinan added. “All we can do is come out of this with new ideas.”\u003c/p>\n\u003cp>The San Francisco COVID-19 Arts Impact Survey results, which reflect large institutions and shoestring operations alike, as of Friday, Mar. 20 show anticipated losses of $47.8 million in earned income and $25.5 million in contributed income if the crisis proceeds until mid-September. Already, the survey respondents reported losses totaling tens of millions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More difficult than regaining visitors when the shelter orders lift will be recovering fundraising momentum. Individual and institutional donors tend to prioritize food, housing and other safety net services over arts and culture nonprofits, and arts fundraisers worry the declining stock market and likely economic recession will diminish the endowments of private foundations.\u003c/p>\n\u003cfigure id=\"attachment_13877357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png\" alt=\"The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus' impact on revenue.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13877357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-1020x574.png 1020w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus’ impact on revenue. \u003ccite>(San Francisco Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The immediate effects on arts workers have been unevenly distributed. Some major institutions, such as the San Francisco Museum of Modern Art, are currently paying regular wages to employees working remotely as well as most frontline staff, such as ticket takers, who cannot report to work. Yet even the San Francisco Symphony reported that it is considering hiring freezes and layoffs.\u003c/p>\n\u003cp>Contractors, though, such as audio-visual technicians and other event workers, have been the first to miss expected paychecks. The survey results show the 145 organizations employ 4,129 of these gig workers, twice the number of full-time staff, and because they lack benefits such as paid sick leave and healthcare, they’re especially threatened by the sudden loss of income.\u003c/p>\n\u003cp>Gabriel Nunez de Arco, 26, is a lighting designer and sound engineer who made some $2,000 a month working gigs at small theaters such as Joe Goode Annex and Counterpulse. Now his projected income is zero. He can pay his rent in April. After that, he’ll sell music gear. Otherwise he’s relying on community \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">mutual aid\u003c/a> efforts: “Passing around the same $20,” as he put it. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>De Arco was disappointed that the \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> announced by San Francisco Mayor London Breed on Monday didn’t appear to benefit freelance arts workers such as himself, and feels neglected by the organizations that once offered steady if low-paid gigs. “When shit hits the fan we’re disposable,” he said. “It’s very much parallel with all other kinds of gig workers.”\u003c/p>\n\u003cfigure id=\"attachment_10897951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10897951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg\" alt=\"Davies Symphony Hall\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-1180x753.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night.jpg 1200w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony is considering hiring freezes and layoffs. Pictured is Davies Symphony Hall. \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At SOMArts Cultural Center, technical event staff are furloughed, and a temporary worker was laid off, according to operations director Jena McRae Schwirtz. The organization is funneling cancellation fees to event staff. SOMArts is so far losing $20,000 due to cancellations, and expects the number to grow to $100,000, or 30% of projected annual rental revenue. Its annual spring fundraiser event, which last year brought in more than $20,000, is also cancelled.\u003c/p>\n\u003cp>In notoriously costly San Francisco, many arts workers lack savings. Renae Moua, 28, was contracted with SOMArts as an interim community engagement and impact manager through May, but they were let go after the fundraiser cancellation. “I don’t know what to do,” Moua said. “Housing and basic necessities like food are at the forefront of my worries.” (A SOMArts spokesperson said Moua’s healthcare coverage has been extended for two additional months.)\u003c/p>\n\u003cp>Most performing arts organizations are encouraging ticket holders to donate the ticket cost, while many others have launched online fundraisers. Gray Area, which restored and operates the Mission District’s Grand Theater, derives 75% of its revenue from rentals and tickets, and stands to lose $350,000. The lapse in programming, executive director Barry Threw said in a letter soliciting contributions to its $300,000 crowdfunding campaign, is an existential threat to the organization.\u003c/p>\n\u003cp>Many write-in comments on the survey describe pivots to digital programming and pledges to pay employees during the closures. Others are more grim. One large museum wrote: “Looking for funds to keep the organization going.” A performing arts group explained: “Without programming we have no income revenue to pay our teaching artists and facility staff. They are currently NOT being paid.”\u003c/p>\n\u003cp>And an indie musician wrote one word in an other personnel decisions column: “Cry.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Gray Area Festival\u003c/strong>: There’s a lot to love about this year’s festival exploring the intersection of art and technology. But the star attraction is the ISM Hexadome, an immersive Buckminster Fuller-like dome of music and visuals, with pieces by Thom Yorke, Holly Herndon, Suzanne Ciani, Ben Frost and more. It runs Thursday–Sunday, July 25–28, at the Gray Area Theater and Pier 70. \u003ca href=\"https://grayareafestival.io/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Dead Nuts: A Search for the Ultimate Machined Object’\u003c/strong>: What is the ultimate machined object? Something so accurate in its design, so aesthetically pleasing and functional that it rises to the top? This fun, satisfying exhibit includes simple items like the ball bearing alongside highly complicated feats of engineering, like airplane engines and analog microprocessors. It opens Saturday, July 27, at the Museum of Craft and Design. \u003ca href=\"https://sfmcd.org/deadnuts/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>KMEL Summer Jam 2019\u003c/strong>: The Oracle Arena’s been quiet since the Warriors left, but it’s about to get loud again with this annual party featuring rap stars YG, Lil Baby, City Girls and more. But by far the main attraction is Megan Thee Stallion, a sex-positive rising star whose talent and dynamism are poised to outlast the current “hot girl summer” meme she inspired. That’s Sunday, July 28, at the Oracle Arena. \u003ca href=\"https://kmel.iheart.com/featured/kmel-summer-jam/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘The Neverending Story’\u003c/strong>: Our cheap North Bay date this week is this 1980s fantasy classic, presented in a Petaluma theater that’s over 100 years old. When it comes to reliving the adventures of Atreyu and Falkor, you can’t go wrong for just $8. It screens Friday, Aug. 2, at the Mystic Theatre. \u003ca href=\"https://mystictheatre.tunestub.com/event.cfm?id=301834\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Kelly Stoltz\u003c/strong>: You might recognize Kelly Stoltz from working behind the counter at the Market Street record store Grooves, where hundreds of musical influences regularly seep into his ears. While his music itself is a pleasing blend of the familiar and the new, we’re also recommending this show for the beautiful outdoor setting in a redwood grove. Stoltz performs, with Magic in the Other opening, on Thursday, Aug. 1, at the UC Botanical Garden. \u003ca href=\"https://botanicalgarden.berkeley.edu/summer-concerts-2019/august-1-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"headline": "The Do List: Listen to Our Weekend Picks for July 25–Aug. 2",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Gray Area Festival\u003c/strong>: There’s a lot to love about this year’s festival exploring the intersection of art and technology. But the star attraction is the ISM Hexadome, an immersive Buckminster Fuller-like dome of music and visuals, with pieces by Thom Yorke, Holly Herndon, Suzanne Ciani, Ben Frost and more. It runs Thursday–Sunday, July 25–28, at the Gray Area Theater and Pier 70. \u003ca href=\"https://grayareafestival.io/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Dead Nuts: A Search for the Ultimate Machined Object’\u003c/strong>: What is the ultimate machined object? Something so accurate in its design, so aesthetically pleasing and functional that it rises to the top? This fun, satisfying exhibit includes simple items like the ball bearing alongside highly complicated feats of engineering, like airplane engines and analog microprocessors. It opens Saturday, July 27, at the Museum of Craft and Design. \u003ca href=\"https://sfmcd.org/deadnuts/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>KMEL Summer Jam 2019\u003c/strong>: The Oracle Arena’s been quiet since the Warriors left, but it’s about to get loud again with this annual party featuring rap stars YG, Lil Baby, City Girls and more. But by far the main attraction is Megan Thee Stallion, a sex-positive rising star whose talent and dynamism are poised to outlast the current “hot girl summer” meme she inspired. That’s Sunday, July 28, at the Oracle Arena. \u003ca href=\"https://kmel.iheart.com/featured/kmel-summer-jam/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘The Neverending Story’\u003c/strong>: Our cheap North Bay date this week is this 1980s fantasy classic, presented in a Petaluma theater that’s over 100 years old. When it comes to reliving the adventures of Atreyu and Falkor, you can’t go wrong for just $8. It screens Friday, Aug. 2, at the Mystic Theatre. \u003ca href=\"https://mystictheatre.tunestub.com/event.cfm?id=301834\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Kelly Stoltz\u003c/strong>: You might recognize Kelly Stoltz from working behind the counter at the Market Street record store Grooves, where hundreds of musical influences regularly seep into his ears. While his music itself is a pleasing blend of the familiar and the new, we’re also recommending this show for the beautiful outdoor setting in a redwood grove. Stoltz performs, with Magic in the Other opening, on Thursday, Aug. 1, at the UC Botanical Garden. \u003ca href=\"https://botanicalgarden.berkeley.edu/summer-concerts-2019/august-1-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13827706/paid-in-full-how-the-rap-world-embraced-bitcoin\" target=\"_blank\" rel=\"noopener\">Blockchain technology\u003c/a> is a hot topic in tech: some view it as a way to get rich quick through cryptocurrency investments, while others hypothesize about its potential to diminish the roles of corporations and governments and place power in the hands of the people.\u003c/p>\n\u003cp>Gray Area Festival, the fourth annual fest from the San Francisco art and technology nonprofit, explores the creative and liberatory potential of blockchain and other cutting-edge technologies with exhibitions, talks and concerts July 26–29 at its Grand Theater in the Mission district.\u003c/p>\n\u003cp>https://youtu.be/tWo0nP7Qi4o\u003c/p>\n\u003cp>Highlights from the fest include a talk with \u003ca href=\"https://jezebel.com/yachts-stolen-sex-tape-was-a-complete-hoax-that-theyve-1775746919\" rel=\"noopener\" target=\"_blank\">Claire L. Evans\u003c/a>, singer of indie pop band YACHT and author of the new book \u003cem>Broad Band: The Untold Story of the Women Who Made the Internet\u003c/em>; musical performances by avant-pop artist Eartheater, experimental techno producers Second Woman and more; and an exhibition of digital art and installations comprising what’s called the largest collection of blockchain-based art on the West Coast.\u003c/p>\n\u003cp>“Blockchain technologies are being purported to offer a lot of advantages in society in terms of everything from a global voting system to supply chain management, in addition to knew economic systems to redefine the role of governments and institutions,” says Barry Threw, one of the festival curators. “One of the primary focuses of the entire festival is that artists are in a unique position to anticipate some of these cultural traumas and define new paths forward. Giving them a role and voice in the processes of innovation could help create a more equitable and humanistic result.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For full lineup and info, see the \u003ca href=\"http://grayareafestival.io/\" target=\"_blank\" rel=\"noopener\">Gray Area Festival website\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13827706/paid-in-full-how-the-rap-world-embraced-bitcoin\" target=\"_blank\" rel=\"noopener\">Blockchain technology\u003c/a> is a hot topic in tech: some view it as a way to get rich quick through cryptocurrency investments, while others hypothesize about its potential to diminish the roles of corporations and governments and place power in the hands of the people.\u003c/p>\n\u003cp>Gray Area Festival, the fourth annual fest from the San Francisco art and technology nonprofit, explores the creative and liberatory potential of blockchain and other cutting-edge technologies with exhibitions, talks and concerts July 26–29 at its Grand Theater in the Mission district.\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/tWo0nP7Qi4o'\n title='//www.youtube.com/embed/tWo0nP7Qi4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Highlights from the fest include a talk with \u003ca href=\"https://jezebel.com/yachts-stolen-sex-tape-was-a-complete-hoax-that-theyve-1775746919\" rel=\"noopener\" target=\"_blank\">Claire L. Evans\u003c/a>, singer of indie pop band YACHT and author of the new book \u003cem>Broad Band: The Untold Story of the Women Who Made the Internet\u003c/em>; musical performances by avant-pop artist Eartheater, experimental techno producers Second Woman and more; and an exhibition of digital art and installations comprising what’s called the largest collection of blockchain-based art on the West Coast.\u003c/p>\n\u003cp>“Blockchain technologies are being purported to offer a lot of advantages in society in terms of everything from a global voting system to supply chain management, in addition to knew economic systems to redefine the role of governments and institutions,” says Barry Threw, one of the festival curators. “One of the primary focuses of the entire festival is that artists are in a unique position to anticipate some of these cultural traumas and define new paths forward. Giving them a role and voice in the processes of innovation could help create a more equitable and humanistic result.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For full lineup and info, see the \u003ca href=\"http://grayareafestival.io/\" target=\"_blank\" rel=\"noopener\">Gray Area Festival website\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Highlights from San Francisco's Inaugural Mutek Festival",
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"content": "\u003cp>Some festivals feel more like social events than musical ones. But at this past weekend’s inaugural San Francisco edition of \u003ca href=\"https://www.kqed.org/arts/13826840\" target=\"_blank\" rel=\"noopener\">Mutek\u003c/a>, the international electronic music festival, the see-and-be-seen factor didn’t really apply — partly because most of its events took place in near-total darkness. Mutek felt more like a true art experience than a music festival with some art tacked onto it. The event kicked off May 3 at the California Academy of Sciences, where DJs playing ambient music seamlessly complemented the surrounding exhibits, and continued through May 6 with dance parties, sit-down theater shows and interactive installations.\u003c/p>\n\u003cp>Mutek paired forward-thinking artists with unusual locations: the basement of the historic Mint building, for example, with audiovisual installations in the rooms where the federal government once stored gold and other currency. Herbst Theatre, the stately classical music venue, became the site of futuristic performances with bass so loud it became a physical sensation. The many interactive elements throughout the festival, at venues like the Midway, where viewers immersed themselves in rooms flooded with colorful neon light patterns, gave Mutek a sense of playfulness and kept it from feeling self-serious.\u003c/p>\n\u003cp>Then, of course, there were the dance parties. Mutek’s booking featured many rare and international artists, many of whom seldom play on the West Coast. The headliners weren’t ones one might recognize from the charts; they were more of the “musician’s musican” variety, with dancehall duo Equiknoxx; Detroit techno producers Galaxy 2 Galaxy, Aux 88 and Derrick May; and ambient producer Tim Hecker.\u003c/p>\n\u003cp>Overall, Mutek did an admirable job giving people a place to party while challenging them intellectually. Read our highlights after the photo slideshow.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" ids=\"13831555,13831557,13831556,13831554,13831553,13831552,13831551,13831549,13831547,13831546,13831545,13831544,13831543,13831542,13831541,13831540,13831538,13831537,13831536,13831535,13831534,13831533,13831532\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>Aux 88 Turned Mezzanine All the Way Up\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tom Tom and DJ K-1 of Aux 88 looked like ambassadors from a retro vision of the future on stage at the Mezzanine on Saturday night in their neon orange jumpsuits with light-up name tags. Immediately, the crowd pulsed along to their ’90s Detroit techno and electro-funk; their take on techno called to mind the earliest of hip-hop productions with their disco roots, and the jovial show felt like one huge block party.\u003c/p>\n\u003cp>Some of the other Mutek concerts had an ultra-serious tone. Not Aux 88’s performance: their infectious break beats and talk-box rapping lit up the dance floor and put smiles on people’s faces. They proved that techno can be soulful rather than robotic.\u003c/p>\n\u003cfigure id=\"attachment_13831412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831412\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_8958-800x533.jpg\" alt=\"8ULENTINA and Davia Spain play night four of the 2018 Mutek SF Festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">8ULENTINA and Davia Spain play night four of the 2018 Mutek festival at the Midway. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>8ulentina and Davia Spain Made the Midway a Runway\u003c/strong>\u003c/p>\n\u003cp>Davia Spain looked regal in her thigh-high books as she strutted between stacks of speakers, braids whipping behind her, as 8ulentina concentrated on their CDJs with laser focus. 8ulentina — a producer and co-founder of Oakland’s popular, genre-bending party Club Chai — played a visceral, percussion-driven techno set with the weightiness of clanging doors and falling hammers.\u003c/p>\n\u003cp>The only track with prominent vocals 8ulentina mixed in was “Keylime OG” by Rico Nasty, a hyped-up, punk-rap fighting anthem; flourishes of reggaeton found their way into 8ulentina’s set too, weaving their industrial aesthetic into an international tapestry of beats.\u003c/p>\n\u003cp>A rack of garments that 8ulentina designed and sewed was next to the DJ booth. Spain tried on the various trousers and halter tops — which had a femme workwear vibe — posing, pouting and twerking on the speakers. The performance ended with Spain getting on the mic, closing out 8ulentina’s set with a haunting, layered track of reverb-laden vocals.\u003c/p>\n\u003cfigure id=\"attachment_13831295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831295\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_7796-800x533.jpg\" alt=\"Galaxy 2 Galaxy Secret plays night one of the 2018 Mutek SF Festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Galaxy 2 Galaxy perform at the first night of the 2018 Mutek festival at Bimbo’s 365 Club. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Galaxy 2 Galaxy Took Jazz to Outer Space at Bimbo’s 365 Club\u003c/strong>\u003c/p>\n\u003cp>A four-on-the-floor club beat might seem like an unusual canvas for jazz improvisation, but it works surprisingly well; I had never seen a crowd dance using all four limbs at a jazz show prior to watching Galaxy 2 Galaxy perform at the Mutek kick-off at Bimbo’s 365 Club on May 3.\u003c/p>\n\u003cp>Galaxy 2 Galaxy had the foresight to invent what they call “hi-tech jazz” in 1993, merging Detroit techno with live instrumentation. At Bimbo’s, producer “Mad” Mike Banks expertly set the pace on his synth and then floated away like an apparition, leaving space for the large ensemble to do its thing. Bassist William Pope grooved with a huge smile on his face, his fingers seemingly moving a hundred miles a minute. Saxophonist DeSean Jones likely caused more than a few show-goers to speculate about his superhuman lung capacity.\u003c/p>\n\u003cp>At times, Galaxy 2 Galaxy’s performance felt like an organic jazz jam session, but when Banks and the DJ Skurge, who was behind the turntables, returned to the stage periodically, the show turned back into a rave. The potent musical alchemy on stage was an unmistakable reminder of the black roots of both jazz and techno — and how African-American musicians have been on the cutting edge of both for decades.\u003c/p>\n\u003cfigure id=\"attachment_13831311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831311\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_7890-800x558.jpg\" alt=\"Michela Pelusio performs night two of the 2018 Mutek SF Festival.\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-1200x837.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-960x670.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-520x363.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890.jpg 1835w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michela Pelusio performs on May 4 at Herbst Theatre for the 2018 Mutek festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Michela Pelusio Made Magic With Spinning Rope\u003c/strong>\u003c/p>\n\u003cp>The audience was immersed in total darkness when Michela Pelusio took the stage at Herbst Theatre on Friday night. She looked like a sorceress, standing before a cauldron-like metal object on the ground that emitted a ray of light stretching all the way up to the ceiling.\u003c/p>\n\u003cp>That mysterious object was Pelusio’s own invention: the SpaceTime Helix, an audiovisual instrument that projects light while spinning a piece of fabric connected to the ceiling. The \u003cem>swish\u003c/em> of the spinning rope is amplified, distorted and couched in eerie electronics to create a sort of kinetic soundtrack. The rope spins above the strobe light that causes it to appear to multiply and change color, creating 3D shapes in the air that look like DNA.\u003c/p>\n\u003cp>https://youtu.be/0Zs9PT41TOU\u003c/p>\n\u003cp>Af first, the audience at Herbst was stupefied by this optical illusion. But about halfway into the performance, Pelusio came up to the rope and started touching it, changing its shape by applying pressure with her hands. It was hypnotizing, deceptively simple and definitely weird — a treat to see at Herbst Theatre, a venue usually reserved for classical music.\u003c/p>\n\u003cfigure id=\"attachment_13831403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_8373-1-800x533.jpg\" alt=\"Tim Hecker plays night three of the 2018 Mutek SF Festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Hecker plays at Gray Area on May 5 for the third night of the 2018 Mutek festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tim Hecker Entraced the Audience in the Dark\u003c/strong>\u003c/p>\n\u003cp>As a counterpoint to all of Mutek’s dance parties, Tim Hecker’s Saturday night set at Gray Area was an introspective, meditative journey. The theater was pitch dark, the air thick with sweat from previous festivities. Hecker took the stage and, though you couldn’t see him — or anyone, for that matter — I intuited that the bodies in the room were alert and raptly paying attention.\u003c/p>\n\u003cp>Hecker built layers of discordant elements — what sounded like screeching guitar, echoing percussion and atmospheric synths — into an ambient composition that was heavy like fog, drenched in dread and foreboding.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "The electronic music festival featured forward-thinking booking and interactive art at unexpected venues.",
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"headline": "Highlights from San Francisco's Inaugural Mutek Festival",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some festivals feel more like social events than musical ones. But at this past weekend’s inaugural San Francisco edition of \u003ca href=\"https://www.kqed.org/arts/13826840\" target=\"_blank\" rel=\"noopener\">Mutek\u003c/a>, the international electronic music festival, the see-and-be-seen factor didn’t really apply — partly because most of its events took place in near-total darkness. Mutek felt more like a true art experience than a music festival with some art tacked onto it. The event kicked off May 3 at the California Academy of Sciences, where DJs playing ambient music seamlessly complemented the surrounding exhibits, and continued through May 6 with dance parties, sit-down theater shows and interactive installations.\u003c/p>\n\u003cp>Mutek paired forward-thinking artists with unusual locations: the basement of the historic Mint building, for example, with audiovisual installations in the rooms where the federal government once stored gold and other currency. Herbst Theatre, the stately classical music venue, became the site of futuristic performances with bass so loud it became a physical sensation. The many interactive elements throughout the festival, at venues like the Midway, where viewers immersed themselves in rooms flooded with colorful neon light patterns, gave Mutek a sense of playfulness and kept it from feeling self-serious.\u003c/p>\n\u003cp>Then, of course, there were the dance parties. Mutek’s booking featured many rare and international artists, many of whom seldom play on the West Coast. The headliners weren’t ones one might recognize from the charts; they were more of the “musician’s musican” variety, with dancehall duo Equiknoxx; Detroit techno producers Galaxy 2 Galaxy, Aux 88 and Derrick May; and ambient producer Tim Hecker.\u003c/p>\n\u003cp>Overall, Mutek did an admirable job giving people a place to party while challenging them intellectually. Read our highlights after the photo slideshow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aux 88 Turned Mezzanine All the Way Up\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tom Tom and DJ K-1 of Aux 88 looked like ambassadors from a retro vision of the future on stage at the Mezzanine on Saturday night in their neon orange jumpsuits with light-up name tags. Immediately, the crowd pulsed along to their ’90s Detroit techno and electro-funk; their take on techno called to mind the earliest of hip-hop productions with their disco roots, and the jovial show felt like one huge block party.\u003c/p>\n\u003cp>Some of the other Mutek concerts had an ultra-serious tone. Not Aux 88’s performance: their infectious break beats and talk-box rapping lit up the dance floor and put smiles on people’s faces. They proved that techno can be soulful rather than robotic.\u003c/p>\n\u003cfigure id=\"attachment_13831412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831412\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_8958-800x533.jpg\" alt=\"8ULENTINA and Davia Spain play night four of the 2018 Mutek SF Festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">8ULENTINA and Davia Spain play night four of the 2018 Mutek festival at the Midway. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>8ulentina and Davia Spain Made the Midway a Runway\u003c/strong>\u003c/p>\n\u003cp>Davia Spain looked regal in her thigh-high books as she strutted between stacks of speakers, braids whipping behind her, as 8ulentina concentrated on their CDJs with laser focus. 8ulentina — a producer and co-founder of Oakland’s popular, genre-bending party Club Chai — played a visceral, percussion-driven techno set with the weightiness of clanging doors and falling hammers.\u003c/p>\n\u003cp>The only track with prominent vocals 8ulentina mixed in was “Keylime OG” by Rico Nasty, a hyped-up, punk-rap fighting anthem; flourishes of reggaeton found their way into 8ulentina’s set too, weaving their industrial aesthetic into an international tapestry of beats.\u003c/p>\n\u003cp>A rack of garments that 8ulentina designed and sewed was next to the DJ booth. Spain tried on the various trousers and halter tops — which had a femme workwear vibe — posing, pouting and twerking on the speakers. The performance ended with Spain getting on the mic, closing out 8ulentina’s set with a haunting, layered track of reverb-laden vocals.\u003c/p>\n\u003cfigure id=\"attachment_13831295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831295\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_7796-800x533.jpg\" alt=\"Galaxy 2 Galaxy Secret plays night one of the 2018 Mutek SF Festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Galaxy 2 Galaxy perform at the first night of the 2018 Mutek festival at Bimbo’s 365 Club. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Galaxy 2 Galaxy Took Jazz to Outer Space at Bimbo’s 365 Club\u003c/strong>\u003c/p>\n\u003cp>A four-on-the-floor club beat might seem like an unusual canvas for jazz improvisation, but it works surprisingly well; I had never seen a crowd dance using all four limbs at a jazz show prior to watching Galaxy 2 Galaxy perform at the Mutek kick-off at Bimbo’s 365 Club on May 3.\u003c/p>\n\u003cp>Galaxy 2 Galaxy had the foresight to invent what they call “hi-tech jazz” in 1993, merging Detroit techno with live instrumentation. At Bimbo’s, producer “Mad” Mike Banks expertly set the pace on his synth and then floated away like an apparition, leaving space for the large ensemble to do its thing. Bassist William Pope grooved with a huge smile on his face, his fingers seemingly moving a hundred miles a minute. Saxophonist DeSean Jones likely caused more than a few show-goers to speculate about his superhuman lung capacity.\u003c/p>\n\u003cp>At times, Galaxy 2 Galaxy’s performance felt like an organic jazz jam session, but when Banks and the DJ Skurge, who was behind the turntables, returned to the stage periodically, the show turned back into a rave. The potent musical alchemy on stage was an unmistakable reminder of the black roots of both jazz and techno — and how African-American musicians have been on the cutting edge of both for decades.\u003c/p>\n\u003cfigure id=\"attachment_13831311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831311\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_7890-800x558.jpg\" alt=\"Michela Pelusio performs night two of the 2018 Mutek SF Festival.\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-1200x837.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-960x670.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-520x363.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890.jpg 1835w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michela Pelusio performs on May 4 at Herbst Theatre for the 2018 Mutek festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Michela Pelusio Made Magic With Spinning Rope\u003c/strong>\u003c/p>\n\u003cp>The audience was immersed in total darkness when Michela Pelusio took the stage at Herbst Theatre on Friday night. She looked like a sorceress, standing before a cauldron-like metal object on the ground that emitted a ray of light stretching all the way up to the ceiling.\u003c/p>\n\u003cp>That mysterious object was Pelusio’s own invention: the SpaceTime Helix, an audiovisual instrument that projects light while spinning a piece of fabric connected to the ceiling. The \u003cem>swish\u003c/em> of the spinning rope is amplified, distorted and couched in eerie electronics to create a sort of kinetic soundtrack. The rope spins above the strobe light that causes it to appear to multiply and change color, creating 3D shapes in the air that look like DNA.\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/0Zs9PT41TOU'\n title='//www.youtube.com/embed/0Zs9PT41TOU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Af first, the audience at Herbst was stupefied by this optical illusion. But about halfway into the performance, Pelusio came up to the rope and started touching it, changing its shape by applying pressure with her hands. It was hypnotizing, deceptively simple and definitely weird — a treat to see at Herbst Theatre, a venue usually reserved for classical music.\u003c/p>\n\u003cfigure id=\"attachment_13831403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_8373-1-800x533.jpg\" alt=\"Tim Hecker plays night three of the 2018 Mutek SF Festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Hecker plays at Gray Area on May 5 for the third night of the 2018 Mutek festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tim Hecker Entraced the Audience in the Dark\u003c/strong>\u003c/p>\n\u003cp>As a counterpoint to all of Mutek’s dance parties, Tim Hecker’s Saturday night set at Gray Area was an introspective, meditative journey. The theater was pitch dark, the air thick with sweat from previous festivities. Hecker took the stage and, though you couldn’t see him — or anyone, for that matter — I intuited that the bodies in the room were alert and raptly paying attention.\u003c/p>\n\u003cp>Hecker built layers of discordant elements — what sounded like screeching guitar, echoing percussion and atmospheric synths — into an ambient composition that was heavy like fog, drenched in dread and foreboding.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Will Ed Lee be Remembered as an Arts Advocate? It's Complicated",
"headTitle": "Will Ed Lee be Remembered as an Arts Advocate? It’s Complicated | KQED",
"content": "\u003cp>On Friday night, Dec. 8, Mayor Ed Lee was at Stevens Books in the Excelsior District of San Francisco, viewing the work of artist Aaron de la Cruz and talking with other artists who’d created storefront installations funded by the city. \u003c/p>\n\u003cp>Tom DeCaigny, cultural affairs director for the San Francisco Arts Commission, saw the mayor there that night. According to DeCaigny, Lee’s regular appearances at this and other local arts events prove the importance of the arts to the mayor, who suffered a heart attack and died Monday evening at age 65.\u003c/p>\n\u003cp>“I think he really saw the value of arts and culture, particularly at the neighborhood level,” DeCaigny says. “Many people have spoken about how he wasn’t a flashy politician. He much preferred meeting with a local artist, in a local storefront — and that’s where he was, late into the evening just last Friday, before he passed.”\u003c/p>\n\u003cfigure id=\"attachment_13817503\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1020x1530.jpg\" alt=\"Mayor Ed Lee at a groundbreaking ceremony for SFJAZZ's new performance space and center in May 2011.\" width=\"640\" height=\"960\" class=\"size-large wp-image-13817503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat.jpg 1285w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Ed Lee at a groundbreaking ceremony for SFJAZZ’s new performance space and center in May 2011. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such stories about Lee’s embrace of the arts, however, clash with a prevailing narrative in San Francisco’s creative community: specifically, that Lee’s tech- and developer-friendly policies sparked rent increases, low vacancy rates, and evictions that cumulatively pushed artists out of the city.\u003c/p>\n\u003cp>A 2015 survey from DeCaigny’s own San Francisco Arts Commission (SFAC) showed that of 600 artists polled, \u003ca href=\"https://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" rel=\"noopener\" target=\"_blank\">70 percent had been displaced\u003c/a> from their home or studio. (Multiple artists contacted for this piece did not want to go on the record, citing Lee’s too-recent death, before unleashing a string of words that either started with “F” or had to do with tech’s takeover of San Francisco.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stuart Shuffman, a.k.a. Broke-Ass Stuart, ran for Mayor against Lee in a 2015 election on a platform that included the protection of artists.\u003c/p>\n\u003cp>“When there are policies to help the rich get richer, you can’t be an artist in San Francisco anymore,” he says. “Art doesn’t come from the top. Art is a bottom-up thing. And when you push out all the working-class people, all the poor people and artists, you just get a boring-ass city.”\u003c/p>\n\u003cp>Lee should have been able to see the direct connection between his tech-friendly policies and artist displacement, Shuffman says — a stance shared by most artists he knows. “Ed Lee wasn’t out there personally evicting artists. I don’t think he was a bad person, and I’m sure he liked art and artists. But the policy of tech by any means necessary was harmful to the city.” \u003c/p>\n\u003cfigure id=\"attachment_13809567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg\" alt=\"\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13809567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Moscone at San Francisco Arts Advocacy Day in 2017. \u003ccite>(Pax Ahimsa Gethen / funcrunch.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That conclusion — that Lee was friendly to tech and thus an enemy to artists — is an oversimplified one, says Jonathan Moscone, civic engagement chief at the Yerba Buena Center for the Arts and son of the late mayor George Moscone.\u003c/p>\n\u003cp>“There are a lot of forces that make arts difficult to sustain, in \u003cem>any\u003c/em> city in this country,” says Moscone. “I don’t think it’s a one-to-one ratio that tech caused this, considering the complexity of issues that San Francisco faces.”\u003c/p>\n\u003cp>Moscone was the leading proponent of Prop. S, a \u003ca href=\"https://ww2.kqed.org/arts/2016/05/27/sf-arts-and-homeless-organizations-join-forces-to-secure-more-city-funding/\" rel=\"noopener\" target=\"_blank\">2016 hotel tax initiative\u003c/a> that would have restored lost funding for the arts. Lee did not come out publicly for the proposal, and it failed at the polls by a narrow margin. Despite that, Moscone says, he understands that Lee had other priorities, and “insofar as we were able to get his ear, he did love the arts, that was very clear.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Those in nonprofit arts organizations around the city echo the sentiment — that though Lee may not have loudly campaigned for the arts, he did understand their importance, and worked behind the scenes to mitigate the creative class’ exodus from San Francisco. Often that involved committees, meetings, boards, grants and other “not-so-sexy to the public” activities, says DeCaigny, but had tangible, and massive, results.\u003c/p>\n\u003cp>“One of his signature accomplishments was a historic \u003ca href=\"https://www.sfstation.com/2015/06/05/sf-commits-7-million-to-support-the-arts/\" rel=\"noopener\" target=\"_blank\">million-dollar increase to the Cultural Equity Endowment\u003c/a>. That’s the endowment that the Arts Commission manages that grants to both individual artists and small, mid-sized budget arts nonprofit organizations,” says DeCaigny of the 50-percent increase. “That endowment had been around for 20 years, so it’s something to say that it hadn’t been done before.”\u003c/p>\n\u003cp>Also as a result of that 2015 funding package, the \u003ca href=\"http://cast-sf.org/\" rel=\"noopener\" target=\"_blank\">Community Arts Stabilization Trust\u003c/a> (CAST) was able to secure long-term leases for both the Luggage Store Gallery and CounterPulse, both well-loved institutions. Moy Eng, CAST’s executive director, characterizes Lee’s approach with the funding package as “not just a kicking the can down the road, but finding a long-term and permanent solution.”\u003c/p>\n\u003cfigure id=\"attachment_11539534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-800x450.jpg\" alt=\"Equipto.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11539534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_.jpg 1595w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Equipto, hip-hop artist and member of the ‘Frisco Five’ who personally addressed Mayor Ed Lee in a widely shared video.\u003c/figcaption>\u003c/figure>\n\u003cp>And yet in San Francisco, those approaches — wonky, not easy to digest, full of bureaucracy — didn’t quell his critics. Perhaps the loudest artist expressing anger toward Lee was longtime San Francisco hip-hop artist Equipto, who confronted the mayor at Max’s Opera Cafe in 2015. “You have no heart, man,” the rapper told him in a \u003ca href=\"https://www.facebook.com/equipto415/videos/1033058506733989/\" rel=\"noopener\" target=\"_blank\">widely shared video\u003c/a>. “The people that built this city, you’re kickin’ ’em all out of here, man. You’re a part of it, I know you are.” \u003c/p>\n\u003cp>Equipto — part of a \u003ca href=\"http://wineandbowties.com/music/four-one-fivin-san-francisco-rap-aint-dead-yet/\" rel=\"noopener\" target=\"_blank\">dwindling hip-hop community\u003c/a> in San Francisco, where the black population \u003ca href=\"https://ww2.kqed.org/news/2015/10/26/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" rel=\"noopener\" target=\"_blank\">rapidly diminished under Lee\u003c/a> — did not respond to requests for comment. But his musical collaborator (and fellow \u003ca href=\"https://www.youtube.com/watch?v=6b2jsTGys8Y\" rel=\"noopener\" target=\"_blank\">Frisco Five\u003c/a> activist) Selassie took a \u003ca href=\"https://twitter.com/Sellassie/status/940682970993647616\" rel=\"noopener\" target=\"_blank\">conciliatory tone on Twitter\u003c/a>: “Even though we were adversaries in the ring of social justice in San Francisco, I respected him,” Selassie wrote. “Disagreed with him, but respected him as my elder. #RIP.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Terri Winston, executive director of Women’s Audio Mission, which teaches women recording and engineering skills, says Lee was especially helpful when Women’s Audio Mission faced displacement in 2014.\u003c/p>\n\u003cp>“His support helped us keep the only professional recording studio in the world run by women in San Francisco and set us on the road to permanently owning our facility — which we now do,” Winston writes in an email to KQED Arts. “Mayor Ed Lee understood the importance of amplifying the voices of young women and girls of color and how our work was changing their relationship to technology.”\u003c/p>\n\u003cfigure id=\"attachment_13817505\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-800x1200.jpg\" alt=\"Josette Melchor of Gray Area Foundation with Mayor Ed Lee in 2011.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13817505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josette Melchor of Gray Area Foundation with Mayor Ed Lee in 2011. \u003ccite>(Courtesy Josette Melchor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That intersection of arts and tech was key to Lee’s efforts to revitalize the Central Market district, which he sought to populate with arts organizations and tech companies alike. It is also central to the mission of the Gray Area Foundation — and Josette Melchor, Gray Area’s founder and director, says that when she started in the Tenderloin, Lee’s support was crucial in helping them get their first city grant.\u003c/p>\n\u003cp>“Gray Area had only been a nonprofit at that point for like two years,” Melchor says. “Taking a risk on a young entrepreneur is always really hard for a government official to do, but that signaled more support from other departments, which was instrumental to our growth.”\u003c/p>\n\u003cp>When Gray Area leased the former Grand Theater on Mission Street in 2014, “it took us two years to get our permits through because of the historical nature of the building, on top of the backlog of permits with the city,” Melchor says. “We were on the brink of throwing our hands up.” \u003c/p>\n\u003cp>Melchor emailed Lee with her plight, and Lee responded within an hour. “He immediately got his staff on task,” Melchor says. “I don’t know if our project would have even happened without Ed Lee stepping up.\u003c/p>\n\u003cp>“I know a lot of people have negative things to say about what he did to support tech companies. On the other side, I know he was supporting arts groups as well — but I guess it wasn’t as big of a headline.”\u003c/p>\n\u003cfigure id=\"attachment_13809447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/ABADA%CC%81-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-800x501.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"size-medium wp-image-13809447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-1180x739.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ABADÁ-Capoiera performs on the steps of City Hall during San Francisco Arts Advocacy Day in March. \u003ccite>(Pax Ahimsa Gethen / funcrunch.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the same Mission District neighborhood is Galería de la Raza, whose director Ani Rivera first met Lee when he was the director of public works during the establishment of the Calle 24 Latino Cultural District.\u003c/p>\n\u003cp>“What I want to really honor and celebrate was his commitment to keeping San Francisco a sanctuary city,” Rivera says. In addition to his housing department’s \u003ca href=\"http://sfmayor.org/article/mayor-lee-announces-funding-small-site-acquisition-program-protect-longtime-san-francisco\" rel=\"noopener\" target=\"_blank\">Small Site Acquisition Program\u003c/a> for long-term residents, which directly helped Rivera stay in her home, it was Lee’s understanding that art and culture weren’t mutually exclusive that drove his neighborhood approach, says Rivera. “It was part of keeping people in place, and securing culture.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>“Securing culture” isn’t exactly how other artists would characterize Lee’s tenure. \u003c/p>\n\u003cp>“What’s always made this city special is the outsiders, and rebels, and people who never fit in anyplace else,” Shuffman says. “And under Ed Lee’s tenure, that was killed. You can’t be an artist in San Francisco anymore.”\u003c/p>\n\u003cp>Shuffman points to the many artists “living in warehouses or making stencils in their living rooms” who never had the benefit of grant writers and thus were forced to leave, eroding the cultural fabric of the city.\u003c/p>\n\u003cp>“While there has been criticism about the social fabric of the city, particularly with the influx of tech workers here, it’s tough to be the mayor,” says SFJAZZ’s executive director, Randall Kline. “It’s a no-win thing.” (The well-known artist \u003ca href=\"https://sillypinkbunnies.com/\" rel=\"noopener\" target=\"_blank\">Jeremy Fish\u003c/a>, who once had a day proclaimed in his honor by Lee while an \u003ca href=\"https://ww2.kqed.org/arts/2015/11/23/san-francisco-city-hall-illustrated-by-the-playful-provocative-jeremy-fish/\" rel=\"noopener\" target=\"_blank\">artist-in-residence at City Hall\u003c/a> for its centennial, says simply: “I don’t think people understand how hard a job that guy had.”)\u003c/p>\n\u003cfigure id=\"attachment_13817502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-800x450.jpg\" alt=\"Mayor Ed Lee speaks at a groundbreaking ceremony for SFJAZZ's new performance space and center in May 2011.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13817502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Ed Lee speaks at a groundbreaking ceremony for SFJAZZ’s new performance space and center in May 2011. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At least for SFJAZZ, Lee was a key part of the SFJAZZ Center being built and opening in Hayes Valley in 2013. “It was not an easy project to embark upon,” says Kline, recalling how the mayor swung a sledgehammer at the groundbreaking and helped push the project through. “We owe him a great deal of gratitude for that.”\u003c/p>\n\u003cp>With many jazz musicians having had to move to the East Bay or beyond, “One of the things I’m most concerned about is housing for artists,” Kline says.\u003c/p>\n\u003cp>“I believe there were things brewing to make the city more affordable for artists, more livable for artists,” Kline says. “And it’s such a shame, because if the right project were put in front of him, I know he’d support it.”\u003c/p>\n\u003cp>That complexity, of weighing so many priorities in a city facing myriad issues, is echoed by YBCA’s Jonathan Moscone.\u003c/p>\n\u003cp>“I’m just sad,” says Moscone, “that we lost a mayor who was really trying his best, in a very difficult context, to do right by a lot of constituents.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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\n",
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"excerpt": "While San Francisco artists faced unprecedented displacement and eviction, the mayor increased funding for many arts organizations.",
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"title": "Will Ed Lee be Remembered as an Arts Advocate? It's Complicated | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday night, Dec. 8, Mayor Ed Lee was at Stevens Books in the Excelsior District of San Francisco, viewing the work of artist Aaron de la Cruz and talking with other artists who’d created storefront installations funded by the city. \u003c/p>\n\u003cp>Tom DeCaigny, cultural affairs director for the San Francisco Arts Commission, saw the mayor there that night. According to DeCaigny, Lee’s regular appearances at this and other local arts events prove the importance of the arts to the mayor, who suffered a heart attack and died Monday evening at age 65.\u003c/p>\n\u003cp>“I think he really saw the value of arts and culture, particularly at the neighborhood level,” DeCaigny says. “Many people have spoken about how he wasn’t a flashy politician. He much preferred meeting with a local artist, in a local storefront — and that’s where he was, late into the evening just last Friday, before he passed.”\u003c/p>\n\u003cfigure id=\"attachment_13817503\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1020x1530.jpg\" alt=\"Mayor Ed Lee at a groundbreaking ceremony for SFJAZZ's new performance space and center in May 2011.\" width=\"640\" height=\"960\" class=\"size-large wp-image-13817503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat.jpg 1285w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Ed Lee at a groundbreaking ceremony for SFJAZZ’s new performance space and center in May 2011. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such stories about Lee’s embrace of the arts, however, clash with a prevailing narrative in San Francisco’s creative community: specifically, that Lee’s tech- and developer-friendly policies sparked rent increases, low vacancy rates, and evictions that cumulatively pushed artists out of the city.\u003c/p>\n\u003cp>A 2015 survey from DeCaigny’s own San Francisco Arts Commission (SFAC) showed that of 600 artists polled, \u003ca href=\"https://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" rel=\"noopener\" target=\"_blank\">70 percent had been displaced\u003c/a> from their home or studio. (Multiple artists contacted for this piece did not want to go on the record, citing Lee’s too-recent death, before unleashing a string of words that either started with “F” or had to do with tech’s takeover of San Francisco.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stuart Shuffman, a.k.a. Broke-Ass Stuart, ran for Mayor against Lee in a 2015 election on a platform that included the protection of artists.\u003c/p>\n\u003cp>“When there are policies to help the rich get richer, you can’t be an artist in San Francisco anymore,” he says. “Art doesn’t come from the top. Art is a bottom-up thing. And when you push out all the working-class people, all the poor people and artists, you just get a boring-ass city.”\u003c/p>\n\u003cp>Lee should have been able to see the direct connection between his tech-friendly policies and artist displacement, Shuffman says — a stance shared by most artists he knows. “Ed Lee wasn’t out there personally evicting artists. I don’t think he was a bad person, and I’m sure he liked art and artists. But the policy of tech by any means necessary was harmful to the city.” \u003c/p>\n\u003cfigure id=\"attachment_13809567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg\" alt=\"\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13809567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Moscone at San Francisco Arts Advocacy Day in 2017. \u003ccite>(Pax Ahimsa Gethen / funcrunch.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That conclusion — that Lee was friendly to tech and thus an enemy to artists — is an oversimplified one, says Jonathan Moscone, civic engagement chief at the Yerba Buena Center for the Arts and son of the late mayor George Moscone.\u003c/p>\n\u003cp>“There are a lot of forces that make arts difficult to sustain, in \u003cem>any\u003c/em> city in this country,” says Moscone. “I don’t think it’s a one-to-one ratio that tech caused this, considering the complexity of issues that San Francisco faces.”\u003c/p>\n\u003cp>Moscone was the leading proponent of Prop. S, a \u003ca href=\"https://ww2.kqed.org/arts/2016/05/27/sf-arts-and-homeless-organizations-join-forces-to-secure-more-city-funding/\" rel=\"noopener\" target=\"_blank\">2016 hotel tax initiative\u003c/a> that would have restored lost funding for the arts. Lee did not come out publicly for the proposal, and it failed at the polls by a narrow margin. Despite that, Moscone says, he understands that Lee had other priorities, and “insofar as we were able to get his ear, he did love the arts, that was very clear.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Those in nonprofit arts organizations around the city echo the sentiment — that though Lee may not have loudly campaigned for the arts, he did understand their importance, and worked behind the scenes to mitigate the creative class’ exodus from San Francisco. Often that involved committees, meetings, boards, grants and other “not-so-sexy to the public” activities, says DeCaigny, but had tangible, and massive, results.\u003c/p>\n\u003cp>“One of his signature accomplishments was a historic \u003ca href=\"https://www.sfstation.com/2015/06/05/sf-commits-7-million-to-support-the-arts/\" rel=\"noopener\" target=\"_blank\">million-dollar increase to the Cultural Equity Endowment\u003c/a>. That’s the endowment that the Arts Commission manages that grants to both individual artists and small, mid-sized budget arts nonprofit organizations,” says DeCaigny of the 50-percent increase. “That endowment had been around for 20 years, so it’s something to say that it hadn’t been done before.”\u003c/p>\n\u003cp>Also as a result of that 2015 funding package, the \u003ca href=\"http://cast-sf.org/\" rel=\"noopener\" target=\"_blank\">Community Arts Stabilization Trust\u003c/a> (CAST) was able to secure long-term leases for both the Luggage Store Gallery and CounterPulse, both well-loved institutions. Moy Eng, CAST’s executive director, characterizes Lee’s approach with the funding package as “not just a kicking the can down the road, but finding a long-term and permanent solution.”\u003c/p>\n\u003cfigure id=\"attachment_11539534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-800x450.jpg\" alt=\"Equipto.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11539534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_.jpg 1595w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Equipto, hip-hop artist and member of the ‘Frisco Five’ who personally addressed Mayor Ed Lee in a widely shared video.\u003c/figcaption>\u003c/figure>\n\u003cp>And yet in San Francisco, those approaches — wonky, not easy to digest, full of bureaucracy — didn’t quell his critics. Perhaps the loudest artist expressing anger toward Lee was longtime San Francisco hip-hop artist Equipto, who confronted the mayor at Max’s Opera Cafe in 2015. “You have no heart, man,” the rapper told him in a \u003ca href=\"https://www.facebook.com/equipto415/videos/1033058506733989/\" rel=\"noopener\" target=\"_blank\">widely shared video\u003c/a>. “The people that built this city, you’re kickin’ ’em all out of here, man. You’re a part of it, I know you are.” \u003c/p>\n\u003cp>Equipto — part of a \u003ca href=\"http://wineandbowties.com/music/four-one-fivin-san-francisco-rap-aint-dead-yet/\" rel=\"noopener\" target=\"_blank\">dwindling hip-hop community\u003c/a> in San Francisco, where the black population \u003ca href=\"https://ww2.kqed.org/news/2015/10/26/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" rel=\"noopener\" target=\"_blank\">rapidly diminished under Lee\u003c/a> — did not respond to requests for comment. But his musical collaborator (and fellow \u003ca href=\"https://www.youtube.com/watch?v=6b2jsTGys8Y\" rel=\"noopener\" target=\"_blank\">Frisco Five\u003c/a> activist) Selassie took a \u003ca href=\"https://twitter.com/Sellassie/status/940682970993647616\" rel=\"noopener\" target=\"_blank\">conciliatory tone on Twitter\u003c/a>: “Even though we were adversaries in the ring of social justice in San Francisco, I respected him,” Selassie wrote. “Disagreed with him, but respected him as my elder. #RIP.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Terri Winston, executive director of Women’s Audio Mission, which teaches women recording and engineering skills, says Lee was especially helpful when Women’s Audio Mission faced displacement in 2014.\u003c/p>\n\u003cp>“His support helped us keep the only professional recording studio in the world run by women in San Francisco and set us on the road to permanently owning our facility — which we now do,” Winston writes in an email to KQED Arts. “Mayor Ed Lee understood the importance of amplifying the voices of young women and girls of color and how our work was changing their relationship to technology.”\u003c/p>\n\u003cfigure id=\"attachment_13817505\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-800x1200.jpg\" alt=\"Josette Melchor of Gray Area Foundation with Mayor Ed Lee in 2011.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13817505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josette Melchor of Gray Area Foundation with Mayor Ed Lee in 2011. \u003ccite>(Courtesy Josette Melchor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That intersection of arts and tech was key to Lee’s efforts to revitalize the Central Market district, which he sought to populate with arts organizations and tech companies alike. It is also central to the mission of the Gray Area Foundation — and Josette Melchor, Gray Area’s founder and director, says that when she started in the Tenderloin, Lee’s support was crucial in helping them get their first city grant.\u003c/p>\n\u003cp>“Gray Area had only been a nonprofit at that point for like two years,” Melchor says. “Taking a risk on a young entrepreneur is always really hard for a government official to do, but that signaled more support from other departments, which was instrumental to our growth.”\u003c/p>\n\u003cp>When Gray Area leased the former Grand Theater on Mission Street in 2014, “it took us two years to get our permits through because of the historical nature of the building, on top of the backlog of permits with the city,” Melchor says. “We were on the brink of throwing our hands up.” \u003c/p>\n\u003cp>Melchor emailed Lee with her plight, and Lee responded within an hour. “He immediately got his staff on task,” Melchor says. “I don’t know if our project would have even happened without Ed Lee stepping up.\u003c/p>\n\u003cp>“I know a lot of people have negative things to say about what he did to support tech companies. On the other side, I know he was supporting arts groups as well — but I guess it wasn’t as big of a headline.”\u003c/p>\n\u003cfigure id=\"attachment_13809447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/ABADA%CC%81-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-800x501.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"size-medium wp-image-13809447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-1180x739.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ABADÁ-Capoiera performs on the steps of City Hall during San Francisco Arts Advocacy Day in March. \u003ccite>(Pax Ahimsa Gethen / funcrunch.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the same Mission District neighborhood is Galería de la Raza, whose director Ani Rivera first met Lee when he was the director of public works during the establishment of the Calle 24 Latino Cultural District.\u003c/p>\n\u003cp>“What I want to really honor and celebrate was his commitment to keeping San Francisco a sanctuary city,” Rivera says. In addition to his housing department’s \u003ca href=\"http://sfmayor.org/article/mayor-lee-announces-funding-small-site-acquisition-program-protect-longtime-san-francisco\" rel=\"noopener\" target=\"_blank\">Small Site Acquisition Program\u003c/a> for long-term residents, which directly helped Rivera stay in her home, it was Lee’s understanding that art and culture weren’t mutually exclusive that drove his neighborhood approach, says Rivera. “It was part of keeping people in place, and securing culture.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>“Securing culture” isn’t exactly how other artists would characterize Lee’s tenure. \u003c/p>\n\u003cp>“What’s always made this city special is the outsiders, and rebels, and people who never fit in anyplace else,” Shuffman says. “And under Ed Lee’s tenure, that was killed. You can’t be an artist in San Francisco anymore.”\u003c/p>\n\u003cp>Shuffman points to the many artists “living in warehouses or making stencils in their living rooms” who never had the benefit of grant writers and thus were forced to leave, eroding the cultural fabric of the city.\u003c/p>\n\u003cp>“While there has been criticism about the social fabric of the city, particularly with the influx of tech workers here, it’s tough to be the mayor,” says SFJAZZ’s executive director, Randall Kline. “It’s a no-win thing.” (The well-known artist \u003ca href=\"https://sillypinkbunnies.com/\" rel=\"noopener\" target=\"_blank\">Jeremy Fish\u003c/a>, who once had a day proclaimed in his honor by Lee while an \u003ca href=\"https://ww2.kqed.org/arts/2015/11/23/san-francisco-city-hall-illustrated-by-the-playful-provocative-jeremy-fish/\" rel=\"noopener\" target=\"_blank\">artist-in-residence at City Hall\u003c/a> for its centennial, says simply: “I don’t think people understand how hard a job that guy had.”)\u003c/p>\n\u003cfigure id=\"attachment_13817502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-800x450.jpg\" alt=\"Mayor Ed Lee speaks at a groundbreaking ceremony for SFJAZZ's new performance space and center in May 2011.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13817502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Ed Lee speaks at a groundbreaking ceremony for SFJAZZ’s new performance space and center in May 2011. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At least for SFJAZZ, Lee was a key part of the SFJAZZ Center being built and opening in Hayes Valley in 2013. “It was not an easy project to embark upon,” says Kline, recalling how the mayor swung a sledgehammer at the groundbreaking and helped push the project through. “We owe him a great deal of gratitude for that.”\u003c/p>\n\u003cp>With many jazz musicians having had to move to the East Bay or beyond, “One of the things I’m most concerned about is housing for artists,” Kline says.\u003c/p>\n\u003cp>“I believe there were things brewing to make the city more affordable for artists, more livable for artists,” Kline says. “And it’s such a shame, because if the right project were put in front of him, I know he’d support it.”\u003c/p>\n\u003cp>That complexity, of weighing so many priorities in a city facing myriad issues, is echoed by YBCA’s Jonathan Moscone.\u003c/p>\n\u003cp>“I’m just sad,” says Moscone, “that we lost a mayor who was really trying his best, in a very difficult context, to do right by a lot of constituents.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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\n\u003c/div>\u003c/p>",
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"slug": "through-blips-and-beeps-visionary-synth-engineer-don-buchla-lives-on",
"title": "Through Blips and Beeps, Visionary Synth Engineer Don Buchla Lives On",
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"headTitle": "Through Blips and Beeps, Visionary Synth Engineer Don Buchla Lives On | KQED",
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"content": "\u003cp>Don Buchla isn’t exactly a household name, but that’s changing, slowly but surely. Buchla, who was born outside Los Angeles and spent the majority of his life in Berkeley until his death in September 2016, was an engineer and inventor whose pioneering synthesizer designs and electronic instruments made an indelible mark on contemporary music-making, the extent and depth of which we’re only beginning to understand fully.\u003c/p>\n\u003cp>To celebrate his life and legacy, the longstanding San Francisco-based audio research organization Recombinant Media Labs (aka RML) joins forces with Obscura Digital, the Associates of Don Buchla, and local nonprofit Gray Area to host the Don Buchla Memorial Concerts on Saturday, April 22 and Sunday, April 23. The two days and nights of electronic and synthesizer music, performed at Gray Area’s theater in San Francisco, will be helmed by none other than grandfather of Buchla-based electronic music himself, Morton Subotnick.\u003c/p>\n\u003cp>Subotnick and Buchla are inextricable; in fact, it was at Subotnick’s behest during the early days of the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Tape_Music_Center\" target=\"_blank\" rel=\"noopener\">San Francisco Tape Music Center \u003c/a>(which Subotnick co-founded) that Buchla designed his first synthesizer, the Buchla 100 series, which Subotnick used to record his first electronic composition, \u003cem>Silver Apples of the Moon.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3G1hRNLlYpg\u003c/p>\n\u003cp>Unlike Moog synthesizers, developed contemporaneously with Buchla’s on the opposite end of the country, Buchla’s instruments were designed to be obtuse — they lacked a keyboard, notably. \u003ca href=\"http://daily.redbullmusicacademy.com/2016/10/instrumental-instruments-buchla\" target=\"_blank\" rel=\"noopener\">Recounts Subotnick\u003c/a>: “[Buchla] wanted to make a musical instrument. I said, ‘This is not a musical instrument. This is, at best, an instrument to make instruments. It’s to paint.’ … I didn’t want to reproduce the old way to make music, which was pitch-based orientation. I wanted it to be gesturally based.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This in-built obtuseness was a blessing — and a curse, because the difficulty of using Buchla’s instruments meant they were commercial failures. If we consider Don Buchla and Robert Moog to have waged a war of design philosophy (“esoteric” vs. “accessible,” reductively), Moog was the clear winner: “Moog” is practically synonymous with “synthesizer” the way, say, Kleenex is with tissue. His products dominated the market — and, summarily, the way electronic music sounds.\u003c/p>\n\u003cfigure id=\"attachment_13073902\" class=\"wp-caption aligncenter\" style=\"max-width: 799px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13073902\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg\" alt=\"Morton Subotnick\" width=\"799\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-375x199.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-520x276.jpg 520w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Morton Subotnick \u003ccite>(Misha Vladimirsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it proved a blessing for those artists and musicians willing to do the work necessary to learn how to wrangle Buchla’s instruments. Electronic music innovator Suzanne Ciani used a Buchla synthesizer to create one of the most recognizable jingles ever made, the Coca Cola “Pop ‘n Pour,” which is simply the magic of Buchla at work — no cans of Coke were cracked open in its recording.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bT5qTY83aMI\u003c/p>\n\u003cp>The Buchla Memorial Concerts feature a staggering number of renowned electronic musicians, including rare appearances by both Subotnick and Ciani, and feature day-into-evening schedules on both Saturday and Sunday. For this author, Sunday is the standout, featuring headlining performances from Ciani and two of electronic music’s most thrilling contemporaries, Keith Fullerton Whitman and Alessandro Cortini, both of whom manage to coax sounds out of their synthesizers that sound truly like nothing else on this Earth.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hrpJJdH9xfQ\u003c/p>\n\u003cp>Above all, these concerts pay homage to the Bay Area’s numerous electronic music pioneers, who pushed boundaries and realized their visions to the fullest possible extent. Let us celebrate them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://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>The Don Buchla Memorial Concerts are ongoing from Saturday, April 22 through Sunday, April 23. \u003ca href=\"http://grayarea.org/event/don-buchla-memorial-concerts/\" target=\"_blank\" rel=\"noopener\">Specific performance times, tickets ($25 and up) and more info here. \u003c/a>\u003c/em>\u003c/p>\n\n",
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"excerpt": "With an eclectic slate of synthesizer performances, electronic music pioneers pay tribute to the legendary Bay Area engineer and inventor.",
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"title": "Through Blips and Beeps, Visionary Synth Engineer Don Buchla Lives On | KQED",
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"headline": "Through Blips and Beeps, Visionary Synth Engineer Don Buchla Lives On",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don Buchla isn’t exactly a household name, but that’s changing, slowly but surely. Buchla, who was born outside Los Angeles and spent the majority of his life in Berkeley until his death in September 2016, was an engineer and inventor whose pioneering synthesizer designs and electronic instruments made an indelible mark on contemporary music-making, the extent and depth of which we’re only beginning to understand fully.\u003c/p>\n\u003cp>To celebrate his life and legacy, the longstanding San Francisco-based audio research organization Recombinant Media Labs (aka RML) joins forces with Obscura Digital, the Associates of Don Buchla, and local nonprofit Gray Area to host the Don Buchla Memorial Concerts on Saturday, April 22 and Sunday, April 23. The two days and nights of electronic and synthesizer music, performed at Gray Area’s theater in San Francisco, will be helmed by none other than grandfather of Buchla-based electronic music himself, Morton Subotnick.\u003c/p>\n\u003cp>Subotnick and Buchla are inextricable; in fact, it was at Subotnick’s behest during the early days of the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Tape_Music_Center\" target=\"_blank\" rel=\"noopener\">San Francisco Tape Music Center \u003c/a>(which Subotnick co-founded) that Buchla designed his first synthesizer, the Buchla 100 series, which Subotnick used to record his first electronic composition, \u003cem>Silver Apples of the Moon.\u003c/em>\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/3G1hRNLlYpg'\n title='//www.youtube.com/embed/3G1hRNLlYpg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Unlike Moog synthesizers, developed contemporaneously with Buchla’s on the opposite end of the country, Buchla’s instruments were designed to be obtuse — they lacked a keyboard, notably. \u003ca href=\"http://daily.redbullmusicacademy.com/2016/10/instrumental-instruments-buchla\" target=\"_blank\" rel=\"noopener\">Recounts Subotnick\u003c/a>: “[Buchla] wanted to make a musical instrument. I said, ‘This is not a musical instrument. This is, at best, an instrument to make instruments. It’s to paint.’ … I didn’t want to reproduce the old way to make music, which was pitch-based orientation. I wanted it to be gesturally based.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This in-built obtuseness was a blessing — and a curse, because the difficulty of using Buchla’s instruments meant they were commercial failures. If we consider Don Buchla and Robert Moog to have waged a war of design philosophy (“esoteric” vs. “accessible,” reductively), Moog was the clear winner: “Moog” is practically synonymous with “synthesizer” the way, say, Kleenex is with tissue. His products dominated the market — and, summarily, the way electronic music sounds.\u003c/p>\n\u003cfigure id=\"attachment_13073902\" class=\"wp-caption aligncenter\" style=\"max-width: 799px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13073902\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg\" alt=\"Morton Subotnick\" width=\"799\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-375x199.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-520x276.jpg 520w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Morton Subotnick \u003ccite>(Misha Vladimirsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it proved a blessing for those artists and musicians willing to do the work necessary to learn how to wrangle Buchla’s instruments. Electronic music innovator Suzanne Ciani used a Buchla synthesizer to create one of the most recognizable jingles ever made, the Coca Cola “Pop ‘n Pour,” which is simply the magic of Buchla at work — no cans of Coke were cracked open in its recording.\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/bT5qTY83aMI'\n title='//www.youtube.com/embed/bT5qTY83aMI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Buchla Memorial Concerts feature a staggering number of renowned electronic musicians, including rare appearances by both Subotnick and Ciani, and feature day-into-evening schedules on both Saturday and Sunday. For this author, Sunday is the standout, featuring headlining performances from Ciani and two of electronic music’s most thrilling contemporaries, Keith Fullerton Whitman and Alessandro Cortini, both of whom manage to coax sounds out of their synthesizers that sound truly like nothing else on this Earth.\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/hrpJJdH9xfQ'\n title='//www.youtube.com/embed/hrpJJdH9xfQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Above all, these concerts pay homage to the Bay Area’s numerous electronic music pioneers, who pushed boundaries and realized their visions to the fullest possible extent. Let us celebrate them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://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>The Don Buchla Memorial Concerts are ongoing from Saturday, April 22 through Sunday, April 23. \u003ca href=\"http://grayarea.org/event/don-buchla-memorial-concerts/\" target=\"_blank\" rel=\"noopener\">Specific performance times, tickets ($25 and up) and more info here. \u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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