Syracuse Cultural Workers still here after 27 years

Nancy Keefe Rhodes 12/18/09More articles
Syracuse Cultural Workers 2009 NKR
Syracuse Cultural Workers 2009 NKR
10 images in the Syracuse Cultural Workers 2009 NKR album

Curiously, for a city so many people seem to want to get out of, Syracuse gets some of its best reviews from its ex-pats. Jan Phillips is one of those, a photographer and author now based in San Diego. In 1982 she was one of the five co-founders of Syracuse Cultural Workers, called together by Dik Cool – Karen Kerney, Jack Manno and Linda Perla were the other original three – to carry on the annual Peace Calendar that the Syracuse Peace Council was abandoning after 11 years. The peace and justice publisher and distributor still creates the annual Peace Calendar with its “peoples’ history” annotations and now sells an ever-widening array of posters, cards, t-shirts, children’s item, buttons and stickers, books, flags and mugs. Syracuse Cultural Workers also operates an international mail-order business out of the building that houses its Tools for Change storefront and offices at 400 Lodi St., in what used to be Corona’s Restaurant, on the edge of the Hawley-Green historic district on the city’s near northeast side.

Last week Phillips said by telephone from San Diego, “If you didn’t get outside Syracuse you might not see the impact. I’ve been to 20 or 30 states doing workshops. We made a significant impact on schools, on U.S gay and lesbian culture, on women’s issues. Even in places you wouldn’t expect – Green Bay, Wisconsin, or South Dakota, or Wyoming – almost every classroom I’m in, there’s a poster on the wall that came from the Cultural Workers. The catalogue is carried in all the English-speaking countries. But the biggest thing was, we created space for artists who wanted to create work of consequence and get paid for it.”

Last Friday morning as a chill wind whipped the flags out front of Tools for Change, I also sat down for a wide-ranging conversation about the founding and evolution of Syracuse Cultural Workers with co-founders Dik Cool and Karen Kerney – Karen left for a period of years to devote herself to On the Rise Bakery – and associate publisher Donna Tarbania, who arrived in 1997. Midway through our conversation City Eagle editor Ellen Leahy joined us to take photos and we stopped for a tour of the building, after which we resumed the interview.

NKR: So – we’re here to talk about the roots of the Syracuse Cultural Workers. Dik, I understand that you and Karen were among the original five founders.

DIK: Well, you’d have to go back to the Peace Council and 1971, when we decided to put out the first Peace Calendar, working with local cartoonist Tom Peyer, who was in high school at the time, actually. You know, it was a very vital, vibrant time. Opposition to the Vietnam War was building and building. The Peace Council had five staff people and it’s never had five staff people again, I don’t think. In the same year we decided to do a number of cultural projects. One was the calendar, another was Plowshares [Crafts Fair]. I think we also did holiday cards. So I did the calendar for 11 years at the Peace Council. Karen joined the committee maybe four or five or six years in?

KAREN: ’76 was the first one I did a piece of art for, maybe. Or maybe the earlier one, the Peoples’ History. And I had house-mates – Bill McDowell, who was doing some hand-lettering for these publications. I had recently graduated form college and recently lost a job and was very accustomed to getting up in the morning and going some place. And I had done some work with puppets and drawing and illustration. I turned up one day at the Peace Council with my suitcases and pretty much moved in.

DIK: Figuratively!

KAREN: It was a place with a welcoming atmosphere. I was, obviously, caught up in the movement against the war, and had already decided I didn’t want to take my skills as an artist to Madison Avenue and get caught up in selling hamburgers. So I wanted to plug in on a smaller scale, locally, and found a very receptive – black hole!

DIK: It was a match made in Heaven!

KAREN: I think of some of those evenings where the “Peace Newsletter” – you know, someone was typing the story on the side, you know, and pasting it down and I’m trying to draw a picture and someone would hit the table – you’d spend the whole night doing it and at eight o’clock in the morning we’d drive to Baldwinsville to the printer…

DIK: Once a month we did that! Regularly, yeah.

KAREN: It had its own excitement about it that kept it very sustainable.

DIK: The Peace Calendar went along until – 1981 was the last Peace Calendar that the Peace Council published. I left staff the same year and wasn’t quite sure what I was going to do. I had an inkling of what I wanted to do. And then this series of meetings went on where the Peace Council was deciding to not do the calendar. So – I think of the five founders, you and I were the only ones at that meeting, Karen? There was this meeting where the Peace Council – whoever was there – decided they weren’t going to do it. I was kind of prepared for that and was going to have some low-keyed discussions about continuing it in a different way, and Karen just said, “Well, we think we’re gonna do it!”

KAREN: No, I think I said, “Well if you guys aren’t gonna do it, then maybe we’ll do it.” And it was one of those, you know, right person in the right place at the right time who could just – from a little bit of an outsider’s perspective – can say that. And I think the Peace Calendar had lost money.

DIK: The previous year it had lost money.

KAREN: And there was a sentiment that, as a community-based peace and justice organization, should it be spending all its money and energy putting out this kind of work? Dik was very committed to it and I, just by association, had found an outlet for my creative energies. But I do remember – I had a Volkswagen at the time – getting in the car afterwards and we’re sitting there going, “Huh. What happened?” [All laugh.] So, we moved into Dik’s dining room and did some kitchen-table publishing.

DIK: Actually, for about six months we were in Dandelion in that front room there. And after a short time we moved into Grass Roots and slowly started taking over the first floor of Grass Roots. Linda [Perla] and I and her son were living there. She was one of the founders – and myself, Karen, Jack Manno and Jan Phillips. And we all gathered together recently at the ArtRage, for the 25th anniversary exhibit there. All we did for the first couple years, really, was the calendar. And 10 or 12 posters that had accumulated at the Peace Council that I had also been doing. We took over distribution of those. We did the Dandelion poster – “Disarmament Now” – for this huge disarmament demonstration at the U.N. in New York City in 1982. I always see that as the bridge because the five of us actually sat down and designed this poster. Before that the posters were just kind of helter-skelter. It was quite successful. It sold for three dollars in New York and we sold quite a few. But one of the reasons we did it was to pay off the debt that the previous calendar had incurred.

KAREN: And I think it represents a strong piece about both the calendar and the posters we produced – that collaborative process of really wanting to bring together many hearts and minds. So when we do publish something it represents a larger consciousness than an individual consciousness. Not that that’s always the best way to go, but when you’re working with a specific issue that may not have been have generated the art in the general public yet and you want to make this point. There was a collective aesthetic in the wording of it, in the researching – looking back at what was successful in the past – in really wanting to create fabulous tools and put them out there.

NKR: You call your store downstairs Tools for Change. How did that aesthetic take form – about the purpose of art in democracy?

KAREN: When I came on, the slogan was “Art with heart.” Which was good, except that a lot of the people who were submitting art to us – a lot of the artwork had hearts in it. At the same time we were getting next to the turn of the century, and Hank Strunk, who was quite a social activist, had started this process, “What’s in the tool box?” What do you need in your tool box for sustainable living, for sustainable societies? I liked that idea. We weren’t thinking forward and the late 20th century forced us to think forward in a way we hadn’t until now – that we were gonna be here for a while! Who was gonna carry on? This word “tools” – really something that you could put in your hand, put on your wall, and change hearts and minds.

DIK: I think there’s a connotation with “tools” of workers and we felt the “art with heart” had a little bit too “new age” feel to it. So the words “tools” and “change” combined – both of those elements came closer to what we wanted – to the progressive, left, feminist content to what we do.

DONNA: I think also activist – that was another key. A lot of what we produce – they’re intended to be visual tools to inspire people, to enroll people. We generate a lot of stuff but a lot of it comes to us, gets filtered through us and then sent back out.

NKR: I talked with Jan Phillips earlier in the week. She said that sometimes people really need to get outside Syracuse to see the impact of Syracuse Cultural Workers. When [City Eagle editor] Ellen [Leahy] and I were talking about this story, we said that people here may take the Cultural Workers for granted and not understand the roots or what it’s trying to do. Jan talked about the international impact and how this material is very much used to teach young people to see things a different way.

DONNA: Periodically we’ll get a letter or an email – we’re prominent in places you would expect us to be – the Twin Cities, or California, places that have a strong progressive history themselves. But we do make our way to places you would not expect. You know, a school in the conservative South or the “Bible belt.” People will call and say, “I got your catalogue in the mail. Thanks God you’re out there! I’m a minority here and what you’re putting out is so valuable. I feel supported, I feel part of the community that you generate even though it’s not local and physical.” So that’s actually one of the nicest things, getting feed-back like that.

[At this point we broke for some picturing-taking and a tour of the building, which provides a sense of SCW’s reach in the extensive, well-organized stock and shipment rooms. When we resumed talking, associate publisher Donna Tarbania spoke about how she had come on board from a background in “corporate America.”]

DONNA: …It became imperative that I have a more supportive environment in work and just stop banging my head against a wall, really. With people who thought the way I did – instead of being the only one who thought the way I did, which had been my experience. Karen was in On the Rise Bakery then [a whole-foods collective formerly in Armory Square downtown] and I used to go in there for tofu pizza for lunch. I was in a very male-dominated environment and I would go down there and just eat my slice of tofu pizza for 20 minutes and just, like, be able to sigh. Just feel like I wasn’t armed for battle. So when I left my job I went down there and said, “Hey, do you need a volunteer?” One of the women was going back to graduate school. They said, “Yeah, we do. You can volunteer and then you could actually, you know, be a partner.”

DIK: It’s pretty easy! [All laugh.]

KAREN: There’s no big waiting list!

DONNA: And so I learned to bake. That was 1993, I think, and I stayed at the bakery until it closed in 1997. So I just took off on a whole different path, which was a path that was very congenial to me. I have a history-liberal arts background but also I learned a lot in business. I have pretty good business sense, so I’m able to use both of those here.

KAREN: And a fabulous aesthetic.

NKR: So you started to talk before we actually went downstairs about some of the early art was not beautiful art, that it was angry art. Would you talk about that again?

KAREN: When I came into the Peace Council, the camaraderie and heart and soul of the place were fabulous. A welcoming place that didn’t put you down for not knowing that there were Israelis and Palestinians – who were having trouble! You know, Dik was very good at appreciating that we might not know the “peoples’ history” out there and he was willing to give you the background and something to ground new ideas in. The work at the time though – I ended up very involved in the anti-nuclear movement in the 70s – and when I think of some of the artwork that was coming in for us to consider for publication, it was amazing the number of pieces that had mushroom clouds, or this doom and gloom – this horrible world that we were creating. The black-and-whiteness of things. I think people were angry, frustrated. I remember Joanna Macy doing “despair workshops” for activists. The 765 KV lines were coming through the North Country. Nuclear power plants. Kind of, just – the burning of the soul.

NKR: It reminds me of some of the art that you began to see in Germany in the 20s and 30s.

KAREN: Yeah. Reflecting the anguish. Telling the story and spreading that anger. It’s not that we’re not supposed to be angry. We’ve got to learn how to be angry, not not to be angry. I think that fire that was burning in the art and in the movement at that time was transforming energy. What comes out when you are really given an opportunity to express that anger. You come out the other side and it’s not a new world, but you now have to take charge. You take charge of it and become the change. You can’t not move forward now, different. The transformation of fire and anger is powerful – it changed my life. The feminist movement also was big and Dik had started a project with holiday cards using very traditional women’s quilting patterns and quilts representing women’s art and the collective efforts of many pieces coming together to become strong and whole. To me it was the first germs of – that there was beauty here. That there are cultures and movements that go deeper than this nuclear madness. This contemporary thinking that there’s deeper roots that we can pull on and this feminist energy that comes from way back. That we can claim, re-format, translate and become. It gave me the energy to really look at the bakery and working together physically in a collective environment – it could’ve been bread, it could’ve been this or that. It was really that feeling of – no question, we are here, the time is now. Were going to take charge of the system, seize the means of production.

NKR: Last night Mark Rogovin said to me [at the ArtRage screening of the documentary about his father, photographer Milton Rogovin, whose exhibition is still up at the gallery] – I forget how we even began talking about this – but he said, “I understand that there was a little rupture – that Syracuse Cultural Workers wanted to turn this into a business, and some folks felt that the work of peace should not be the work of business.” When you say “to take charge of the means of production,” part of being responsible is forming new commercial enterprises. I wonder if you could talk about that – you really struck out to have this thing work, and that’s why this is now an international mail-order house.

DIK: When we began, I had virtually no business knowledge and almost a contempt for business – as many activists and progressives did at that point.

NKR: I remember when money was dirty.

DIK: Money was dirty. Exactly. I think to some extent young people have that feeling again but I don’t think they have it as badly as we did, if you want to put it that way. So from the first – from ’82 when we began to maybe ’86 or ’87 – we just kept growing and growing and growing. And we were doing all these other things. Like, we had a design service – we were doing design work for local organizations and charging almost nothing. We had a film series. We sponsored concerts under KKS Productions. We had two or three other things as well. We were getting money from the State Council on the Arts. Everything was losing money, virtually. So by ’88 or so, I had naively thought because our sales kept going up, our income was increasing. I thought, well, everything must be fine. How could it not be? Little did I realize that our expenses were going up even faster. I think around ’88 I finally talked to an accountant and she said – she is still our accountant – she said, “You should shut your doors immediately because every day you’re open you’re losing money.” And I said, “Well I don’t think I’m gonna do that.” [Laughs.] For the next three or four years it was pretty awful. Really. I had to get rid of everything we were doing other than the core publishing. That was the only thing that had a chance of making any money. We had staff of something like 14 and we went down to five. I realized we had to have a business department. We had a couple other business managers first, but John’s been here quite a long time now. I remember this one woman – her last name was Green – she was tough. She said, “Dik, you gotta do this and you gotta do that and you gotta do this!” “Okay! Okay!” [Laughs.] I never took any formal business training. I just talked to people and read stuff. Well! And listened to this woman who had a BMA. An MA. An MBA, right? Whatever that is!

NKR: It’s funny, we don’t know the letters of that! [All laugh.]

DIK: So finally, actually we began to turn a little bit of a corner, so from, say, ’92 to ’95 – when did you come?

DONNA: ’97.

DIK: We weren’t about to close but we were just hanging on. Then when Karen came back and she and Donna joined staff, that really was a turning point. A lot of people came in right about that time. In the early stages of the business, most of our posters we didn’t publish. We got them on consignment because I had figured out you could get stuff – we didn’t have any capital so it was hard to put money out. But on a consigned basis we didn’t pay until they were sold. Then sometimes we didn’t pay, actually, although we tried to. That was a way to build up what we were offering with a capital-poor operation. But it also sucks your profitability. And we also didn’t have control of the aesthetic. Obviously we were still putting out the calendar and several key products but the bulk of the products we weren’t designing. I decided we had to reverse that if we were ever going to be successful and laid out this, well, in five years I’d like to have 8 out of the top 10 posters we sell, we publish. We pretty much did that. And the “How to Build Community” poster and the alphabet poster were the two that started that. They allowed us to generate income from things other than the calendar.

NKR: So was there a rupture in the community?

KAREN: I don’t think so. I mean, there was some misunderstanding over the years – I would even call it “the Peace Council calendar.” It got a reputation as being connected to the peace community in Syracuse. With Syracuse Cultural Workers, there was a separation. But Dik had been staff there and now was managing this, so there was just some confusion. At some point when Cultural Workers turned a tide and began operating in the black, there was a new generation at the Peace Council going, “They stole our calendar” – you know, like that? Really didn’t have the whole story, fermented kind of a rift. But it was more with the Peace Council and the Cultural Workers. I think Dik’s vision was always that, being a grass-roots community-based organization, spend your time community organizing. We’re a publisher of peace and justice resources. You can wholesale the calendar and make a thousand dollars. You can use these resources. And I think in the last five or six years, there’s been a real kind of maturing. The Peace Council now relies on Cultural Workers to help them fund-raise, as do school programs and other groups around. Instead of selling chocolate, now it’s calendars, postcards –

DIK: We are in fact the major fund-raising source for the Peace Council.

NKR: It does strike me as a maturing. It’s a microcosm of what the whole movement has had to grapple with. Well, okay, what will it look like to do things differently and how will that be workable in the world?

DONNA: There was a lack of clarity within this business. Because we didn’t make a profit for ten years didn’t mean that we weren’t trying to. There was an expectation out there. Some people will recoil from you and say, “Well, you’re a non-profit, aren’t you?” And we say, “No, it’s a business.” “Oh.” Well, then you’re suddenly suspect, you’re tainted, your motives come into question – a little bit, with some people.

NKR: So you start out with this kind of early defiance that you’re not going to be run by “that world,” but then you can’t get down the street on your own. It is a microcosm.

KAREN: I felt it going from a renter to a home-owner. All of a sudden it was buying into a system, that somehow there was a wall there between being a happy little renter on the back 40 and all of a sudden a home-owner, a mortgage, there’s insurance. It was a very big step. Because I’d held out that was the problem – as opposed to home ownership being one of the solutions! You know, it gets people to stay in one place. I think some of the thinking we’re seeing too is that money is the grease, but it’s just that. It’s not the only thing. You’ve got that “triple bottom line,” which is people-planet-profits. We cannot do this unless there’s that grease.

DIK: And we provide actual jobs for people. We don’t have a ton of money, but people can live on their jobs here. We pay all of health insurance, even though it’s a struggle – given the ridiculous nature of the health care system. I have felt that those things are really important. When you minimize the impact of business and how it interacts with peoples’ lives, you’re not recognizing those things that are important to people. I think it’s much easier to do that when you’re young, when you don’t have kids, a house or whatever. We’ve chosen to take that path and we do recognize those needs.

KAREN: And the success of something broadly popular like the “How to Build Community” poster – you don’t have to be left to like that – allows us to underwrite other collaborations and other projects that may be more pointed but don’t make any money.

NKR: I mentioned the international impact – could you provide some specifics about how many states you go to, how many countries? What are we looking at? I think the shop downstairs is beautiful, but I think it’s going behind that door down there and seeing what this mail-order amounts to that opens one’s eyes to what you’re really up to here.

DONNA: We have both a retail and a wholesale distribution network throughout the U.S. and Canada, to the U.K. We also ship to Australia. And we’ll get somebody from Japan, now that we’re on the Internet with our web-store. We’re starting to get out there further afield. But we have a very solid base, that has changed over the years. When I first came on, Cultural Workers sold primarily through the feminist bookstore network and the network of gay and lesbian stores. But as those went by the wayside, we lost some big distributors at that time too – small press distributors. But those all crumbled as there was consolidation and some of those movements sort of ran their course. People didn’t feel the need so much for a specialty bookstore as those movements became more main-stream in what they were wanting to do and achieving. We sort of had to scramble for a while there. But when one order collapses, another rises up. So you have “fair trade” stores, food co-ops and places that wanted to carry “side-lines.” I think one of the main things we provide is a really edited collection around various activist issues. People don’t necessarily have accounts with small presses and bookstores and they don’t have the time to do that, but they look at two pages of children’s resources that they get from us and know that they all have an ethical underpinning. We have several hundred bookstores and the like throughout the U.S. and Canada. We have a list of about 25,000 – give or take – retail customers, going back… What’s our list?

DIK: Depends on how far back you go. It’s pushing 70,000 if you go back a long ways.

DONNA: So we have a list of incredibly faithful buyers. Because people feel an incredible connection and they talk about our catalogue being a magazine because there’s editorial comment with everything. They sit down and read it cover to cover or call and say, “I lost my magazine.” We mail a couple times a year. A fall book that’s completely re-made and then a spring book that’s a grab. We do shows. Dik has been developing the education market over the last dozen years. Teachers are looking for resources, in the younger grades particularly. The whole “peoples’ history” fits very nicely. When I first came on, all the business that Cultural Workers did was in October and November and December. Very consciously Dik and I sat down and said, “Okay, how are we gonna get some business in January?” We laid off people in the first quarter of the year. Again, the calendar and ties to the education market help because you’ve got Dr. King’s birthday in January, African American History Month in February, Women’s History Month in March – you’ve got things we can use through a themed year. We’re still very heavy in the last quarter of the year but we’ve done a lot better at balancing that.

DIK: The store here is not a significant portion of our income. Very tiny, in fact. I just want to add that first of all we don’t do any business with chains. We might consider it if they would agree to our terms, but they won’t. They want to rip you off, to take advantage of you – as they do with all small publishers. So occasionally we get an inquiry, usually from a sub-contractor – “Hey, I’m buying for Barnes & Noble. I know you wanna get on board with that, right?” Okay, what are you offering? And they come back, and it’s no way.

KAREN: And they want it over-packaged – cardboard, shrink-wrapped, all kind of stuff. That’s a little road we don’t want to go down.

DIK: Matter of fact I was looking at the calendars just at Plowshares, which is a selective grouping of calendars and a political one, and three-quarters of them were shrink-wrapped with cardboard stiffeners and didn’t have post-consumer content in them and were printed in Taiwan or Japan or Korea. That’s one of my pet peeves, actually. I could talk about that for a long time. These environmental organizations that don’t walk the talk. Just drives me crazy.

DONNA: By staying true to some core values, we finally have begun to reap some benefits. More people are paying attention. Something that’s made in an authentic way and you put out there honestly. Both the print products and the t-shirts. Many people call me and say, “What are your sources for non-sweatshop tees?” Having done all that research, we make that freely available.

DIK: I was at a party the other night and this woman was visiting a friend. She’s a librarian in Pennsylvania – librarians are big customers – and we talked for a while and she said she gets posters for the library, but she also goes through the catalogue and uses it as a filter for children’s books. I’m sure that’s a pattern.

NKR: This also provides work for artists. There’s a new book out by Roger Kennedy called “When Art Worked” and it’s about paying artists for public works during the Great Depression. I think what he’s really saying is, “We need to pay artists now too.” If we really want to jumpstart this economy.

KAREN: I think probably the Women Artists Datebook, probably more than any other tool right now, has been a vehicle for over 30 or 35 artists who get annually published. When I first started I wanted it to be that anyone published somewhere else couldn’t be published in the Women Artists Datebook. It would be their first published piece. I think once you get through that barrier as an artist, you have something that you take forward. You’ve established yourself. And it brings in a lot of nice energy. We put out an artists call annually. Coming in 2011, we’re looking at the 100th anniversary of International Women’s Day. We’re looking at many 50th anniversaries of the Civil Rights Movement. These become themes that people respond to. Certain artists – one in particular, Gene Penden in Canada – who we’ve approached twice now to illustrate an idea that we have, where there’s no artwork that exists. I get a lot of inquiries from artists about themes, who want to be inspired, who want to be asked to work to a theme.

NKR: I wanted to ask you your response to the Nobel speech yesterday.

KAREN: You know, until the Bush years, we did not get really involved in the national political scene or the individual players up there. I think we were focused on peoples’ history, we were focused on creating culture.

DIK: No, Reagan –

KAREN: Okay, well, personally! I was very focused – I feel we’ve been through the end-times. We’re on the other side. We’re building the world we want to live in. I think scale is an issue. I’ve been a community organizer type and I see that’s where change and healing, the good things, happen. So, I’m not running for president.

DONNA: I think it’s not so much that we don’t pay attention to leaders but that we choose not to make that our emphasis. We don’t subscribe to the “great man” theory of history. There are movements that are at cross purposes in the world. We want to support grass-roots movements. “Carry it on” was the slogan for many years. I haven’t read the Nobel speech. I’m of the camp that feels the prize was given as an expression of hope. And time will tell whether Obama takes us in a different direction than the Bush years. And I don’t know how possible it is. Personally, I don’t know that it’s possible for anyone to hold that office – I was saying to Dik after Obama made the Afghanistan speech – to vary more than 15 per cent from center in either direction. You know what I mean? There’s some channel there they’re operating in. And to shift that channel? Wow. That is the work of many years, and not of one man – or woman.

DIK: My feeling is we would try to affirm the positive things he’s doing and criticize the negative things. To push, push, push. I wanted to go back to this question of what I would call confrontational art versus aesthetic beautiful art. I think there were two considerations as the organization grew. One was financial. Essentially we can’t sell stuff that’s confrontational. People just don’t want to put it on their wall. Second, we made a kind of informal decision but it has evolved culturally to do things that are inspirational rather than confrontational. Sometimes those two things can come right together nicely, but sometimes they don’t. But we decided that’s more our role – to give people hope within the framework of progressive, feminist values. And other people do the other things and that’s fine.

NKR: There’s a little thin, very readable paperback book by Elaine Scarry that’s maybe ten years old called “On Beauty and Being Just” – which really would be a good book for you to carry – that’s the best working-out I have ever encountered about how people respond intuitively to beauty and want to replicate it and how that supports the development of a sense of justice.

DIK: Yes, that sounds like a book we might be interested in.

An abbreviated version of this article appeared in the 12/17/09 print edition of the Syracuse City Eagle on page 8. Visit the Syracuse Cultural Workers’ shop, Tools for Change, at 400 Lodi Street in Syracuse or online at See more about what Jan Phillips is up to these days at Read this and other coverage of the arts from Eagle Newspapers online at – click A&E. Nancy covers the arts and writes the film column “Make it Snappy.” Reach her at

EDITED: (12/19/09)
formatting correction

TAGS: Syracuse Cultural Workers, Syracuse publishing,Peace Calendar,On the Rise Bakery – and associate publisher Donna Tarbania,Nancy Keefe Rhodes,City Eagle,Ellen Leahy, Tools for Change,Dik Cool,Karen Kerney, Jack Manno,Linda Perla, Jan Phillips, Tom Peyer
EDITION: The Eagle

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