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"content": "\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170105.mp3\u003cbr>\n\u003c/aside>\n\u003cp>This week we feature the premiere of a new play from Oakland’s\u003ca href=\"http://www.lowerbottomplayaz.com\" target=\"_blank\" rel=\"noopener\"> Lower Bottom Playaz\u003c/a>, but there’s another scrappy little theater company making amazing work as it closes out its 2016 season. The \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Shotgun Players \u003c/a>in Berkeley are doing five shows in repertory, each one a winner. But their \u003cem>Hamlet\u003c/em> is a work of daredevil brilliance, with cast members learning which character they’ll play just before each performance. Catch them before the season ends on Jan. 15th.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Dx-Mho3qU2I\u003c/p>\n\u003cp>\u003cstrong>Jan. 9–11\u003c/strong>: Rock ‘n’ roll lost some great performers this past year, but others are still going strong, like \u003ca href=\"http://www.midgeure.co.uk/\" target=\"_blank\" rel=\"noopener\">Midge Ure\u003c/a>, formerly of Thin Lizzy, Rich Kids, and Ultravox. He’s also one of the masterminds, with Bob Geldof, of Live Aid, and the co-writer of “Do They Know it’s Christmas” — a rock ‘n’ roll Zelig. His charity work earned him an Order of the British Empire, and we’re grateful he keeps performing, despite some serious hearing issues. Ure’s shows in the Bay Area include Jan. 9 at Harlow’s in Sacramento (details \u003ca href=\"http://www.harlows.com/event/1319815-midge-ure-sacramento/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>); Jan. 10 at Petaluma’s Mystic Theatre (details \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6879695&pl=mystic\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>); and Jan. 11 at the Social Hall in San Francisco (details \u003ca href=\"http://www.socialhallsf.com/events/detail/314015\" target=\"_blank\" rel=\"noopener\">here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12585018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12585018 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg\" alt=\"Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of 'Mama at Twilight' at the Flight Deck in Oakland\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1020x630.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1920x1185.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-960x593.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-520x321.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of ‘Mama at Twilight’ at the Flight Deck in Oakland. \u003ccite>(Photo: Tasin Sabir/Lower Bottom Playaz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–29\u003c/strong>: The \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">Lower Bottom Playaz\u003c/a> is one of the groups keeping theater — and theater training — alive in Oakland (along with the \u003ca href=\"http://www.ubuntutheaterproject.com/our-season\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a> and \u003ca href=\"http://www.grittycityrep.org/\" target=\"_blank\" rel=\"noopener\">Gritty City Repertory\u003c/a>). In keeping with their mission to critically examine the lives of people in the inner city, the Playaz are staging an insightful world premiere by founder and company director Ayodele Nzinga.\u003cem> Mama at Twilight: Death by Love\u003c/em> is a play about HIV, incarceration and health care, just in time for the Republican-controlled Congress to show us how much health care, or its absence, matters in America today. Details for the play at Oakland’s Flight Deck are \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vO2URhI_AEk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 6\u003c/strong>: \u003ca href=\"http://www.esandresky.com/\" target=\"_blank\" rel=\"noopener\">Eleonor Sandresky\u003c/a> is on the cutting edge of the avant-garde. She’s a New York-based pianist who’s trying on some new ideas in music and clothing, with what she calls her “Wonder Suit.” This is wearable tech that does more than just track your footsteps. The suit, as you can see in the video above, lets Sandresky integrate live electronics with her movements. Okay, so the Bay Area’s \u003ca href=\"http://www.pamelaz.com/\" target=\"_blank\" rel=\"noopener\">Pamela Z\u003c/a> and Derrique McGee have been playing with these ideas for years. But Sandresky brings her New York sensibility to a new work in which she integrates live piano with recorded space sounds from NASA, taking us, we hope, to a deep listening space. Details for her show at the Center for New Music are \u003ca href=\"http://centerfornewmusic.com/calendar/prism-series-presents-the-wonder-suit-show-a-space-odyssey/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12585219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12585219\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg\" alt=\"Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1920x1312.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1180x806.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-960x656.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair. \u003ccite>(Photo: Courtesy of Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–14\u003c/strong>: The FOG Design+Art Fair is back at Fort Mason for the fourth year. This is a design and art showcase for the whole west coast, and a Bay Area response to the boom in art fairs around the world. This one is carefully curated, with just a few dozen exhibitors from the worlds of art and design. Among the programs is \u003cem>Designing a Legacy: Female Game Changers in Art and Culture\u003c/em>, a panel including Cheryl Haines of the For-Site Foundation and Stephanie Hanor from the Mills College Museum; a conversation with artist and designer Tomás Saraceno, and much more. Details for the fair (tickets are $20 in advance) at Fort Mason are \u003ca href=\"https://fogfair.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-AVifTdjtvE&t=346s\u003c/p>\n\u003cp>\u003cstrong>Jan. 12–29:\u003c/strong> \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a> is back, just in time to bring some humor and comedy to this dark time of year. We’ve got Patton Oswalt coming to town, closeup magician Ricky Jay (who is astonishingly weird and good), tributes to Tig Notaro (David put \u003cem>\u003ca href=\"https://www.amazon.com/One-Mississippi-Season-1/dp/B017APUVI8\" target=\"_blank\" rel=\"noopener\">One Mississippi\u003c/a>,\u003c/em> her new show on Amazon, on his \u003ca href=\"http://www.sfchronicle.com/tv/article/The-10-best-TV-shows-of-2016-and-2-more-10815761.php\" target=\"_blank\" rel=\"noopener\">10 Best List\u003c/a>), and more. There’s even a couple of shows aimed at the President-elect, with comedian Moshe Kahser doing a live podcast called \u003cem>Planning a Non-Violent Revolution in the Age of Trump\u003c/em>.\u003c/p>\n\u003cp>Sketchfest also features an evening of vaudeville hosted by Tony-winning clown \u003ca href=\"http://thebillirwin.com/\" target=\"_blank\" rel=\"noopener\">Bill Irwin\u003c/a>, who performs with his old clowning partner \u003ca href=\"https://en.wikipedia.org/wiki/Geoff_Hoyle\" target=\"_blank\" rel=\"noopener\">Geoff Hoyle\u003c/a> and guitarist \u003ca href=\"http://billfrisell.com/news\" target=\"_blank\" rel=\"noopener\">Bill Frisell\u003c/a>. Irwin is also in San Francisco for a one-man show at the American Conservatory Theater (ACT) about playwright \u003ca href=\"https://en.wikipedia.org/wiki/Samuel_Beckett\" target=\"_blank\" rel=\"noopener\">Samuel Beckett\u003c/a>. Irwin told me by phone that the two shows are deeply connected, because Beckett’s plays were a kind of metaphysical vaudeville. “He and his family went to the variety theater, watching music hall and vaudeville comics,” Irwin said. “He seemed to be, even in his most avant-garde work, alluding to a kind of circus and music hall and vaudeville tradition. And he asked for bowler hats and baggy pants (for the characters of Vladimir and Estragon in \u003cem>Waiting for Godot\u003c/em>).” Details for Sketchfest are \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for Irwin’s ACT performance \u003ca href=\"https://tickets.act-sf.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=A5AED901-EFAA-48AB-964C-2A1C7A7F67BB\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3De0E_1x1Rw\u003c/p>\n\u003cp>\u003cstrong>Jan. 7:\u003c/strong> A lot of people are still hurting as a result of the Ghost Ship Fire, and \u003ca href=\"https://ww2.kqed.org/arts/2016/07/21/women-to-watch-sarah-sexton/\" target=\"_blank\" rel=\"noopener\">Sarah Sexton\u003c/a> is producing a benefit concert at the \u003ca href=\"http://www.starlinesocialclub.com/#home-1\" target=\"_blank\" rel=\"noopener\">Starline Social Club \u003c/a>featuring \u003ca href=\"https://www.facebook.com/ritualsofmine/\" target=\"_blank\" rel=\"noopener\">Rituals of Mine\u003c/a>, \u003ca href=\"https://www.facebook.com/waxidols/\" target=\"_blank\" rel=\"noopener\">Wax Idols\u003c/a>, Kool A.D. and others. There will be an altar at the event for offerings from audience members that will later be moved to the site of the fire in Fruitvale. Details for the benefit are \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/7/ghost-ship-benefit-feat-rituals-of-mine-special-guests\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aPQb6XkxNL4\u003c/p>\n\u003cp>\u003cstrong>Jan. 19: \u003c/strong>Here’s a heads up for a show that will quickly sell out: \u003ca href=\"http://www.dodosmusic.net/\" target=\"_blank\" rel=\"noopener\">The Dodos\u003c/a> play a benefit for booker Annie Southworth at Bottom of the Hill. Let’s call it a \u003cstrong>CHEAP THRILL\u003c/strong>, $20 in advance for a good cause and a rare chance to see Meric Long and Logan Kroeber play amazing rock ‘n’ roll. \u003ca href=\"http://www.songkick.com/concerts/28697629-dodos-at-bottom-of-the-hill\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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": "Wonder woman Eleonor Sandresky and '80s survivor Midge Ure are just two of the Do List's many picks this week.",
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"title": "Cy and David's Picks: A Wonder Woman, Vaudeville at Sketchfest, and a Benefit with the Dodos | KQED",
"description": "Wonder woman Eleonor Sandresky and '80s survivor Midge Ure are just two of the Do List's many picks this week.",
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"headline": "Cy and David's Picks: A Wonder Woman, Vaudeville at Sketchfest, and a Benefit with the Dodos",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170105.mp3\u003cbr>\n\u003c/aside>\n\u003cp>This week we feature the premiere of a new play from Oakland’s\u003ca href=\"http://www.lowerbottomplayaz.com\" target=\"_blank\" rel=\"noopener\"> Lower Bottom Playaz\u003c/a>, but there’s another scrappy little theater company making amazing work as it closes out its 2016 season. The \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Shotgun Players \u003c/a>in Berkeley are doing five shows in repertory, each one a winner. But their \u003cem>Hamlet\u003c/em> is a work of daredevil brilliance, with cast members learning which character they’ll play just before each performance. Catch them before the season ends on Jan. 15th.\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/Dx-Mho3qU2I'\n title='//www.youtube.com/embed/Dx-Mho3qU2I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 9–11\u003c/strong>: Rock ‘n’ roll lost some great performers this past year, but others are still going strong, like \u003ca href=\"http://www.midgeure.co.uk/\" target=\"_blank\" rel=\"noopener\">Midge Ure\u003c/a>, formerly of Thin Lizzy, Rich Kids, and Ultravox. He’s also one of the masterminds, with Bob Geldof, of Live Aid, and the co-writer of “Do They Know it’s Christmas” — a rock ‘n’ roll Zelig. His charity work earned him an Order of the British Empire, and we’re grateful he keeps performing, despite some serious hearing issues. Ure’s shows in the Bay Area include Jan. 9 at Harlow’s in Sacramento (details \u003ca href=\"http://www.harlows.com/event/1319815-midge-ure-sacramento/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>); Jan. 10 at Petaluma’s Mystic Theatre (details \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6879695&pl=mystic\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>); and Jan. 11 at the Social Hall in San Francisco (details \u003ca href=\"http://www.socialhallsf.com/events/detail/314015\" target=\"_blank\" rel=\"noopener\">here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12585018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12585018 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg\" alt=\"Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of 'Mama at Twilight' at the Flight Deck in Oakland\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1020x630.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1920x1185.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-960x593.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-520x321.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of ‘Mama at Twilight’ at the Flight Deck in Oakland. \u003ccite>(Photo: Tasin Sabir/Lower Bottom Playaz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–29\u003c/strong>: The \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">Lower Bottom Playaz\u003c/a> is one of the groups keeping theater — and theater training — alive in Oakland (along with the \u003ca href=\"http://www.ubuntutheaterproject.com/our-season\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a> and \u003ca href=\"http://www.grittycityrep.org/\" target=\"_blank\" rel=\"noopener\">Gritty City Repertory\u003c/a>). In keeping with their mission to critically examine the lives of people in the inner city, the Playaz are staging an insightful world premiere by founder and company director Ayodele Nzinga.\u003cem> Mama at Twilight: Death by Love\u003c/em> is a play about HIV, incarceration and health care, just in time for the Republican-controlled Congress to show us how much health care, or its absence, matters in America today. Details for the play at Oakland’s Flight Deck are \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\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/vO2URhI_AEk'\n title='//www.youtube.com/embed/vO2URhI_AEk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 6\u003c/strong>: \u003ca href=\"http://www.esandresky.com/\" target=\"_blank\" rel=\"noopener\">Eleonor Sandresky\u003c/a> is on the cutting edge of the avant-garde. She’s a New York-based pianist who’s trying on some new ideas in music and clothing, with what she calls her “Wonder Suit.” This is wearable tech that does more than just track your footsteps. The suit, as you can see in the video above, lets Sandresky integrate live electronics with her movements. Okay, so the Bay Area’s \u003ca href=\"http://www.pamelaz.com/\" target=\"_blank\" rel=\"noopener\">Pamela Z\u003c/a> and Derrique McGee have been playing with these ideas for years. But Sandresky brings her New York sensibility to a new work in which she integrates live piano with recorded space sounds from NASA, taking us, we hope, to a deep listening space. Details for her show at the Center for New Music are \u003ca href=\"http://centerfornewmusic.com/calendar/prism-series-presents-the-wonder-suit-show-a-space-odyssey/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12585219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12585219\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg\" alt=\"Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1920x1312.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1180x806.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-960x656.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair. \u003ccite>(Photo: Courtesy of Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–14\u003c/strong>: The FOG Design+Art Fair is back at Fort Mason for the fourth year. This is a design and art showcase for the whole west coast, and a Bay Area response to the boom in art fairs around the world. This one is carefully curated, with just a few dozen exhibitors from the worlds of art and design. Among the programs is \u003cem>Designing a Legacy: Female Game Changers in Art and Culture\u003c/em>, a panel including Cheryl Haines of the For-Site Foundation and Stephanie Hanor from the Mills College Museum; a conversation with artist and designer Tomás Saraceno, and much more. Details for the fair (tickets are $20 in advance) at Fort Mason are \u003ca href=\"https://fogfair.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\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/-AVifTdjtvE'\n title='//www.youtube.com/embed/-AVifTdjtvE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 12–29:\u003c/strong> \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a> is back, just in time to bring some humor and comedy to this dark time of year. We’ve got Patton Oswalt coming to town, closeup magician Ricky Jay (who is astonishingly weird and good), tributes to Tig Notaro (David put \u003cem>\u003ca href=\"https://www.amazon.com/One-Mississippi-Season-1/dp/B017APUVI8\" target=\"_blank\" rel=\"noopener\">One Mississippi\u003c/a>,\u003c/em> her new show on Amazon, on his \u003ca href=\"http://www.sfchronicle.com/tv/article/The-10-best-TV-shows-of-2016-and-2-more-10815761.php\" target=\"_blank\" rel=\"noopener\">10 Best List\u003c/a>), and more. There’s even a couple of shows aimed at the President-elect, with comedian Moshe Kahser doing a live podcast called \u003cem>Planning a Non-Violent Revolution in the Age of Trump\u003c/em>.\u003c/p>\n\u003cp>Sketchfest also features an evening of vaudeville hosted by Tony-winning clown \u003ca href=\"http://thebillirwin.com/\" target=\"_blank\" rel=\"noopener\">Bill Irwin\u003c/a>, who performs with his old clowning partner \u003ca href=\"https://en.wikipedia.org/wiki/Geoff_Hoyle\" target=\"_blank\" rel=\"noopener\">Geoff Hoyle\u003c/a> and guitarist \u003ca href=\"http://billfrisell.com/news\" target=\"_blank\" rel=\"noopener\">Bill Frisell\u003c/a>. Irwin is also in San Francisco for a one-man show at the American Conservatory Theater (ACT) about playwright \u003ca href=\"https://en.wikipedia.org/wiki/Samuel_Beckett\" target=\"_blank\" rel=\"noopener\">Samuel Beckett\u003c/a>. Irwin told me by phone that the two shows are deeply connected, because Beckett’s plays were a kind of metaphysical vaudeville. “He and his family went to the variety theater, watching music hall and vaudeville comics,” Irwin said. “He seemed to be, even in his most avant-garde work, alluding to a kind of circus and music hall and vaudeville tradition. And he asked for bowler hats and baggy pants (for the characters of Vladimir and Estragon in \u003cem>Waiting for Godot\u003c/em>).” Details for Sketchfest are \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for Irwin’s ACT performance \u003ca href=\"https://tickets.act-sf.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=A5AED901-EFAA-48AB-964C-2A1C7A7F67BB\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\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/3De0E_1x1Rw'\n title='//www.youtube.com/embed/3De0E_1x1Rw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 7:\u003c/strong> A lot of people are still hurting as a result of the Ghost Ship Fire, and \u003ca href=\"https://ww2.kqed.org/arts/2016/07/21/women-to-watch-sarah-sexton/\" target=\"_blank\" rel=\"noopener\">Sarah Sexton\u003c/a> is producing a benefit concert at the \u003ca href=\"http://www.starlinesocialclub.com/#home-1\" target=\"_blank\" rel=\"noopener\">Starline Social Club \u003c/a>featuring \u003ca href=\"https://www.facebook.com/ritualsofmine/\" target=\"_blank\" rel=\"noopener\">Rituals of Mine\u003c/a>, \u003ca href=\"https://www.facebook.com/waxidols/\" target=\"_blank\" rel=\"noopener\">Wax Idols\u003c/a>, Kool A.D. and others. There will be an altar at the event for offerings from audience members that will later be moved to the site of the fire in Fruitvale. Details for the benefit are \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/7/ghost-ship-benefit-feat-rituals-of-mine-special-guests\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\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/aPQb6XkxNL4'\n title='//www.youtube.com/embed/aPQb6XkxNL4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 19: \u003c/strong>Here’s a heads up for a show that will quickly sell out: \u003ca href=\"http://www.dodosmusic.net/\" target=\"_blank\" rel=\"noopener\">The Dodos\u003c/a> play a benefit for booker Annie Southworth at Bottom of the Hill. Let’s call it a \u003cstrong>CHEAP THRILL\u003c/strong>, $20 in advance for a good cause and a rare chance to see Meric Long and Logan Kroeber play amazing rock ‘n’ roll. \u003ca href=\"http://www.songkick.com/concerts/28697629-dodos-at-bottom-of-the-hill\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "bay-area-police-call-for-pig-headed-cop-paintings-removal-from-u-s-capitol",
"title": "Bay Area Police Call for Pig-Headed Cop Painting's Removal from U.S. Capitol",
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"headTitle": "Bay Area Police Call for Pig-Headed Cop Painting’s Removal from U.S. Capitol | KQED",
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"content": "\u003cp>Bay Area police unions joined law enforcement groups around the country Thursday \u003ca href=\"http://lapd.com/assets/House_Speaker_Ryan_Letter_Jan_3.pdf\" target=\"_blank\" rel=\"noopener\">calling on House Speaker Paul Ryan\u003c/a> to remove a painting from the U.S. Capitol complex.\u003c/p>\n\u003cp>A letter jointly sent by police unions around the country, including those in San Francisco, Oakland and San Jose states:\u003c/p>\n\u003cblockquote>\u003cp>“Our law enforcement organizations, representing over 27,000 law enforcement professionals, strongly urge you to exercise the extraordinary power you possess as Speaker of the House of Representatives to immediately remove the reprehensible and repugnant ‘art’ on display in our nation’s Capitol that depicts police officers as Pigs intent on gunning down innocent people.”\u003c/p>\u003c/blockquote>\n\u003cp>The work in question, “Untitled #1” by \u003cspan style=\"font-weight: 400\">David Pulphus, who was a high school student in \u003c/span>St. Louis, Missouri, at the time he made the painting, depicts the unrest in Ferguson after the death of Michael Brown in 2014. Brown, an 18-year-old black man, was fatally shot by a white police officer after robbing a convenience store. In the painting, cops with the heads of boars (a type of pig) aim guns at the protesters.\u003c/p>\n\u003cfigure id=\"attachment_12585005\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12585005\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-1020x833.jpg\" alt=\"Bay Area police unions joined law enforcement groups around the country calling on House Speaker Paul Ryan to remove this painting from the US Capitol complex. The artist's father Jonathan Pulphus says his son is taking the controversy in stride. "He understands that freedom of speech applies to everyone. They are entitled to their own opinion as well."\" width=\"640\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-1020x833.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-768x627.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-960x784.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-375x306.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-520x425.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut.jpg 1111w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area police unions joined law enforcement groups around the country calling on House Speaker Paul Ryan to remove this painting from the US Capitol complex. The artist’s father Jonathan Pulphus says his son is taking the controversy in stride. “He understands that freedom of speech applies to everyone. They are entitled to their own opinion as well.” \u003ccite>(Photo: Courtesy of David Pulphus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acrylic painting has been on display for months after it \u003ca href=\"https://lacyclay.house.gov/media-center/press-releases/clay-salutes-2016-congressional-art-competition-winners\" target=\"_blank\" rel=\"noopener\">won an annual art contest\u003c/a> put on by Missouri Democrat William Lacy Clay last May. A number of members of Congress sponsor art competitions, though they don’t judge the art themselves. Clay was not a judge in this particular contest.\u003c/p>\n\u003cp>But Paul Kelly of the \u003ca href=\"https://www.sjpoa.com/\" target=\"_blank\" rel=\"noopener\">San José Police Officers Association\u003c/a> says the work is “hateful” and “basically paints all law enforcement essentially as racists.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kelly says attacks against uniformed law enforcement officers are on the rise and that Pulphus’ artwork could incite more violence. “There could be people out there that continue to be angry, are mentally ill,” Kelly says. “False narratives that continue to be pushed out could push them over the edge.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/301110703″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Police deaths have not spiked in the last two years, according to the \u003ca href=\"http://www.nleomf.org/facts/officer-fatalities-data/causes.html\" target=\"_blank\" rel=\"noopener\">National Law Enforcement Officers Memorial Fund\u003c/a>. But the letter from the police unions calls the painting, “incredibly disrespectful to the families of those killed in the line of duty.”\u003c/p>\n\u003cfigure id=\"attachment_12585215\" class=\"wp-caption alignright\" style=\"max-width: 303px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12585215\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Cop-pic-unveiling.jpg\" alt=\"Artist David Pulphus and Rep. William Lacy Clay (D-Missouri) next to Pulphus's painting in the U.S. Capitol complex\" width=\"303\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Cop-pic-unveiling.jpg 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Cop-pic-unveiling-160x285.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Cop-pic-unveiling-240x427.jpg 240w\" sizes=\"(max-width: 303px) 100vw, 303px\">\u003cfigcaption class=\"wp-caption-text\">Artist David Pulphus and Rep. William Lacy Clay (D-Missouri) next to Pulphus’s painting in the U.S. Capitol complex \u003ccite>(Photo: Jonathan Pulphus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulphus’ father Jonathan Pulphus says his son — now a freshman at St. Louis Community College–Meramec — is taking the controversy in his stride. “He understands that freedom of speech applies to everyone,” Pulphus says. “They are entitled to their own opinion as well. The painting is far more dynamic than just the depiction of cops. The piece speaks volumes covering a variety of themes. Basically, this is just his interpretation of his experiences thus far.”\u003c/p>\n\u003cp>Congressman Clay has refused to take down the work located in the tunnel that connects the Longworth House Office Building and the Capitol. “The U.S. Capitol is a symbol of freedom, not censorship,” writes Clay in a statement. “The young artist chose his own subject and the painting will not be removed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Speaker Ryan has not yet responded to the police unions’ letter.\u003c/p>\n\n",
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"excerpt": "Law enforcement groups say the painting, depicting cops in riot gear with pig heads, is hateful and might potentially incite more violence against police officers.",
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"title": "Bay Area Police Call for Pig-Headed Cop Painting's Removal from U.S. Capitol | KQED",
"description": "Law enforcement groups say the painting, depicting cops in riot gear with pig heads, is hateful and might potentially incite more violence against police officers.",
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"headline": "Bay Area Police Call for Pig-Headed Cop Painting's Removal from U.S. Capitol",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area police unions joined law enforcement groups around the country Thursday \u003ca href=\"http://lapd.com/assets/House_Speaker_Ryan_Letter_Jan_3.pdf\" target=\"_blank\" rel=\"noopener\">calling on House Speaker Paul Ryan\u003c/a> to remove a painting from the U.S. Capitol complex.\u003c/p>\n\u003cp>A letter jointly sent by police unions around the country, including those in San Francisco, Oakland and San Jose states:\u003c/p>\n\u003cblockquote>\u003cp>“Our law enforcement organizations, representing over 27,000 law enforcement professionals, strongly urge you to exercise the extraordinary power you possess as Speaker of the House of Representatives to immediately remove the reprehensible and repugnant ‘art’ on display in our nation’s Capitol that depicts police officers as Pigs intent on gunning down innocent people.”\u003c/p>\u003c/blockquote>\n\u003cp>The work in question, “Untitled #1” by \u003cspan style=\"font-weight: 400\">David Pulphus, who was a high school student in \u003c/span>St. Louis, Missouri, at the time he made the painting, depicts the unrest in Ferguson after the death of Michael Brown in 2014. Brown, an 18-year-old black man, was fatally shot by a white police officer after robbing a convenience store. In the painting, cops with the heads of boars (a type of pig) aim guns at the protesters.\u003c/p>\n\u003cfigure id=\"attachment_12585005\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12585005\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-1020x833.jpg\" alt=\"Bay Area police unions joined law enforcement groups around the country calling on House Speaker Paul Ryan to remove this painting from the US Capitol complex. The artist's father Jonathan Pulphus says his son is taking the controversy in stride. "He understands that freedom of speech applies to everyone. They are entitled to their own opinion as well."\" width=\"640\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-1020x833.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-768x627.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-960x784.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-375x306.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-520x425.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut.jpg 1111w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area police unions joined law enforcement groups around the country calling on House Speaker Paul Ryan to remove this painting from the US Capitol complex. The artist’s father Jonathan Pulphus says his son is taking the controversy in stride. “He understands that freedom of speech applies to everyone. They are entitled to their own opinion as well.” \u003ccite>(Photo: Courtesy of David Pulphus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acrylic painting has been on display for months after it \u003ca href=\"https://lacyclay.house.gov/media-center/press-releases/clay-salutes-2016-congressional-art-competition-winners\" target=\"_blank\" rel=\"noopener\">won an annual art contest\u003c/a> put on by Missouri Democrat William Lacy Clay last May. A number of members of Congress sponsor art competitions, though they don’t judge the art themselves. Clay was not a judge in this particular contest.\u003c/p>\n\u003cp>But Paul Kelly of the \u003ca href=\"https://www.sjpoa.com/\" target=\"_blank\" rel=\"noopener\">San José Police Officers Association\u003c/a> says the work is “hateful” and “basically paints all law enforcement essentially as racists.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kelly says attacks against uniformed law enforcement officers are on the rise and that Pulphus’ artwork could incite more violence. “There could be people out there that continue to be angry, are mentally ill,” Kelly says. “False narratives that continue to be pushed out could push them over the edge.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/301110703″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/301110703″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Police deaths have not spiked in the last two years, according to the \u003ca href=\"http://www.nleomf.org/facts/officer-fatalities-data/causes.html\" target=\"_blank\" rel=\"noopener\">National Law Enforcement Officers Memorial Fund\u003c/a>. But the letter from the police unions calls the painting, “incredibly disrespectful to the families of those killed in the line of duty.”\u003c/p>\n\u003cfigure id=\"attachment_12585215\" class=\"wp-caption alignright\" style=\"max-width: 303px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12585215\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Cop-pic-unveiling.jpg\" alt=\"Artist David Pulphus and Rep. William Lacy Clay (D-Missouri) next to Pulphus's painting in the U.S. Capitol complex\" width=\"303\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Cop-pic-unveiling.jpg 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Cop-pic-unveiling-160x285.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Cop-pic-unveiling-240x427.jpg 240w\" sizes=\"(max-width: 303px) 100vw, 303px\">\u003cfigcaption class=\"wp-caption-text\">Artist David Pulphus and Rep. William Lacy Clay (D-Missouri) next to Pulphus’s painting in the U.S. Capitol complex \u003ccite>(Photo: Jonathan Pulphus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulphus’ father Jonathan Pulphus says his son — now a freshman at St. Louis Community College–Meramec — is taking the controversy in his stride. “He understands that freedom of speech applies to everyone,” Pulphus says. “They are entitled to their own opinion as well. The painting is far more dynamic than just the depiction of cops. The piece speaks volumes covering a variety of themes. Basically, this is just his interpretation of his experiences thus far.”\u003c/p>\n\u003cp>Congressman Clay has refused to take down the work located in the tunnel that connects the Longworth House Office Building and the Capitol. “The U.S. Capitol is a symbol of freedom, not censorship,” writes Clay in a statement. “The young artist chose his own subject and the painting will not be removed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Speaker Ryan has not yet responded to the police unions’ letter.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-power-of-moving-water-some-great-writing-on-california-storms",
"title": "The Power of Moving Water: Some Great Writing on California Storms",
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"headTitle": "The Power of Moving Water: Some Great Writing on California Storms | KQED",
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"content": "\u003cp>With the strong possibility of a big storm over the weekend and with flood watches in place from near the Oregon border down to Bakersfield, our thoughts turn to … history. More specifically, to some of the great accounts we’ve seen of disasters and near-disasters resulting from big winter storms. Here are three selections, ranging from William Brewer’s account of the historic rains and floods of 1861-62 to two more recent stories, from John McPhee and Marc Reisner, that touch on the impact of big winter storms in the 1970s and 1980s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>William Brewer\u003c/strong> was field leader of the Whitney Survey, which traveled throughout California from 1860 through 1864 to document the state’s geological and other resources. Brewer’s letters and journal entries were collected and published in 1930 as “\u003ca href=\"https://books.google.com/books?id=WJKazBEhw2EC\" target=\"_blank\" rel=\"noopener noreferrer\">Up and Down California\u003c/a>.” From San Francisco in January 1862, Brewer recorded the big news of the day: a nearly nonstop deluge that came amid what still stands as the rainiest winter in much of California. Six weeks later, he visited Sacramento, which had suffered devastating damage in the flood.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://upanddowncalifornia.wordpress.com/2012/01/19/january-19-1862-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">January 19, 1862\u003c/a>\u003cbr>\nSan Francisco\u003c/strong>\u003c/p>\n\u003cp>[dropcap]‘T[/dropcap]he rains continue, and since I last wrote the floods have been far worse than before. Sacramento and many other towns and cities have again been overflowed, and after the waters had abated somewhat they are again up. That doomed city is in all probability again under water today.\u003c/p>\n\u003cfigure id=\"attachment_11255512\" class=\"wp-caption alignright\" style=\"max-width: 598px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/sacramento-1862.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11255512\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/sacramento-1862.jpg\" alt=\"Sacramento during the winter of 1861-62, from contemporary newspaper illustrations. \" width=\"598\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-520x350.jpg 520w\" sizes=\"auto, (max-width: 598px) 100vw, 598px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sacramento during the winter of 1861-62, from contemporary newspaper illustrations. \u003ccite>(U)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The amount of rain\u003c/strong> that has fallen is unprecedented in the history of the state. In this city accurate observations have been kept since July, 1853. For the years since, ending with July 1 each year, the amount of rain is known. In New York state—central New York—the average amount is under thirty-eight inches, often not over thirty-three inches, sometimes as low as twenty-eight inches. This includes the melted snow. In this city it has been for the eight years closing last July, 21 3/4 inches, the lowest amount 19 3/4 inches, the highest 23 3/4. Yet this year, since November 6, when the first shower came, to January 18, it is thirty-two and three-quarters inches and it is still raining! But this is not all. Generally twice, sometimes three times, as much falls in the mining districts on the slopes of the Sierra. This year at Sonora, in Tuolumne County, between November 11, 1861, and January 14, 1862, seventy-two inches (six feet) of water has fallen, and in numbers of places over five feet! And that in a period of two months. As much rain as falls in Ithaca in two years has fallen in some places in this state in two months.1\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>The great central valley\u003c/strong> of the state is under water—the Sacramento and San Joaquin valleys—a region 250 to 300 miles long and an average of at least twenty miles wide, a district of five thousand or six thousand square miles, or probably three to three and a half millions of acres! Although much of it is not cultivated, yet a part of it is the garden of the state. Thousands of farms are entirely under water—cattle starving and drowning. …\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://upanddowncalifornia.wordpress.com/2012/03/07/march-7-1862-sacramento/\" target=\"_blank\" rel=\"noopener noreferrer\">March 7, 1862\u003c/a>\u003cbr>\nSacramento\u003c/strong>\u003c/p>\n\u003cp>[dropcap]‘E[/dropcap]arly in the morning I went to a hotel in Sacramento and got my breakfast and brushed up for business. That dispatched, I had some time to look at the city. Such a desolate scene I hope never to see again. Most of the city is still under water, and has been for three months. A part is out of the water, that is, the streets are above water, but every low place is full—cellars and yards are full, houses and walls wet, everything uncomfortable. Over much of the city boats are still the only means of getting about. No description that I can write will give you any adequate conception of the discomfort and wretchedness this must give rise to. I took a boat and two boys, and we rowed about for an hour or two. Houses, stores, stables, everything, were surrounded by water. Yards were ponds enclosed by dilapidated, muddy, slimy fences; household furniture, chairs, tables, sofas, the fragments of houses, were floating in the muddy waters or lodged in nooks and corners—I saw three sofas floating in different yards. The basements of the better class of houses were half full of water, and through the windows one could see chairs, tables, bedsteads, etc., afloat. Through the windows of a schoolhouse I saw the benches and desks afloat.\u003c/p>\n\u003cp>\u003cstrong>It is with the poorer classes\u003c/strong> that this is the worst. Many of the one-story houses are entirely uninhabitable; others, where the floors are above the water are, at best, most wretched places in which to live. The new Capitol is far out in the water—the Governor’s house stands as in a lake—churches, public buildings, private buildings, everything, are wet or in the water. Not a road leading from the city is passable, business is at a dead standstill, everything looks forlorn and wretched. Many houses have partially toppled over; some have been carried from their foundations, several streets (now avenues of water) are blocked up with houses that have floated in them, dead animals lie about here and there—a dreadful picture. I don’t think the city will ever rise from the shock, I don’t see how it can. Yet it has a brighter side. No people can so stand calamity as this people. They are used to it. Everyone is familiar with the history of fortunes quickly made and as quickly lost. It seems here more than elsewhere the natural order of things. I might say, indeed, that the recklessness of the state blunts the keener feelings and takes the edge from this calamity.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Marc Reisner\u003c/strong> published “\u003ca href=\"https://books.google.com/books?id=frvKDY0rpToC\" target=\"_blank\" rel=\"noopener noreferrer\">Cadillac Desert\u003c/a>,” his critical history of water policy in California and the West, in the 1980s. A revised edition came out in 1993, and it included an afterword in which Reisner related the awesome power of a series of big, wet Pacific storms that hit California in February 1986.\u003c/em>\u003c/p>\n\u003cp>[dropcap]‘I[/dropcap] had always had a mordant wish to watch a dam collapse, and this seemed like the best opportunity I might get in my life. I arrived at Oroville Dam just as the storm was beginning to break up. (It took me hours longer than usual to get there, because shallow lakes had formed across Interstate 680, creating instant new refuges for mallards and pintails.) In the previous week and a half, the Feather River watershed had unofficially recorded fifty-five inches of precipitation, most of it as rain, which melted several feet of snow lying on the ground. Tampa gets that much rain in an average year. The spillway at Oroville is a big concrete channel that loops around the right abutment of the immense earthen dam. It was dumping a hundred and fifty thousands cubic feet of water per second, a couple of rivers the size of the Tennessee. That much water in that confined space — the spillway is about as wide as a basketball court — is in a hurry-up mood. My guess is that it was moving thirty or forty miles per hour. Small trees and shrubs lining the spillway fence were bent double under the force of the vortex winds created by so much mass in a rush. A crow, sailing arrogantly a few feet overhead, suddenly executed some frantic maneuvers to avoid being sucked in himself; he too had never seen anything like this before. Where the spillway poured the river back into the river below the dam — it didn’t so much pour in as fly in — a dense plume of mist mushroomed eighty stories high, split by three arching rainbows.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/RQpo3rAvntk\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A dam did actually burst\u003c/strong> during the flood, though I didn’t see it happen. It was a temporary cofferdam built at the prospective site of Auburn Dam, whose construction had been mired in lawsuits and debate for years. The cofferdam held back about a hundred thousand acre-feet of water–thirty-two billion gallons–that merged, almost instantaneously, with a river already swollen to ten times its normal size. The flood-on-a-flood headed into Folsom Lake, which sits twenty miles above Sacramento and has a capacity of about a million acre-feet. Folsom Dam would have to spill the whole reservoir, 320 billion gallons of water, in three or four days in order to absorb the mythic flood pouring in. If it did not, the dam itself would be jeopardized, and if Folsom ended up like Teton Dam [a structure in Idaho that failed catastrophically in 1976] then a lot of Sacramento would float under the Golden Gate Bridge. When I arrived, a whole crowd of disaster buffs was already there, held at bay by dozens of highway patrol. I managed to sneak briefly onto the dam crest anyway; it trembled as a bank might tremble during a hurricane. The spillway at Folsom, a concrete and rock dam, was built into its center; it’s really a man-made, two-hundred-foot waterfall. At the time, it was dumping much more water than Niagara Falls. You couldn’t have heard a jet taking off five hundred feet away; that’s the kind of noise a million pounds of water makes–a million pounds a \u003cem>second\u003c/em>–as it tumbles a couple of hundred feet and crashes into a canyon river bed. (If Folsom was going to be destroyed, it would probably be a consequence of the falling river chewing out the bedrock on which the dam was built.) The waterfall reversed direction about eighty yards downriver and rose up in a towering, backfalling hydraulic wave that raced back and crashed into the dam’s downstream face, as if it wanted a second chance to knock it to smithereens. …\u003c/p>\n\u003cp>\u003cstrong>The Department of Water Resources\u003c/strong> later estimated that ten million acre-feet of runoff–enough for the city of San Francisco for forty years–had poured out the Golden Gate in two weeks. The crew of a freighter miles out to sea that was plowing through huge wave off the Gate said the wash coming across the bow tasted almost like Evian.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>In the 1970s and ’80s, The New Yorker’s \u003cstrong>John McPhee\u003c/strong> wrote a long series of minutely researched and reported feature articles on humanity’s attempt to tame natural forces. The articles, collected and published in a single volume as “\u003ca href=\"https://books.google.com/books?id=qQMFOctR7AoC&dq=the+control+of+nature&source=gbs_navlinks_s\" target=\"_blank\" rel=\"noopener noreferrer\">The Control of Nature\u003c/a>,” included “Los Angeles Against the Mountains.” His two-part L.A. installment focused on attempts to mitigate the effects of alternating fires and floods along the front of the San Gabriel Mountains — an area prone to both kinds of disasters. He opens the article with a 1978 episode involving Bob and Jackie Genofile, who lived with their teenage children, Scott and Kimberlee, on the slopes of the San Gabriels.\u003c/em>\u003c/p>\n\u003cp>[dropcap]‘T[/dropcap]he water was now spreading over the street. It descended in heavy sheets. As the young Genofiles and their mother glimpsed it in the all but total darkness, the scene was suddenly illuminated by a blue electrical flash. In the blue light they saw a massive blackness, moving. It was not a landslide, not a mudslide, not a rock avalanche; nor by any means was it the front of a conventional flood. In Jackie’s words, “It was just one big black thing coming at us, rolling, rolling with a lot of water in front of it, pushing the water, this big black thing. It was just one big black hill coming toward us.”\u003c/p>\n\u003cp>\u003cstrong>In geology,\u003c/strong> it would be known as a debris flow. Debris flows amass in stream valleys and more or less resemble fresh concrete. They consist of water mixed with a good deal of solid material, most of which is above sand size. Some of it is Chevrolet size. Boulders bigger than cars ride long distances in debris flows. Boulders grouped like fish eggs pour downhill in debris flows. The dark material coming toward the Genofiles was not only full of boulders; it was so full of automobiles it was like bread dough mixed with raisins. On its way down Pine Cone Road, it plucked up cars from driveways and the street. When it crashed into the Genofiles house, the shattering of safety glass made terrific explosive sounds. A door burst open. Mud and bould poured into the hall. We’re going to go, Jackie thought. Oh, my God, what a hell of a way for the four of us to die together.\u003c/p>\n\u003cfigure id=\"attachment_11255514\" class=\"wp-caption alignleft\" style=\"max-width: 514px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/genofile1978.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11255514\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/genofile1978.jpg\" alt=\"The Genofile home in Glendale, California, after debris flow.\" width=\"514\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978.jpg 514w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978-375x259.jpg 375w\" sizes=\"auto, (max-width: 514px) 100vw, 514px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Genofile home in Glendale, California, after debris flow. \u003ccite>(\u003ca href=\"http://www.cvhistory.org/meetings/oldmeetings/oct09meeting.htm\" target=\"_blank\">Historical Society of the Crescenta Valley\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>The parents’ bedroom\u003c/strong> was on the far side of the house. Bob Genofile was in there kicking through white satin draperies at the panelled glass, smashing it to provide an outlet for water, when the three others ran in to join him. The walls of the house neither moved nor shook. As a general contractor, Bob had build dams, department stores, hospitals, six schools, seven churches and this house. It was made of concrete block with steel reinforcement, sixteen inches on center. His wife had said it was stronger than any dam in California. His crew had called it “the fort.” In those days, twenty years before, the Genofiles’ acre was close by the edge of the mountain brush, but a developer had come along since then and knocked down thousands of trees and put Pine Cone Road up the slope. Now Bob Genofile was thinking, I hope the roof holds. I hope the roof is strong enough to hold. Debris was flowing over it. He told Scott to shut the bedroom door. No sooner was the door closed than it was battered down and fell into the room. Mud, rock, water poured in. It pushed everybody against the far wall. “Jump on the bed,” Bob said. The bed began to rise. Kneeling on it–on a gold velvet spread–they could soon press their palms against the ceiling. The bed also moved toward the glass wall. The two teen-agers got off, to try to control the motion, and they were pinned between the bed’s brass railing and the wall. Boulders went up against the railing, pressed it into their legs, and held them fast. Bob dived into the muck to try to move the boulders, but he failed. The debris flow, entering through windows as well as doors, continued to rise. Escape was still possible for the parents but not for the children. The parents looked at each other and did not stir. Each reached for and held one of the children. Their mother felt suddenly resigned, sure that her son and daughter would die and she and her husband would quickly follow. The house became buried to the eaves. Boulders sat on the roof. Thirteen automobiles were packed around the building, including five in the pool. A din of rocks kept banging against them. The stuck horn of a buried car was blaring. The family in the darkness in their fixed tableau watched one another by the light of a directional signal, endlessly blinking. The house had filled up in six minutes, and the mud stopped rising near the children’s chins.\u003c/p>\n\n",
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"excerpt": "From Sacramento in 1862 to Folsom Dam in 1986, memorable accounts of storms and floods and their impact.",
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"title": "The Power of Moving Water: Some Great Writing on California Storms | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the strong possibility of a big storm over the weekend and with flood watches in place from near the Oregon border down to Bakersfield, our thoughts turn to … history. More specifically, to some of the great accounts we’ve seen of disasters and near-disasters resulting from big winter storms. Here are three selections, ranging from William Brewer’s account of the historic rains and floods of 1861-62 to two more recent stories, from John McPhee and Marc Reisner, that touch on the impact of big winter storms in the 1970s and 1980s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>William Brewer\u003c/strong> was field leader of the Whitney Survey, which traveled throughout California from 1860 through 1864 to document the state’s geological and other resources. Brewer’s letters and journal entries were collected and published in 1930 as “\u003ca href=\"https://books.google.com/books?id=WJKazBEhw2EC\" target=\"_blank\" rel=\"noopener noreferrer\">Up and Down California\u003c/a>.” From San Francisco in January 1862, Brewer recorded the big news of the day: a nearly nonstop deluge that came amid what still stands as the rainiest winter in much of California. Six weeks later, he visited Sacramento, which had suffered devastating damage in the flood.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://upanddowncalifornia.wordpress.com/2012/01/19/january-19-1862-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">January 19, 1862\u003c/a>\u003cbr>\nSan Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">‘T\u003c/span>\u003c/p>\u003cp>he rains continue, and since I last wrote the floods have been far worse than before. Sacramento and many other towns and cities have again been overflowed, and after the waters had abated somewhat they are again up. That doomed city is in all probability again under water today.\u003c/p>\n\u003cfigure id=\"attachment_11255512\" class=\"wp-caption alignright\" style=\"max-width: 598px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/sacramento-1862.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11255512\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/sacramento-1862.jpg\" alt=\"Sacramento during the winter of 1861-62, from contemporary newspaper illustrations. \" width=\"598\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-520x350.jpg 520w\" sizes=\"auto, (max-width: 598px) 100vw, 598px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sacramento during the winter of 1861-62, from contemporary newspaper illustrations. \u003ccite>(U)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The amount of rain\u003c/strong> that has fallen is unprecedented in the history of the state. In this city accurate observations have been kept since July, 1853. For the years since, ending with July 1 each year, the amount of rain is known. In New York state—central New York—the average amount is under thirty-eight inches, often not over thirty-three inches, sometimes as low as twenty-eight inches. This includes the melted snow. In this city it has been for the eight years closing last July, 21 3/4 inches, the lowest amount 19 3/4 inches, the highest 23 3/4. Yet this year, since November 6, when the first shower came, to January 18, it is thirty-two and three-quarters inches and it is still raining! But this is not all. Generally twice, sometimes three times, as much falls in the mining districts on the slopes of the Sierra. This year at Sonora, in Tuolumne County, between November 11, 1861, and January 14, 1862, seventy-two inches (six feet) of water has fallen, and in numbers of places over five feet! And that in a period of two months. As much rain as falls in Ithaca in two years has fallen in some places in this state in two months.1\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The great central valley\u003c/strong> of the state is under water—the Sacramento and San Joaquin valleys—a region 250 to 300 miles long and an average of at least twenty miles wide, a district of five thousand or six thousand square miles, or probably three to three and a half millions of acres! Although much of it is not cultivated, yet a part of it is the garden of the state. Thousands of farms are entirely under water—cattle starving and drowning. …\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://upanddowncalifornia.wordpress.com/2012/03/07/march-7-1862-sacramento/\" target=\"_blank\" rel=\"noopener noreferrer\">March 7, 1862\u003c/a>\u003cbr>\nSacramento\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">‘E\u003c/span>\u003c/p>\u003cp>arly in the morning I went to a hotel in Sacramento and got my breakfast and brushed up for business. That dispatched, I had some time to look at the city. Such a desolate scene I hope never to see again. Most of the city is still under water, and has been for three months. A part is out of the water, that is, the streets are above water, but every low place is full—cellars and yards are full, houses and walls wet, everything uncomfortable. Over much of the city boats are still the only means of getting about. No description that I can write will give you any adequate conception of the discomfort and wretchedness this must give rise to. I took a boat and two boys, and we rowed about for an hour or two. Houses, stores, stables, everything, were surrounded by water. Yards were ponds enclosed by dilapidated, muddy, slimy fences; household furniture, chairs, tables, sofas, the fragments of houses, were floating in the muddy waters or lodged in nooks and corners—I saw three sofas floating in different yards. The basements of the better class of houses were half full of water, and through the windows one could see chairs, tables, bedsteads, etc., afloat. Through the windows of a schoolhouse I saw the benches and desks afloat.\u003c/p>\n\u003cp>\u003cstrong>It is with the poorer classes\u003c/strong> that this is the worst. Many of the one-story houses are entirely uninhabitable; others, where the floors are above the water are, at best, most wretched places in which to live. The new Capitol is far out in the water—the Governor’s house stands as in a lake—churches, public buildings, private buildings, everything, are wet or in the water. Not a road leading from the city is passable, business is at a dead standstill, everything looks forlorn and wretched. Many houses have partially toppled over; some have been carried from their foundations, several streets (now avenues of water) are blocked up with houses that have floated in them, dead animals lie about here and there—a dreadful picture. I don’t think the city will ever rise from the shock, I don’t see how it can. Yet it has a brighter side. No people can so stand calamity as this people. They are used to it. Everyone is familiar with the history of fortunes quickly made and as quickly lost. It seems here more than elsewhere the natural order of things. I might say, indeed, that the recklessness of the state blunts the keener feelings and takes the edge from this calamity.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Marc Reisner\u003c/strong> published “\u003ca href=\"https://books.google.com/books?id=frvKDY0rpToC\" target=\"_blank\" rel=\"noopener noreferrer\">Cadillac Desert\u003c/a>,” his critical history of water policy in California and the West, in the 1980s. A revised edition came out in 1993, and it included an afterword in which Reisner related the awesome power of a series of big, wet Pacific storms that hit California in February 1986.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">‘I\u003c/span>\u003c/p>\u003cp> had always had a mordant wish to watch a dam collapse, and this seemed like the best opportunity I might get in my life. I arrived at Oroville Dam just as the storm was beginning to break up. (It took me hours longer than usual to get there, because shallow lakes had formed across Interstate 680, creating instant new refuges for mallards and pintails.) In the previous week and a half, the Feather River watershed had unofficially recorded fifty-five inches of precipitation, most of it as rain, which melted several feet of snow lying on the ground. Tampa gets that much rain in an average year. The spillway at Oroville is a big concrete channel that loops around the right abutment of the immense earthen dam. It was dumping a hundred and fifty thousands cubic feet of water per second, a couple of rivers the size of the Tennessee. That much water in that confined space — the spillway is about as wide as a basketball court — is in a hurry-up mood. My guess is that it was moving thirty or forty miles per hour. Small trees and shrubs lining the spillway fence were bent double under the force of the vortex winds created by so much mass in a rush. A crow, sailing arrogantly a few feet overhead, suddenly executed some frantic maneuvers to avoid being sucked in himself; he too had never seen anything like this before. Where the spillway poured the river back into the river below the dam — it didn’t so much pour in as fly in — a dense plume of mist mushroomed eighty stories high, split by three arching rainbows.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/RQpo3rAvntk\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A dam did actually burst\u003c/strong> during the flood, though I didn’t see it happen. It was a temporary cofferdam built at the prospective site of Auburn Dam, whose construction had been mired in lawsuits and debate for years. The cofferdam held back about a hundred thousand acre-feet of water–thirty-two billion gallons–that merged, almost instantaneously, with a river already swollen to ten times its normal size. The flood-on-a-flood headed into Folsom Lake, which sits twenty miles above Sacramento and has a capacity of about a million acre-feet. Folsom Dam would have to spill the whole reservoir, 320 billion gallons of water, in three or four days in order to absorb the mythic flood pouring in. If it did not, the dam itself would be jeopardized, and if Folsom ended up like Teton Dam [a structure in Idaho that failed catastrophically in 1976] then a lot of Sacramento would float under the Golden Gate Bridge. When I arrived, a whole crowd of disaster buffs was already there, held at bay by dozens of highway patrol. I managed to sneak briefly onto the dam crest anyway; it trembled as a bank might tremble during a hurricane. The spillway at Folsom, a concrete and rock dam, was built into its center; it’s really a man-made, two-hundred-foot waterfall. At the time, it was dumping much more water than Niagara Falls. You couldn’t have heard a jet taking off five hundred feet away; that’s the kind of noise a million pounds of water makes–a million pounds a \u003cem>second\u003c/em>–as it tumbles a couple of hundred feet and crashes into a canyon river bed. (If Folsom was going to be destroyed, it would probably be a consequence of the falling river chewing out the bedrock on which the dam was built.) The waterfall reversed direction about eighty yards downriver and rose up in a towering, backfalling hydraulic wave that raced back and crashed into the dam’s downstream face, as if it wanted a second chance to knock it to smithereens. …\u003c/p>\n\u003cp>\u003cstrong>The Department of Water Resources\u003c/strong> later estimated that ten million acre-feet of runoff–enough for the city of San Francisco for forty years–had poured out the Golden Gate in two weeks. The crew of a freighter miles out to sea that was plowing through huge wave off the Gate said the wash coming across the bow tasted almost like Evian.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>In the 1970s and ’80s, The New Yorker’s \u003cstrong>John McPhee\u003c/strong> wrote a long series of minutely researched and reported feature articles on humanity’s attempt to tame natural forces. The articles, collected and published in a single volume as “\u003ca href=\"https://books.google.com/books?id=qQMFOctR7AoC&dq=the+control+of+nature&source=gbs_navlinks_s\" target=\"_blank\" rel=\"noopener noreferrer\">The Control of Nature\u003c/a>,” included “Los Angeles Against the Mountains.” His two-part L.A. installment focused on attempts to mitigate the effects of alternating fires and floods along the front of the San Gabriel Mountains — an area prone to both kinds of disasters. He opens the article with a 1978 episode involving Bob and Jackie Genofile, who lived with their teenage children, Scott and Kimberlee, on the slopes of the San Gabriels.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">‘T\u003c/span>\u003c/p>\u003cp>he water was now spreading over the street. It descended in heavy sheets. As the young Genofiles and their mother glimpsed it in the all but total darkness, the scene was suddenly illuminated by a blue electrical flash. In the blue light they saw a massive blackness, moving. It was not a landslide, not a mudslide, not a rock avalanche; nor by any means was it the front of a conventional flood. In Jackie’s words, “It was just one big black thing coming at us, rolling, rolling with a lot of water in front of it, pushing the water, this big black thing. It was just one big black hill coming toward us.”\u003c/p>\n\u003cp>\u003cstrong>In geology,\u003c/strong> it would be known as a debris flow. Debris flows amass in stream valleys and more or less resemble fresh concrete. They consist of water mixed with a good deal of solid material, most of which is above sand size. Some of it is Chevrolet size. Boulders bigger than cars ride long distances in debris flows. Boulders grouped like fish eggs pour downhill in debris flows. The dark material coming toward the Genofiles was not only full of boulders; it was so full of automobiles it was like bread dough mixed with raisins. On its way down Pine Cone Road, it plucked up cars from driveways and the street. When it crashed into the Genofiles house, the shattering of safety glass made terrific explosive sounds. A door burst open. Mud and bould poured into the hall. We’re going to go, Jackie thought. Oh, my God, what a hell of a way for the four of us to die together.\u003c/p>\n\u003cfigure id=\"attachment_11255514\" class=\"wp-caption alignleft\" style=\"max-width: 514px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/genofile1978.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11255514\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/genofile1978.jpg\" alt=\"The Genofile home in Glendale, California, after debris flow.\" width=\"514\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978.jpg 514w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978-375x259.jpg 375w\" sizes=\"auto, (max-width: 514px) 100vw, 514px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Genofile home in Glendale, California, after debris flow. \u003ccite>(\u003ca href=\"http://www.cvhistory.org/meetings/oldmeetings/oct09meeting.htm\" target=\"_blank\">Historical Society of the Crescenta Valley\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The parents’ bedroom\u003c/strong> was on the far side of the house. Bob Genofile was in there kicking through white satin draperies at the panelled glass, smashing it to provide an outlet for water, when the three others ran in to join him. The walls of the house neither moved nor shook. As a general contractor, Bob had build dams, department stores, hospitals, six schools, seven churches and this house. It was made of concrete block with steel reinforcement, sixteen inches on center. His wife had said it was stronger than any dam in California. His crew had called it “the fort.” In those days, twenty years before, the Genofiles’ acre was close by the edge of the mountain brush, but a developer had come along since then and knocked down thousands of trees and put Pine Cone Road up the slope. Now Bob Genofile was thinking, I hope the roof holds. I hope the roof is strong enough to hold. Debris was flowing over it. He told Scott to shut the bedroom door. No sooner was the door closed than it was battered down and fell into the room. Mud, rock, water poured in. It pushed everybody against the far wall. “Jump on the bed,” Bob said. The bed began to rise. Kneeling on it–on a gold velvet spread–they could soon press their palms against the ceiling. The bed also moved toward the glass wall. The two teen-agers got off, to try to control the motion, and they were pinned between the bed’s brass railing and the wall. Boulders went up against the railing, pressed it into their legs, and held them fast. Bob dived into the muck to try to move the boulders, but he failed. The debris flow, entering through windows as well as doors, continued to rise. Escape was still possible for the parents but not for the children. The parents looked at each other and did not stir. Each reached for and held one of the children. Their mother felt suddenly resigned, sure that her son and daughter would die and she and her husband would quickly follow. The house became buried to the eaves. Boulders sat on the roof. Thirteen automobiles were packed around the building, including five in the pool. A din of rocks kept banging against them. The stuck horn of a buried car was blaring. The family in the darkness in their fixed tableau watched one another by the light of a directional signal, endlessly blinking. The house had filled up in six minutes, and the mud stopped rising near the children’s chins.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sutro Tower: The Origins of an 'Eyesore'",
"headTitle": "Sutro Tower: The Origins of an ‘Eyesore’ | KQED",
"content": "\u003cp>\u003cem>When Sutro Tower was first proposed in San Francisco, nearly everybody hated it. How did it get built? \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\">Bay Curious\u003c/a> is a new podcast from KQED that answers your questions about the Bay Area.\u003c/em> This question comes from Craig Rubens, who wanted to know:\u003c/p>\n\u003cp>\u003cstrong>What is the story behind the construction and approval of Sutro Tower?\u003c/strong>\u003c/p>\n\u003cp>Back in the 1960s, San Francisco had \u003cem>really \u003c/em>bad television reception. By many accounts, it was the worst of any city in America.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>Good reception required a clear line of sight from the broadcast tower to your TV antenna, and in hilly San Francisco this was a challenge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Broadcasters began the hunt for a location to build a very tall tower that could send a clear TV signal far and wide.\u003c/p>\n\u003cp>ABC already had a 588-foot tower on top of Mount Sutro, and it started lobbying for the new tower to be built there.\u003c/p>\n\u003cfigure id=\"attachment_10566922\" class=\"wp-caption alignright\" style=\"max-width: 481px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro1.png\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-10566922\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro1.png\" alt=\"Early design renderings of Sutro Tower included a restaurant at the top.\" width=\"481\" height=\"641\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro1.png 481w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro1-400x533.png 400w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early design renderings of Sutro Tower included a restaurant at the top. \u003ccite>(Courtesy of Christine Linnenbach.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Designs were drawn up, and ABC started showing off a tower that looked like a sleek golden Seattle Space Needle. It even included a restaurant at the top.\u003c/p>\n\u003ch3>Scared Into Silence\u003c/h3>\n\u003cp>ABC invited residents around Mount Sutro to discuss the plans during two meetings. Initially, neighbors had concerns over safety, property values and the city skyline.\u003c/p>\n\u003cp>“What the people were told was very simply this: Either you go away and you let us build our tower, or we will make sure the open space around Mount Sutro is torn down and all of the green belt is removed,” says Christine Linnenbach, a lawyer who has fought Sutro Tower Inc. in court and whose childhood home is a few blocks from the tower.\u003c/p>\n\u003cp>Linnenbach says ABC delivered an ultimatum: a tower and a park or no tower and no park.\u003c/p>\n\u003cp>The neighbors didn’t know that this was an empty threat. The park was already included in the city’s plan for a green belt. But their fear of losing the park caused residents to keep quiet, and ABC used the “lack of neighborhood opposition” to help push the Mount Sutro site through.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/131040168?title=0&byline=0\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>Getting Government Approval\u003c/h3>\n\u003cp>Among the loudest opponents of Sutro Tower was the San Francisco Chronicle. Lawyers representing the paper fought the tower at hearings in front of the San Francisco Planning Commission and the San Francisco Board of Supervisors.\u003c/p>\n\u003cp>The paper argued Sutro Tower would ruin the skyline, and it questioned the logic of placing a tower within striking distance of an elementary school, reservoirs and hundreds of homes.\u003c/p>\n\u003cp>But the Chronicle wasn’t an impartial observer. The paper had its own television station and wanted to see the tower built on San Bruno Mountain.\u003c/p>\n\u003cp>Ultimately, the Federal Aviation Authority rejected the proposal because it was too close to the airport.\u003c/p>\n\u003cp>In 1966, the San Francisco Planning Commission approved the site at Mount Sutro, passing the decision on to the San Francisco Board of Supervisors.\u003c/p>\n\u003cp>The supervisors voted 6-to-4 against building the tower, but two more votes were needed to overturn the Planning Commission’s approval.\u003c/p>\n\u003cp>The decision was final; a tower would be built on Mount Sutro.\u003c/p>\n\u003ch3>Designing the Tower\u003c/h3>\n\u003cp>Leading up to construction, the tower’s design underwent huge changes by Los Angeles architecture firm \u003ca href=\"http://www.acmartin.com/\" target=\"_blank\" rel=\"noopener\">AC Martin and Associates\u003c/a>. It became more skeletal-looking with a broader top and waist.\u003c/p>\n\u003cfigure id=\"attachment_10567235\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/image002.png\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10567235 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/image002-400x510.png\" alt=\"Later architectural drawings of the tower show the red and white stripes we've come to know today. \" width=\"400\" height=\"510\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/image002-400x510.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/image002.png 481w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Later architectural drawings of the tower show the red-and-white stripes we’ve come to know today. \u003ccite>(Courtesy of Christine Linnenbach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Dausman, general manager of Sutro Tower, says the architect’s decision to taper the center was entirely aesthetic.\u003c/p>\n\u003cp>“All the engineers since then want to shoot him. It made it a more difficult structure to maintain, and it is a more difficult structure to keep perfectly upright and in a great condition,” says Dausman.\u003c/p>\n\u003cp>The other major change was the color. Original plans showed a tower with a golden hue, but aviation regulations required the tower be painted alternating stripes of red and white to ward off possible plane collisions.\u003c/p>\n\u003ch3>Construction\u003c/h3>\n\u003cp>By the 1970s, public interest in Sutro Tower had ebbed and few news outlets were reporting on it. The tower’s fiercest opponent, the Chronicle, had warmed to the tower after its television station became a partner in building it.\u003c/p>\n\u003cfigure id=\"attachment_10567312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5882.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-10567312\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5882-800x533.jpg\" alt=\"By the time the public was largely aware the tower was being built, it was too late to stop construction.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">By the time the public was largely aware the tower was being built, it was too late to stop construction. \u003ccite>(Adam Grossberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When construction finally began in 1971, the local media were silent. Television stations involved had made a gentleman’s agreement not to report on the tower. Some called it a media blackout.\u003c/p>\n\u003cp>In their defense, the four stations, KTVU, KPIX, KGO and KRON, claimed it was so that nobody would have the jump on advertising the new tower.\u003c/p>\n\u003cp>But an editorial that ran in the San Rafael Daily Independent Journal suggested the group was silent because they knew the tower would be unpopular.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>Fun Facts about Sutro Tower\u003c/h2>\n\u003cul>\n\u003cli>The legs are anchored in 15 million pounds of cement.\u003c/li>\n\u003cli>The tower is composed of 3.5 million pounds of steel.\u003c/li>\n\u003cli>It is 977 feet tall. The highest point is 1811 feet above sea level.\u003c/li>\n\u003cli>Construction cost $4 million in 1971.\u003c/li>\n\u003cli>The tower hasn’t been painted in over 20 years. “The biggest problem with painting is that we also painted a lot of the neighbors’ houses and cars. … The crew is as careful as they can be, but they’re 700, 800, 900 feet in the air, and a drip goes a long way,” says Dausman.\u003cstrong> \u003c/strong>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>When bulldozers began taking out trees on top of Mount Sutro, KQED Newsroom reporter Tom De Vries and cameraman Charles Rudnick hiked up to the construction site.\u003c/p>\n\u003cp>“We started taking pictures and a man came running out of the work office, running towards us saying, ‘You can’t film here! There’s an agreement!’ … Well, the story just got way better,” says De Vries.\u003c/p>\n\u003cp>KQED-TV ran the story, sparking new efforts to stop the tower by University of San Francisco law students and two San Francisco Supervisors.\u003c/p>\n\u003cp>None were successful.\u003c/p>\n\u003ch3>Final Touches\u003c/h3>\n\u003cp>Sutro Tower beamed out its first transmission on July 4, 1973.\u003c/p>\n\u003cp>In designing the tower, engineers realized that the antennas would sway in strong winds, so they added girders and a network of cables to keep it in place.\u003c/p>\n\u003cp>“Unfortunately, one of the byproducts was that wind would rush through these newly created guide wires, and the whole tower would sound like a moaning harp,” says Linnenbach.\u003c/p>\n\u003cp>The cables have since been redesigned and are not as loud.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10567311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5854.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10567311 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5854-800x533.jpg\" alt=\"Reporter Jessica Placzek and Sutro Tower Spokesman Dave Hyams near the top of the tower.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Reporter Jessica Placzek and Sutro Tower spokesman Dave Hyams near the top of the tower. \u003ccite>(Adam Grossberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Sutro Tower Today\u003c/h3>\n\u003cp>Dausman says he understands people who consider the tower an eyesore. If it were up to him, the tower wouldn’t even be here.\u003c/p>\n\u003cp>“This is the wrong place for a broadcast tower to serve all of the Bay Area as it has emerged in the last 40 years,” Dausman says. “It’s not really in the center.”\u003c/p>\n\u003cp>He thinks the ideal spot would be somewhere in Hayward. But at this point, the tower is isn’t going anywhere.\u003c/p>\n\u003cp>These days Sutro Tower is used for more than just television. Emergency responders, traffic control, taxi dispatchers, law enforcement and radio all use the structure.\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>And many residents have come to love Sutro Tower.\u003c/p>\n\u003cp>You can find the icon in boutiques and even tattooed onto people’s bodies. Newcomers use the tower’s prominence to navigate the city, while other San Franciscans profess to love the structure that many tourists find ugly and strange.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>When fog swirls in around the foot of the tower, people describe it as a ship sailing atop the clouds, a ladder to the blue skies always just out of reach in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10568088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro-in-the-clouds.jpeg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10568088 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro-in-the-clouds-800x450.jpeg\" alt=\"sutro in the clouds\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-800x450.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-400x225.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-1440x810.jpeg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-1180x664.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-960x540.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sutro Tower in the fog. \u003ccite>(Olivia Allen-Price/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>When Sutro Tower was first proposed in San Francisco, nearly everybody hated it. How did it get built? \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\">Bay Curious\u003c/a> is a new podcast from KQED that answers your questions about the Bay Area.\u003c/em> This question comes from Craig Rubens, who wanted to know:\u003c/p>\n\u003cp>\u003cstrong>What is the story behind the construction and approval of Sutro Tower?\u003c/strong>\u003c/p>\n\u003cp>Back in the 1960s, San Francisco had \u003cem>really \u003c/em>bad television reception. By many accounts, it was the worst of any city in America.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Good reception required a clear line of sight from the broadcast tower to your TV antenna, and in hilly San Francisco this was a challenge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Broadcasters began the hunt for a location to build a very tall tower that could send a clear TV signal far and wide.\u003c/p>\n\u003cp>ABC already had a 588-foot tower on top of Mount Sutro, and it started lobbying for the new tower to be built there.\u003c/p>\n\u003cfigure id=\"attachment_10566922\" class=\"wp-caption alignright\" style=\"max-width: 481px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro1.png\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-10566922\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro1.png\" alt=\"Early design renderings of Sutro Tower included a restaurant at the top.\" width=\"481\" height=\"641\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro1.png 481w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro1-400x533.png 400w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early design renderings of Sutro Tower included a restaurant at the top. \u003ccite>(Courtesy of Christine Linnenbach.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Designs were drawn up, and ABC started showing off a tower that looked like a sleek golden Seattle Space Needle. It even included a restaurant at the top.\u003c/p>\n\u003ch3>Scared Into Silence\u003c/h3>\n\u003cp>ABC invited residents around Mount Sutro to discuss the plans during two meetings. Initially, neighbors had concerns over safety, property values and the city skyline.\u003c/p>\n\u003cp>“What the people were told was very simply this: Either you go away and you let us build our tower, or we will make sure the open space around Mount Sutro is torn down and all of the green belt is removed,” says Christine Linnenbach, a lawyer who has fought Sutro Tower Inc. in court and whose childhood home is a few blocks from the tower.\u003c/p>\n\u003cp>Linnenbach says ABC delivered an ultimatum: a tower and a park or no tower and no park.\u003c/p>\n\u003cp>The neighbors didn’t know that this was an empty threat. The park was already included in the city’s plan for a green belt. But their fear of losing the park caused residents to keep quiet, and ABC used the “lack of neighborhood opposition” to help push the Mount Sutro site through.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/131040168?title=0&byline=0\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>Getting Government Approval\u003c/h3>\n\u003cp>Among the loudest opponents of Sutro Tower was the San Francisco Chronicle. Lawyers representing the paper fought the tower at hearings in front of the San Francisco Planning Commission and the San Francisco Board of Supervisors.\u003c/p>\n\u003cp>The paper argued Sutro Tower would ruin the skyline, and it questioned the logic of placing a tower within striking distance of an elementary school, reservoirs and hundreds of homes.\u003c/p>\n\u003cp>But the Chronicle wasn’t an impartial observer. The paper had its own television station and wanted to see the tower built on San Bruno Mountain.\u003c/p>\n\u003cp>Ultimately, the Federal Aviation Authority rejected the proposal because it was too close to the airport.\u003c/p>\n\u003cp>In 1966, the San Francisco Planning Commission approved the site at Mount Sutro, passing the decision on to the San Francisco Board of Supervisors.\u003c/p>\n\u003cp>The supervisors voted 6-to-4 against building the tower, but two more votes were needed to overturn the Planning Commission’s approval.\u003c/p>\n\u003cp>The decision was final; a tower would be built on Mount Sutro.\u003c/p>\n\u003ch3>Designing the Tower\u003c/h3>\n\u003cp>Leading up to construction, the tower’s design underwent huge changes by Los Angeles architecture firm \u003ca href=\"http://www.acmartin.com/\" target=\"_blank\" rel=\"noopener\">AC Martin and Associates\u003c/a>. It became more skeletal-looking with a broader top and waist.\u003c/p>\n\u003cfigure id=\"attachment_10567235\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/image002.png\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10567235 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/image002-400x510.png\" alt=\"Later architectural drawings of the tower show the red and white stripes we've come to know today. \" width=\"400\" height=\"510\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/image002-400x510.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/image002.png 481w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Later architectural drawings of the tower show the red-and-white stripes we’ve come to know today. \u003ccite>(Courtesy of Christine Linnenbach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Dausman, general manager of Sutro Tower, says the architect’s decision to taper the center was entirely aesthetic.\u003c/p>\n\u003cp>“All the engineers since then want to shoot him. It made it a more difficult structure to maintain, and it is a more difficult structure to keep perfectly upright and in a great condition,” says Dausman.\u003c/p>\n\u003cp>The other major change was the color. Original plans showed a tower with a golden hue, but aviation regulations required the tower be painted alternating stripes of red and white to ward off possible plane collisions.\u003c/p>\n\u003ch3>Construction\u003c/h3>\n\u003cp>By the 1970s, public interest in Sutro Tower had ebbed and few news outlets were reporting on it. The tower’s fiercest opponent, the Chronicle, had warmed to the tower after its television station became a partner in building it.\u003c/p>\n\u003cfigure id=\"attachment_10567312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5882.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-10567312\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5882-800x533.jpg\" alt=\"By the time the public was largely aware the tower was being built, it was too late to stop construction.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">By the time the public was largely aware the tower was being built, it was too late to stop construction. \u003ccite>(Adam Grossberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When construction finally began in 1971, the local media were silent. Television stations involved had made a gentleman’s agreement not to report on the tower. Some called it a media blackout.\u003c/p>\n\u003cp>In their defense, the four stations, KTVU, KPIX, KGO and KRON, claimed it was so that nobody would have the jump on advertising the new tower.\u003c/p>\n\u003cp>But an editorial that ran in the San Rafael Daily Independent Journal suggested the group was silent because they knew the tower would be unpopular.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>Fun Facts about Sutro Tower\u003c/h2>\n\u003cul>\n\u003cli>The legs are anchored in 15 million pounds of cement.\u003c/li>\n\u003cli>The tower is composed of 3.5 million pounds of steel.\u003c/li>\n\u003cli>It is 977 feet tall. The highest point is 1811 feet above sea level.\u003c/li>\n\u003cli>Construction cost $4 million in 1971.\u003c/li>\n\u003cli>The tower hasn’t been painted in over 20 years. “The biggest problem with painting is that we also painted a lot of the neighbors’ houses and cars. … The crew is as careful as they can be, but they’re 700, 800, 900 feet in the air, and a drip goes a long way,” says Dausman.\u003cstrong> \u003c/strong>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>When bulldozers began taking out trees on top of Mount Sutro, KQED Newsroom reporter Tom De Vries and cameraman Charles Rudnick hiked up to the construction site.\u003c/p>\n\u003cp>“We started taking pictures and a man came running out of the work office, running towards us saying, ‘You can’t film here! There’s an agreement!’ … Well, the story just got way better,” says De Vries.\u003c/p>\n\u003cp>KQED-TV ran the story, sparking new efforts to stop the tower by University of San Francisco law students and two San Francisco Supervisors.\u003c/p>\n\u003cp>None were successful.\u003c/p>\n\u003ch3>Final Touches\u003c/h3>\n\u003cp>Sutro Tower beamed out its first transmission on July 4, 1973.\u003c/p>\n\u003cp>In designing the tower, engineers realized that the antennas would sway in strong winds, so they added girders and a network of cables to keep it in place.\u003c/p>\n\u003cp>“Unfortunately, one of the byproducts was that wind would rush through these newly created guide wires, and the whole tower would sound like a moaning harp,” says Linnenbach.\u003c/p>\n\u003cp>The cables have since been redesigned and are not as loud.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10567311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5854.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10567311 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5854-800x533.jpg\" alt=\"Reporter Jessica Placzek and Sutro Tower Spokesman Dave Hyams near the top of the tower.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Reporter Jessica Placzek and Sutro Tower spokesman Dave Hyams near the top of the tower. \u003ccite>(Adam Grossberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Sutro Tower Today\u003c/h3>\n\u003cp>Dausman says he understands people who consider the tower an eyesore. If it were up to him, the tower wouldn’t even be here.\u003c/p>\n\u003cp>“This is the wrong place for a broadcast tower to serve all of the Bay Area as it has emerged in the last 40 years,” Dausman says. “It’s not really in the center.”\u003c/p>\n\u003cp>He thinks the ideal spot would be somewhere in Hayward. But at this point, the tower is isn’t going anywhere.\u003c/p>\n\u003cp>These days Sutro Tower is used for more than just television. Emergency responders, traffic control, taxi dispatchers, law enforcement and radio all use the structure.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And many residents have come to love Sutro Tower.\u003c/p>\n\u003cp>You can find the icon in boutiques and even tattooed onto people’s bodies. Newcomers use the tower’s prominence to navigate the city, while other San Franciscans profess to love the structure that many tourists find ugly and strange.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When fog swirls in around the foot of the tower, people describe it as a ship sailing atop the clouds, a ladder to the blue skies always just out of reach in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10568088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro-in-the-clouds.jpeg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10568088 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro-in-the-clouds-800x450.jpeg\" alt=\"sutro in the clouds\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-800x450.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-400x225.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-1440x810.jpeg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-1180x664.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-960x540.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sutro Tower in the fog. \u003ccite>(Olivia Allen-Price/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco's 'Leaning Tower' Has Residents Fuming",
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"content": "\u003cp>They call it “The Leaning Tower of San Francisco.”\u003c/p>\n\u003cp>But it wasn’t always that way. The luxury skyscraper was billed as “state of the art” when it opened a few years ago. People paid millions for condos there.\u003c/p>\n\u003cp>Now the Millennium Tower is sinking and tilting — about 6 inches to one side. Residents and the city are \u003ca href=\"https://ww2.kqed.org/news/2016/12/29/trapped-at-the-pinnacle-of-luxury-life-at-the-top-of-s-f-s-leaning-tower/\" target=\"_blank\" rel=\"noopener\">suing the developer\u003c/a>.\u003c/p>\n\u003cp>Pamela Buttery lives on the 57th floor. To demonstrate how her home tilts slightly to the left, Buttery \u003ca href=\"https://www.youtube.com/watch?v=kzoaSF42G3I\" target=\"_blank\" rel=\"noopener\">hits a golf ball\u003c/a> straight ahead toward the window.\u003c/p>\n\u003cp>“So there it goes rolling,” she says. “And it kind of picks up speed.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The ball takes a sharp left turn toward the direction of the tilt, and it ends up in the northwest corner of her living room.\u003c/p>\n\u003cp>Buttery bought this unit as the tower was being completed in 2010. But documents obtained by the city show that as early as 2009, developers and city building inspectors knew the tower was settling faster than expected.\u003c/p>\n\u003cp>Buttery and other residents were not told until May 2016, and by then, the building had sunk more than a foot and was leaning 6 inches to the northwest.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kzoaSF42G3I\u003c/p>\n\u003cp>“San Francisco has been in the midst of an unparalleled building boom, the largest building boom we’ve had since World War II, arguably since the Gold Rush,” says San Francisco Supervisor Aaron Peskin. “And we need to make sure that we are building buildings that are safe, that people’s investments are safe.”\u003c/p>\n\u003cp>Peskin is leading what is likely to be a long series of investigative hearings on the troubled tower. Some key questions: Should the city require high-rise developers to drill their foundations into bedrock? Also, why is the building’s frame made of concrete instead of steel?\u003c/p>\n\u003cp>The Millennium Tower’s foundation is anchored into a landfill. Concrete is cheaper, but it’s also much heavier.\u003c/p>\n\u003cp>And what about the massive new train and bus terminal being constructed right next door? Millennium spokesman P.J. Johnston says workers have been pumping out huge amounts of water as they tunnel through the soil. Johnston says that process, known as dewatering, is destabilizing the ground.\u003c/p>\n\u003cp>“We need to stop the dewatering, work together on any remediation that needs to be done to fix any damages,” Johnston says. “And then we’ll sort out all the liabilities later.”\u003c/p>\n\u003cp>Johnston says engineers have inspected the tower and confirm it’s safe. Still, that leaves perhaps the biggest question of them all: How to fix the tower, or at least keep it from leaning even more?\u003c/p>\n\u003cp>Some solutions include pouring a concrete collar around the foundation or building a buttress.\u003c/p>\n\u003cp>Buttery, who is 76, says so much for her peaceful retirement.\u003c/p>\n\u003cp>“I’ve moved on into depression about it,” she says. “So it’s a gloomy feeling.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even her favorite pastime — putting golf balls — doesn’t give her the same joy it once did. No matter which way she hits them, they all end up in the same corner. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=San+Francisco%27s+%27Leaning+Tower%27+Has+Residents+Fuming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "A luxury high-rise in San Francisco is sinking. The Millennium Tower has sunk more than a foot since its completion in 2010. It's also tilting, which makes life difficult for residents on high floors.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They call it “The Leaning Tower of San Francisco.”\u003c/p>\n\u003cp>But it wasn’t always that way. The luxury skyscraper was billed as “state of the art” when it opened a few years ago. People paid millions for condos there.\u003c/p>\n\u003cp>Now the Millennium Tower is sinking and tilting — about 6 inches to one side. Residents and the city are \u003ca href=\"https://ww2.kqed.org/news/2016/12/29/trapped-at-the-pinnacle-of-luxury-life-at-the-top-of-s-f-s-leaning-tower/\" target=\"_blank\" rel=\"noopener\">suing the developer\u003c/a>.\u003c/p>\n\u003cp>Pamela Buttery lives on the 57th floor. To demonstrate how her home tilts slightly to the left, Buttery \u003ca href=\"https://www.youtube.com/watch?v=kzoaSF42G3I\" target=\"_blank\" rel=\"noopener\">hits a golf ball\u003c/a> straight ahead toward the window.\u003c/p>\n\u003cp>“So there it goes rolling,” she says. “And it kind of picks up speed.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The ball takes a sharp left turn toward the direction of the tilt, and it ends up in the northwest corner of her living room.\u003c/p>\n\u003cp>Buttery bought this unit as the tower was being completed in 2010. But documents obtained by the city show that as early as 2009, developers and city building inspectors knew the tower was settling faster than expected.\u003c/p>\n\u003cp>Buttery and other residents were not told until May 2016, and by then, the building had sunk more than a foot and was leaning 6 inches to the northwest.\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/kzoaSF42G3I'\n title='//www.youtube.com/embed/kzoaSF42G3I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“San Francisco has been in the midst of an unparalleled building boom, the largest building boom we’ve had since World War II, arguably since the Gold Rush,” says San Francisco Supervisor Aaron Peskin. “And we need to make sure that we are building buildings that are safe, that people’s investments are safe.”\u003c/p>\n\u003cp>Peskin is leading what is likely to be a long series of investigative hearings on the troubled tower. Some key questions: Should the city require high-rise developers to drill their foundations into bedrock? Also, why is the building’s frame made of concrete instead of steel?\u003c/p>\n\u003cp>The Millennium Tower’s foundation is anchored into a landfill. Concrete is cheaper, but it’s also much heavier.\u003c/p>\n\u003cp>And what about the massive new train and bus terminal being constructed right next door? Millennium spokesman P.J. Johnston says workers have been pumping out huge amounts of water as they tunnel through the soil. Johnston says that process, known as dewatering, is destabilizing the ground.\u003c/p>\n\u003cp>“We need to stop the dewatering, work together on any remediation that needs to be done to fix any damages,” Johnston says. “And then we’ll sort out all the liabilities later.”\u003c/p>\n\u003cp>Johnston says engineers have inspected the tower and confirm it’s safe. Still, that leaves perhaps the biggest question of them all: How to fix the tower, or at least keep it from leaning even more?\u003c/p>\n\u003cp>Some solutions include pouring a concrete collar around the foundation or building a buttress.\u003c/p>\n\u003cp>Buttery, who is 76, says so much for her peaceful retirement.\u003c/p>\n\u003cp>“I’ve moved on into depression about it,” she says. “So it’s a gloomy feeling.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even her favorite pastime — putting golf balls — doesn’t give her the same joy it once did. No matter which way she hits them, they all end up in the same corner. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=San+Francisco%27s+%27Leaning+Tower%27+Has+Residents+Fuming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mariah Carey says she was “mortified” in “real time” during her disastrous live performance moments before the ball dropped on ABC’s \u003cem>Dick Clark’s Rockin’ New Year’s Eve\u003c/em>.\u003c/p>\n\u003cp>Carey spoke to Entertainment Weekly in her first interview since the show in which she stumbled through her songs. At many points she stopped singing, even while a prerecorded vocal track played in the background.\u003c/p>\n\u003cp>Carey’s publicist blamed show producer Dick Clark Productions earlier this week for not addressing technical difficulties before the performance, including a malfunctioning earpiece. Carey reiterated that stance to EW and praised the late Clark.\u003c/p>\n\u003cp>“I’m of the opinion that Dick Clark would not have let an artist go through that and he would have been as mortified as I was in real time,” she said.\u003c/p>\n\u003cp>While she described the night as “a horrible New Year’s Eve,” Carey said the experience wouldn’t stop her from doing another live television performance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“But it will make me less trusting of using anyone outside of my own team,” she added.\u003c/p>\n\u003cp>Dick Clark Productions has called the Carey camp’s claims “absurd” and said an internal investigation showed the company had no involvement in the issues affecting Carey’s performance.\u003c/p>\n\u003cp>\u003cem>Rockin New Year’s Eve\u003c/em> co-host Jenny McCarthy defended Dick Clark Productions on her SiriusXM radio show Tuesday, saying “for Mariah to defame them was so incredibly insulting.”\u003c/p>\n\u003cp>“The truth of the matter is Mariah didn’t do a sound check,” McCarthy said.\u003c/p>\n\u003cp>Instead, Carey rehearsed her stage movements but stood off to the side while having a stand-in do a sound check, according to McCarthy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a television personality, McCarthy said she initially empathized with Carey during what she described as “a complete train wreck.”\u003c/p>\n\n",
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"content": "\u003cp>The lessons of \u003ca href=\"https://ww2.kqed.org/news/2016/12/26/ghost-ship-update-why-warehouse-was-invisible-trolls-target-diy-spaces/\" target=\"_blank\" rel=\"noopener\">Oakland’s Ghost Ship \u003c/a>fire haunted a forum Tuesday night in which about 50 artists met with San Francisco building and fire officials. The event at the Mission District’s Brava Theatre featured presentations on everything from how to use a fire extinguisher and how building inspectors evaluate sprinkler systems, to tenants’ rights.\u003c/p>\n\u003cp>“I don’t know enough, and I just figured if I don’t know enough and I’m on a fire task force, then certainly individuals don’t know enough when they’re working on their art in their living room.” said Spike Kahn, an artist and Director of the \u003ca href=\"http://www.pacificfeltfactory.com/\" target=\"_blank\" rel=\"noopener\">Pacific Felt Factory\u003c/a>, a studio complex she developed in San Francisco’s Mission District. “No matter whether we’re to code or not, we can be safer than we were yesterday.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.artsandmedia.net/\" target=\"_blank\" rel=\"noopener\">One artists’ group\u003c/a> was handing out free surge protectors, an alternative to extension cords, which can overheat and cause a fire. Federal officials believe an overloaded electrical system probably caused the Ghost Ship Fire in which 36 people died.\u003c/p>\n\u003cfigure id=\"attachment_12579924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579924\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-800x495.jpg\" alt=\"Pacific Felt Factory Director Spike Kahn shows off an electrical surge protector\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pacific Felt Factory Director Spike Kahn shows off an electrical surge protector \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kahn and San Francisco building and fire officials emphasized the forum was a secure space for artists to discuss fire safety, without fear they would be targeted for violations of building or fire codes.\u003c/p>\n\u003cp>But it demonstrated the anxiety artists are feeling about whether they can hold on to their studios and living spaces. Artists with questions from the audience didn’t identify themselves. Since the fire, some landlords and city officials around the Bay Area have used safety concerns and zoning rules as an excuse to \u003ca href=\"https://ww2.kqed.org/arts/2016/12/22/artist-community-calls-on-oakland-mayor-to-stop-emergency-evictions/\" target=\"_blank\" rel=\"noopener\">evict artists from warehouse spaces\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“At least a third of the complaints we receive are without merit,” said Ron Allen, the chief electrical inspector with the \u003ca href=\"http://sfdbi.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Department of Building Inspection\u003c/a>, “but we don’t know that until we go out to investigate.”\u003c/p>\n\u003cfigure id=\"attachment_12579911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579911\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/001-800x600.jpg\" alt=\"Artists gather at the Brava Theater Center for a forum on fire safety and tenants' rights\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists gather at the Brava Theater Center for a forum on fire safety and tenants’ rights \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>That comment struck home for one Mission District artist at the forum, who said she’d had two surprise inspections recently, one from the fire department and one from the building department, after a neighbor complained about an event she held. “This stuff makes me feel I have to go more underground,” said the woman, who asked to remain anonymous. “I don’t want to come from a place of fear. But now we’re like, oh my god, are they going to come and get us next.” The woman added that her live/work space passed both inspections without a problem, because “I’m super safety conscious.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lessons of \u003ca href=\"https://ww2.kqed.org/news/2016/12/26/ghost-ship-update-why-warehouse-was-invisible-trolls-target-diy-spaces/\" target=\"_blank\" rel=\"noopener\">Oakland’s Ghost Ship \u003c/a>fire haunted a forum Tuesday night in which about 50 artists met with San Francisco building and fire officials. The event at the Mission District’s Brava Theatre featured presentations on everything from how to use a fire extinguisher and how building inspectors evaluate sprinkler systems, to tenants’ rights.\u003c/p>\n\u003cp>“I don’t know enough, and I just figured if I don’t know enough and I’m on a fire task force, then certainly individuals don’t know enough when they’re working on their art in their living room.” said Spike Kahn, an artist and Director of the \u003ca href=\"http://www.pacificfeltfactory.com/\" target=\"_blank\" rel=\"noopener\">Pacific Felt Factory\u003c/a>, a studio complex she developed in San Francisco’s Mission District. “No matter whether we’re to code or not, we can be safer than we were yesterday.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.artsandmedia.net/\" target=\"_blank\" rel=\"noopener\">One artists’ group\u003c/a> was handing out free surge protectors, an alternative to extension cords, which can overheat and cause a fire. Federal officials believe an overloaded electrical system probably caused the Ghost Ship Fire in which 36 people died.\u003c/p>\n\u003cfigure id=\"attachment_12579924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579924\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-800x495.jpg\" alt=\"Pacific Felt Factory Director Spike Kahn shows off an electrical surge protector\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pacific Felt Factory Director Spike Kahn shows off an electrical surge protector \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kahn and San Francisco building and fire officials emphasized the forum was a secure space for artists to discuss fire safety, without fear they would be targeted for violations of building or fire codes.\u003c/p>\n\u003cp>But it demonstrated the anxiety artists are feeling about whether they can hold on to their studios and living spaces. Artists with questions from the audience didn’t identify themselves. Since the fire, some landlords and city officials around the Bay Area have used safety concerns and zoning rules as an excuse to \u003ca href=\"https://ww2.kqed.org/arts/2016/12/22/artist-community-calls-on-oakland-mayor-to-stop-emergency-evictions/\" target=\"_blank\" rel=\"noopener\">evict artists from warehouse spaces\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“At least a third of the complaints we receive are without merit,” said Ron Allen, the chief electrical inspector with the \u003ca href=\"http://sfdbi.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Department of Building Inspection\u003c/a>, “but we don’t know that until we go out to investigate.”\u003c/p>\n\u003cfigure id=\"attachment_12579911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579911\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/001-800x600.jpg\" alt=\"Artists gather at the Brava Theater Center for a forum on fire safety and tenants' rights\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists gather at the Brava Theater Center for a forum on fire safety and tenants’ rights \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>That comment struck home for one Mission District artist at the forum, who said she’d had two surprise inspections recently, one from the fire department and one from the building department, after a neighbor complained about an event she held. “This stuff makes me feel I have to go more underground,” said the woman, who asked to remain anonymous. “I don’t want to come from a place of fear. But now we’re like, oh my god, are they going to come and get us next.” The woman added that her live/work space passed both inspections without a problem, because “I’m super safety conscious.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "affordable-housing-for-artists-santa-cruz-shows-bay-area-how-its-done",
"title": "Affordable Housing for Artists: Santa Cruz Shows Bay Area How It's Done",
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"content": "\u003cp>In the wake of the \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">Ghost Ship\u003c/a> warehouse fire in Oakland, cities all over the country are looking into what they can do to create more affordable housing for artists that doesn’t trade basic safety for cheap rent. One answer lies to the south, with the \u003ca href=\"http://tanneryartscenter.org/\" target=\"_blank\" rel=\"noopener\">Tannery Arts Center\u003c/a> in Santa Cruz.\u003c/p>\n\u003cp>When the \u003ca href=\"http://tanneryartscenter.org/history/\" target=\"_blank\" rel=\"noopener\">Salz Tannery closed\u003c/a> in 2001, the local redevelopment agency decided the cluster of funky, red-and-white 19th century warehouses near downtown was a perfect place to build affordable housing for artists. The agency then sought out one of the nation’s biggest developers of affordable housing for artists, \u003ca href=\"http://www.artspace.org/our-places/artspace-tannery-lofts\" target=\"_blank\" rel=\"noopener\">Artspace\u003c/a>.\u003c/p>\n\u003cp>The nonprofit, based in Minneapolis, has helped develop 43 different projects around the country since it launched in 1979, including three loft spaces in Seattle and five in Chicago. The Tannery Arts Center is arguably its most ambitious project: a $42 million complex on eight acres, including 28 commercial art studios and 100 live/work studios.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/300923160″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Greg Handberg of Artspace, who oversaw the development of the Tannery Arts Center, explains “Artspace lives at the intersection of affordable housing needs, economic development needs, cultural facility needs, historic preservation needs. When a community is grappling with those issues, they find us.”\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>What Paid for the Tannery Arts Center\u003c/h3>\n\u003ch4>Public Agencies\u003c/h4>\n\u003cul>\n\u003cli>California Department of Community Redevelopment Housing\u003c/li>\n\u003cli>California Tax Credit Allocation Committee\u003c/li>\n\u003cli>City of Santa Cruz Housing Trust Fund\u003c/li>\n\u003cli>City of Santa Cruz Redevelopment Agency\u003c/li>\n\u003cli>County of Santa Cruz Housing Trust Fund\u003c/li>\n\u003cli>Federal Home Loan Bank\u003c/li>\n\u003cli>Affordable Housing Program\u003c/li>\n\u003c/ul>\n\u003ch4>Private Entities\u003c/h4>\n\u003cul>\n\u003cli>RBC–Apollo Equity Partners\u003c/li>\n\u003cli>J.P. Morgan Chase\u003c/li>\n\u003cli>U.S. Bancorp Foundation\u003c/li>\n\u003cli>Washington Mutual Foundation\u003c/li>\n\u003cli>Wells Fargo Foundation\u003c/li>\n\u003c/ul>\n\u003ch5>\u003cem>Source: \u003ca href=\"http://www.artspace.org/our-places/artspace-tannery-lofts\" target=\"_blank\" rel=\"noopener\">Artspace\u003c/a>\u003c/em>\u003c/h5>\n\u003c/aside>\n\u003cp>Artspace helps cities pull together the local, state and federal funding required to develop affordable housing for artists. Handberg says every project is different, but the financing works in much the same way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The most important tool in the Tannery financial picture was something called a federal low income housing tax credit,” he says. That means companies like US Bancorp and Washington Mutual paid for much of the project in exchange for tax breaks. Grants covered the rest – and a city like Santa Cruz got a multi-million dollar complex for a fraction of the cost and a low debt load going forward.\u003c/p>\n\u003cp>Eligibility for the units is federally proscribed by US Department of Housing and Urban Development. Applicants must be making less than 50 percent of the area median income for Santa Cruz County, which was about $67,000 in 2015, according to the US Census.\u003c/p>\n\u003cfigure id=\"attachment_12579915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579915\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-800x450.jpg\" alt=\"The Salz Tannery closed in 2001. It was the oldest operating leather tannery West of the Mississippi – quaint, completely out of step with 20th century safety codes, but Santa Cruz saw it as a redevelopment opportunity.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Salz Tannery closed in 2001. It was the oldest operating leather tannery West of the Mississippi – quaint, and completely out of step with 20th century safety codes. Santa Cruz saw it as a redevelopment opportunity. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual artist \u003ca href=\"https://www.facebook.com/heejin.lee.338863\" target=\"_blank\" rel=\"noopener\">Heejin Lee\u003c/a> pays $1,224 a month for a three-bedroom unit, something that would cost her two or three times as much on the open market. “This is very safe and also peaceful place for concentrate your art,” she says.\u003c/p>\n\u003cp>\u003cstrong>A space space for creative artists\u003c/strong>\u003c/p>\n\u003cp>Lee, a soft-spoken Korean-American, has lived in Santa Cruz for 14 years and the last three have been spent at Tannery. Her studio, filled with paints and easels and work up on the walls, looks out over the San Lorenzo River. She loves that she’s surrounded by art inside her studio and outside. “We have painter, writer, dancers, musicians. We share all our thoughts and our passion together,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12579919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579919\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-800x451.jpg\" alt=\"Artist tenants at the Tannery Arts Center are enthusiastically encouraging to install art in the hallways.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist tenants at the Tannery Arts Center are enthusiastically encouraging to install art in the hallways. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lee sells her work at a gallery over in the commercial studio complex across the way. Like most residents here, she survives on a diversified economic portfolio that includes, in her case, teaching and a part-time job at a sushi restaurant.\u003c/p>\n\u003cp>Given the way real estate developers have co-opted the phrase “artist loft,” it’s easy to forget what real artists want in a live/work space. It’s not a fancy kitchen or plush carpets. A real artist’s loft is the kind of space you can make a creative mess in.\u003c/p>\n\u003cp>\u003cstrong>Spare units, filled with creative possibility\u003c/strong>\u003c/p>\n\u003cp>“They’re very simple,” explains Warren Reed, who works for the \u003ca href=\"http://jsco.net/\" target=\"_blank\" rel=\"noopener\">John Stewart Company\u003c/a>, the firm managing the Tannery Arts Center. “Hard surfaces on the floor. Easy to maintain for the residents, but also gives them the flexibility to design their space however they want to use it.”\u003c/p>\n\u003cfigure id=\"attachment_12579921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579921\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-800x481.jpg\" alt='Greg Handberg of Artspace says affordable housing projects for artists are \"a little more complicated\" these days because of Governor Jerry Brown’s decision to dissolve the state’s redevelopment agencies in 2011. \"The Tannery project really was led by the redevelopment agency of the city of Santa Cruz in the 2000s. But that’s not a challenge we haven’t faced in places like New York, or new Orleans, or Hawaii or Minneapolis. We just have to figure it out.\"' width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-1180x710.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-960x578.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-520x313.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Handberg of Artspace says affordable housing projects for artists are “a little more complicated” these days because of Governor Jerry Brown’s decision to dissolve the state’s redevelopment agencies in 2011. “The Tannery project really was led by the redevelopment agency of the city of Santa Cruz in the 2000s. But that’s not a challenge we haven’t faced in places like New York, or new Orleans, or Hawaii or Minneapolis. We just have to figure it out.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Of course, here being a lot of the residents are visual artists, they hang their art out in the hallways and it changes,” Reed says. “It’s like an open air gallery. So it’s kind of exciting to walk through the halls and see what’s happening.”\u003c/p>\n\u003cp>Now, why prioritize artists over other people who need help, like veterans, seniors and disabled folks?\u003c/p>\n\u003cp>Bonnie Lipscomb, Director of Economic Development for Santa Cruz, says it’s not a zero sum game. “We’ve housed over 1,200 units of affordable housing in our community in the last 20 years. So we are concerned about everyone. What we saw here was that a very specific, vital part of our community was leaving, cause they couldn’t afford to live here anymore, and that’s part of our whole cultural identity,” she said.\u003c/p>\n\u003cp>\u003cstrong>A model for others to follow\u003c/strong>\u003c/p>\n\u003cp>So is Tannery a model for the rest of the Bay Area, and beyond? Absolutely, says Lipscomb. “It’s a matter of leveraging the various sources. I think it could happen today. It might be a slightly different path, but the funding is there.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Tannery was the first Artspace project in California, but two more are in the works, one of them in Monterey. That said, supply will probably never meet demand. It took nearly 15 years to develop the Tannery Arts Center. The units filled as soon as they opened, and now, there are around 300 people on the waiting list.\u003c/p>\n\n",
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"title": "Affordable Housing for Artists: Santa Cruz Shows Bay Area How It's Done | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the wake of the \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">Ghost Ship\u003c/a> warehouse fire in Oakland, cities all over the country are looking into what they can do to create more affordable housing for artists that doesn’t trade basic safety for cheap rent. One answer lies to the south, with the \u003ca href=\"http://tanneryartscenter.org/\" target=\"_blank\" rel=\"noopener\">Tannery Arts Center\u003c/a> in Santa Cruz.\u003c/p>\n\u003cp>When the \u003ca href=\"http://tanneryartscenter.org/history/\" target=\"_blank\" rel=\"noopener\">Salz Tannery closed\u003c/a> in 2001, the local redevelopment agency decided the cluster of funky, red-and-white 19th century warehouses near downtown was a perfect place to build affordable housing for artists. The agency then sought out one of the nation’s biggest developers of affordable housing for artists, \u003ca href=\"http://www.artspace.org/our-places/artspace-tannery-lofts\" target=\"_blank\" rel=\"noopener\">Artspace\u003c/a>.\u003c/p>\n\u003cp>The nonprofit, based in Minneapolis, has helped develop 43 different projects around the country since it launched in 1979, including three loft spaces in Seattle and five in Chicago. The Tannery Arts Center is arguably its most ambitious project: a $42 million complex on eight acres, including 28 commercial art studios and 100 live/work studios.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/300923160″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/300923160″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Greg Handberg of Artspace, who oversaw the development of the Tannery Arts Center, explains “Artspace lives at the intersection of affordable housing needs, economic development needs, cultural facility needs, historic preservation needs. When a community is grappling with those issues, they find us.”\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>What Paid for the Tannery Arts Center\u003c/h3>\n\u003ch4>Public Agencies\u003c/h4>\n\u003cul>\n\u003cli>California Department of Community Redevelopment Housing\u003c/li>\n\u003cli>California Tax Credit Allocation Committee\u003c/li>\n\u003cli>City of Santa Cruz Housing Trust Fund\u003c/li>\n\u003cli>City of Santa Cruz Redevelopment Agency\u003c/li>\n\u003cli>County of Santa Cruz Housing Trust Fund\u003c/li>\n\u003cli>Federal Home Loan Bank\u003c/li>\n\u003cli>Affordable Housing Program\u003c/li>\n\u003c/ul>\n\u003ch4>Private Entities\u003c/h4>\n\u003cul>\n\u003cli>RBC–Apollo Equity Partners\u003c/li>\n\u003cli>J.P. Morgan Chase\u003c/li>\n\u003cli>U.S. Bancorp Foundation\u003c/li>\n\u003cli>Washington Mutual Foundation\u003c/li>\n\u003cli>Wells Fargo Foundation\u003c/li>\n\u003c/ul>\n\u003ch5>\u003cem>Source: \u003ca href=\"http://www.artspace.org/our-places/artspace-tannery-lofts\" target=\"_blank\" rel=\"noopener\">Artspace\u003c/a>\u003c/em>\u003c/h5>\n\u003c/aside>\n\u003cp>Artspace helps cities pull together the local, state and federal funding required to develop affordable housing for artists. Handberg says every project is different, but the financing works in much the same way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The most important tool in the Tannery financial picture was something called a federal low income housing tax credit,” he says. That means companies like US Bancorp and Washington Mutual paid for much of the project in exchange for tax breaks. Grants covered the rest – and a city like Santa Cruz got a multi-million dollar complex for a fraction of the cost and a low debt load going forward.\u003c/p>\n\u003cp>Eligibility for the units is federally proscribed by US Department of Housing and Urban Development. Applicants must be making less than 50 percent of the area median income for Santa Cruz County, which was about $67,000 in 2015, according to the US Census.\u003c/p>\n\u003cfigure id=\"attachment_12579915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579915\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-800x450.jpg\" alt=\"The Salz Tannery closed in 2001. It was the oldest operating leather tannery West of the Mississippi – quaint, completely out of step with 20th century safety codes, but Santa Cruz saw it as a redevelopment opportunity.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Salz Tannery closed in 2001. It was the oldest operating leather tannery West of the Mississippi – quaint, and completely out of step with 20th century safety codes. Santa Cruz saw it as a redevelopment opportunity. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual artist \u003ca href=\"https://www.facebook.com/heejin.lee.338863\" target=\"_blank\" rel=\"noopener\">Heejin Lee\u003c/a> pays $1,224 a month for a three-bedroom unit, something that would cost her two or three times as much on the open market. “This is very safe and also peaceful place for concentrate your art,” she says.\u003c/p>\n\u003cp>\u003cstrong>A space space for creative artists\u003c/strong>\u003c/p>\n\u003cp>Lee, a soft-spoken Korean-American, has lived in Santa Cruz for 14 years and the last three have been spent at Tannery. Her studio, filled with paints and easels and work up on the walls, looks out over the San Lorenzo River. She loves that she’s surrounded by art inside her studio and outside. “We have painter, writer, dancers, musicians. We share all our thoughts and our passion together,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12579919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579919\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-800x451.jpg\" alt=\"Artist tenants at the Tannery Arts Center are enthusiastically encouraging to install art in the hallways.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist tenants at the Tannery Arts Center are enthusiastically encouraging to install art in the hallways. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lee sells her work at a gallery over in the commercial studio complex across the way. Like most residents here, she survives on a diversified economic portfolio that includes, in her case, teaching and a part-time job at a sushi restaurant.\u003c/p>\n\u003cp>Given the way real estate developers have co-opted the phrase “artist loft,” it’s easy to forget what real artists want in a live/work space. It’s not a fancy kitchen or plush carpets. A real artist’s loft is the kind of space you can make a creative mess in.\u003c/p>\n\u003cp>\u003cstrong>Spare units, filled with creative possibility\u003c/strong>\u003c/p>\n\u003cp>“They’re very simple,” explains Warren Reed, who works for the \u003ca href=\"http://jsco.net/\" target=\"_blank\" rel=\"noopener\">John Stewart Company\u003c/a>, the firm managing the Tannery Arts Center. “Hard surfaces on the floor. Easy to maintain for the residents, but also gives them the flexibility to design their space however they want to use it.”\u003c/p>\n\u003cfigure id=\"attachment_12579921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579921\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-800x481.jpg\" alt='Greg Handberg of Artspace says affordable housing projects for artists are \"a little more complicated\" these days because of Governor Jerry Brown’s decision to dissolve the state’s redevelopment agencies in 2011. \"The Tannery project really was led by the redevelopment agency of the city of Santa Cruz in the 2000s. But that’s not a challenge we haven’t faced in places like New York, or new Orleans, or Hawaii or Minneapolis. We just have to figure it out.\"' width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-1180x710.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-960x578.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-520x313.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Handberg of Artspace says affordable housing projects for artists are “a little more complicated” these days because of Governor Jerry Brown’s decision to dissolve the state’s redevelopment agencies in 2011. “The Tannery project really was led by the redevelopment agency of the city of Santa Cruz in the 2000s. But that’s not a challenge we haven’t faced in places like New York, or new Orleans, or Hawaii or Minneapolis. We just have to figure it out.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Of course, here being a lot of the residents are visual artists, they hang their art out in the hallways and it changes,” Reed says. “It’s like an open air gallery. So it’s kind of exciting to walk through the halls and see what’s happening.”\u003c/p>\n\u003cp>Now, why prioritize artists over other people who need help, like veterans, seniors and disabled folks?\u003c/p>\n\u003cp>Bonnie Lipscomb, Director of Economic Development for Santa Cruz, says it’s not a zero sum game. “We’ve housed over 1,200 units of affordable housing in our community in the last 20 years. So we are concerned about everyone. What we saw here was that a very specific, vital part of our community was leaving, cause they couldn’t afford to live here anymore, and that’s part of our whole cultural identity,” she said.\u003c/p>\n\u003cp>\u003cstrong>A model for others to follow\u003c/strong>\u003c/p>\n\u003cp>So is Tannery a model for the rest of the Bay Area, and beyond? Absolutely, says Lipscomb. “It’s a matter of leveraging the various sources. I think it could happen today. It might be a slightly different path, but the funding is there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tannery was the first Artspace project in California, but two more are in the works, one of them in Monterey. That said, supply will probably never meet demand. It took nearly 15 years to develop the Tannery Arts Center. The units filled as soon as they opened, and now, there are around 300 people on the waiting list.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/PPItL6MmTxo\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Tyrus Wong, who arrived at Angel Island as a 10-year-old immigrant from China in 1920 and went on to a career as one of the California's most important modern artists, has died at age 106.\u003c/p>\n\u003cp>The Los Angeles Times \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-tyrus-wong-obit-20161230-story.html\" target=\"_blank\">reports\u003c/a> Wong died Friday of natural causes at his home in Los Angeles. \u003c/p>\n\u003cp>Late in life, Wong became widely known for his landmark work on Walt Disney's 1942 animated feature \"Bambi.\" He was also recognized in Hollywood for his contributions to other landmark films, including \"Rebel Without a Cause\" and \"The Wild Bunch.\" \u003c/p>\n\u003cp>Wong's career received public recognition in the last two decades of his life. That was due in part to a \u003ca href=\"http://camla.org/past-exhibitions/#tyrus-wong-a-retrospective\" target=\"_blank\">2003-04 retrospective\u003c/a> at the Chinese American Museum in Los Angeles and belated attention from the Disney Co. itself. Wong was more recently in the spotlight because of the 2015 documentary \"Tyrus,\" by Los Angeles filmmaker Pamela Tom (see the trailer above). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As recounted in Tom's film, Wong rose in California's art world despite the many obstacles -- both those written into law and those woven into daily life by a society that had long viewed Chinese immigrants with disdain and hostility -- that he encountered upon his arrival as a child. \u003c/p>\n\u003cp>As detailed in \u003ca href=\"http://www.nytimes.com/2016/12/30/movies/tyrus-wong-dies-bambi-disney.html\" target=\"_blank\">The New York Times obituary\u003c/a> by Margalit Fox, the first hurdle Wong had to get over were the barriers imposed by the federal Chinese Exclusion Act, an 1880s-era law that sought to shut off Chinese immigration. \u003c/p>\n\u003cblockquote>\u003cp>In 1920, seeking better economic prospects, Gen Yeo and his father embarked for the United States, leaving his mother and sister behind. Gen Yeo would never see his mother again.\u003c/p>\n\u003cp>They were obliged to travel under false identities — a state of affairs known among Chinese immigrants as being a “paper son” — in the hope of circumventing the Chinese Exclusion Act ...\u003c/p>\n\u003cp>... United States immigration officials put Chinese arrivals through a formidable inquisition to ensure they were who they claimed to be.\u003c/p>\n\u003cp>The questions came like gunfire: In which direction does your village face? How many windows are in your house? Where in the house is the rice bin? How wide is your well? How deep? Are there trees in your village? Are there lakes? What shops can you name?\u003c/p>\n\u003cp>The sponsoring relative was interrogated separately, and the answers had to match. For the new arrival, a major mistake, or a series of smaller ones, could mean deportation.\u003c/p>\n\u003cp>To stand a chance of passing, aspirants memorized rigorous dossiers known as coaching papers. The ensuing interrogation was hard enough for adults. Ten-year-old Gen Yeo would undergo it alone.\u003c/p>\n\u003cp>On Dec. 30, 1920, after a month at sea, the Wongs landed at Angel Island Immigration Station. The elder Mr. Wong was traveling as a merchant named Look Get; his son as Look Tai Yow....\u003c/p>\n\u003cp>... Because Mr. Wong’s father had previously lived in the United States as Look Get, he was able to clear Immigration quickly. But as a new arrival, Gen Yeo was detained on the island for nearly a month, the only child among the immigrants being held there.\u003c/p>\n\u003cp>“I was scared half to death; I just cried,” Mr. Wong recalled in “Tyrus,” an award-winning documentary directed by Pamela Tom, which premiered in 2015. “Every day is just miserable — miserable. I hated that place.”\u003c/p>\n\u003cp>On Jan. 27, 1921, in the presence of an interpreter and a stenographer, young Gen Yeo, posing as Look Tai Yow, was interrogated by three inspectors. His father had already been questioned.\u003c/p>\n\u003cp>Gen Yeo was well prepared and answered without error. In Sacramento, where he joined his father, a schoolteacher Americanized “Tai Yow” to “Tyrus,” and he was known as Tyrus Wong ever after.\n\u003c/p>\u003c/blockquote>\n\u003cp>The Wongs eventually relocated to Los Angeles, where Tyrus Wong began his formal training as an artist. In the mid-1930s, Wong joined the Federal Arts Project, a publicly funded agency that employed artists to create paintings and murals for public buildings. In 1938, Disney's studio hired him as an \"in-betweener,\" someone whose job was essentially to create visual filler in animated films. The Times' Margalit Fox \u003ca href=\"http://www.nytimes.com/2016/12/30/movies/tyrus-wong-dies-bambi-disney.html\" target=\"_blank\">takes up the story from there\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Asians were then a novelty at Hollywood studios, and Mr. Wong was made keenly aware of the fact, first at Disney and later at Warner Brothers. One co-worker flung a racial epithet at him. Another assumed on sight that he worked in the company cafeteria.\u003c/p>\n\u003cp>Then there was the affront of the in-betweener’s job itself: Painstaking, repetitive and for Mr. Wong quickly soul-numbing, it is the assembly-line work of animation. ...\u003c/p>\n\u003cp>... A reprieve came in the late 1930s, when Mr. Wong learned that Disney was adapting “Bambi, a Life in the Woods,” the 1923 novel by the Austrian writer Felix Salten about a fawn whose mother is killed by a hunter.\u003c/p>\n\u003cp>In trying to animate the book, Disney had reached an impasse. The studio had enjoyed great success in 1937 with its animated film “Snow White and the Seven Dwarfs,” a baroque production in which every detail of the backgrounds — every petal on every flower, every leaf on every tree — was meticulously represented.\u003c/p>\n\u003cp>In an attempt to use a similar style for “Bambi,” it found that the ornate backgrounds camouflaged the deer and other forest creatures on which the narrative centered.\u003c/p>\n\u003cp>Mr. Wong spied his chance.\u003c/p>\n\u003cp>“I said, ‘Gee, this is all outdoor scenery,’” he recalled in a video interview years afterward, adding: “I said, ‘Gee, I’m a landscape painter!’”\u003c/p>\n\u003cp>Invoking the exquisite landscape paintings of the Song dynasty (A.D. 960–1279), he rendered in watercolors and pastels a series of nature scenes that were moody, lyrical and atmospheric — at once lush and spare — with backgrounds subtly suggested by a stroke or two of the brush.\u003c/p>\n\u003cp>“Walt Disney went crazy over them,” said John Canemaker, who wrote about Mr. Wong in his book “Before the Animation Begins: The Art and Lives of Disney Inspirational Sketch Artists” (1996). “He said, ‘I love this indefinite quality, the mysterious quality of the forest.’”\u003c/p>\n\u003cp>Mr. Wong was unofficially promoted to the rank of inspirational sketch artist.\u003c/p>\n\u003cp>“But he was more than that,” Mr. Canemaker explained. “He was the designer; he was the person they went to when they had questions about the color, about how to lay something out. He even influenced the music and the special effects: Just by the look of the drawings, he inspired people.”\u003c/p>\n\u003cp>Mr. Wong spent two years painting the illustrations that would inform every aspect of “Bambi.” Throughout the finished film — lent a brooding quality by its stark landscapes; misty, desaturated palette; and figures often seen in silhouette — his influence is unmistakable.\u003c/p>\u003c/blockquote>\n\u003cp>Disney fired Wong in 1941 after a strike at the studio. He went to work at Warner Brothers, retiribng in 1968. Amid many other accomplishments, Wong became known as a creator of striking kites. From \u003ca href=\"http://www.lisasee.com/on-gold-mountain/tyrus-wong-exhibit/\" target=\"_blank\">a catalog for a 2003-04 retrospective\u003c/a> of the \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-fta-tyrus-wong-art-exhibit-20161230-story.html\" target=\"_blank\">artist's work and career\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\"After retirement Wong felt restless. One day his wife, Ruth, said, \"Why don't you go fly a kite?\" Wong rose to the lighthearted domestic challenge by embarking on the traditional and complex art of Chinese kite making. His kites are amazing works of art -- a centipede a hundred feet long, a fluttering swarm of butterflies with individual moving parts, and schools of intricately painted goldfish -- for which he was been inducted into the World Kite Museum and Hall of Fame.\"\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And Wong told the L.A. Times in 1995:\u003c/p>\n\u003cblockquote>\u003cp>“You get a certain satisfaction in making them, and you get a certain satisfaction flying them. Some are attention-getters, but that’s not what I’m after. I used to go fishing a lot, and I love fishing. This is just like fishing, except in fishing you look down. Kite flying, you look up.”\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/PPItL6MmTxo\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Tyrus Wong, who arrived at Angel Island as a 10-year-old immigrant from China in 1920 and went on to a career as one of the California's most important modern artists, has died at age 106.\u003c/p>\n\u003cp>The Los Angeles Times \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-tyrus-wong-obit-20161230-story.html\" target=\"_blank\">reports\u003c/a> Wong died Friday of natural causes at his home in Los Angeles. \u003c/p>\n\u003cp>Late in life, Wong became widely known for his landmark work on Walt Disney's 1942 animated feature \"Bambi.\" He was also recognized in Hollywood for his contributions to other landmark films, including \"Rebel Without a Cause\" and \"The Wild Bunch.\" \u003c/p>\n\u003cp>Wong's career received public recognition in the last two decades of his life. That was due in part to a \u003ca href=\"http://camla.org/past-exhibitions/#tyrus-wong-a-retrospective\" target=\"_blank\">2003-04 retrospective\u003c/a> at the Chinese American Museum in Los Angeles and belated attention from the Disney Co. itself. Wong was more recently in the spotlight because of the 2015 documentary \"Tyrus,\" by Los Angeles filmmaker Pamela Tom (see the trailer above). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As recounted in Tom's film, Wong rose in California's art world despite the many obstacles -- both those written into law and those woven into daily life by a society that had long viewed Chinese immigrants with disdain and hostility -- that he encountered upon his arrival as a child. \u003c/p>\n\u003cp>As detailed in \u003ca href=\"http://www.nytimes.com/2016/12/30/movies/tyrus-wong-dies-bambi-disney.html\" target=\"_blank\">The New York Times obituary\u003c/a> by Margalit Fox, the first hurdle Wong had to get over were the barriers imposed by the federal Chinese Exclusion Act, an 1880s-era law that sought to shut off Chinese immigration. \u003c/p>\n\u003cblockquote>\u003cp>In 1920, seeking better economic prospects, Gen Yeo and his father embarked for the United States, leaving his mother and sister behind. Gen Yeo would never see his mother again.\u003c/p>\n\u003cp>They were obliged to travel under false identities — a state of affairs known among Chinese immigrants as being a “paper son” — in the hope of circumventing the Chinese Exclusion Act ...\u003c/p>\n\u003cp>... United States immigration officials put Chinese arrivals through a formidable inquisition to ensure they were who they claimed to be.\u003c/p>\n\u003cp>The questions came like gunfire: In which direction does your village face? How many windows are in your house? Where in the house is the rice bin? How wide is your well? How deep? Are there trees in your village? Are there lakes? What shops can you name?\u003c/p>\n\u003cp>The sponsoring relative was interrogated separately, and the answers had to match. For the new arrival, a major mistake, or a series of smaller ones, could mean deportation.\u003c/p>\n\u003cp>To stand a chance of passing, aspirants memorized rigorous dossiers known as coaching papers. The ensuing interrogation was hard enough for adults. Ten-year-old Gen Yeo would undergo it alone.\u003c/p>\n\u003cp>On Dec. 30, 1920, after a month at sea, the Wongs landed at Angel Island Immigration Station. The elder Mr. Wong was traveling as a merchant named Look Get; his son as Look Tai Yow....\u003c/p>\n\u003cp>... Because Mr. Wong’s father had previously lived in the United States as Look Get, he was able to clear Immigration quickly. But as a new arrival, Gen Yeo was detained on the island for nearly a month, the only child among the immigrants being held there.\u003c/p>\n\u003cp>“I was scared half to death; I just cried,” Mr. Wong recalled in “Tyrus,” an award-winning documentary directed by Pamela Tom, which premiered in 2015. “Every day is just miserable — miserable. I hated that place.”\u003c/p>\n\u003cp>On Jan. 27, 1921, in the presence of an interpreter and a stenographer, young Gen Yeo, posing as Look Tai Yow, was interrogated by three inspectors. His father had already been questioned.\u003c/p>\n\u003cp>Gen Yeo was well prepared and answered without error. In Sacramento, where he joined his father, a schoolteacher Americanized “Tai Yow” to “Tyrus,” and he was known as Tyrus Wong ever after.\n\u003c/p>\u003c/blockquote>\n\u003cp>The Wongs eventually relocated to Los Angeles, where Tyrus Wong began his formal training as an artist. In the mid-1930s, Wong joined the Federal Arts Project, a publicly funded agency that employed artists to create paintings and murals for public buildings. In 1938, Disney's studio hired him as an \"in-betweener,\" someone whose job was essentially to create visual filler in animated films. The Times' Margalit Fox \u003ca href=\"http://www.nytimes.com/2016/12/30/movies/tyrus-wong-dies-bambi-disney.html\" target=\"_blank\">takes up the story from there\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Asians were then a novelty at Hollywood studios, and Mr. Wong was made keenly aware of the fact, first at Disney and later at Warner Brothers. One co-worker flung a racial epithet at him. Another assumed on sight that he worked in the company cafeteria.\u003c/p>\n\u003cp>Then there was the affront of the in-betweener’s job itself: Painstaking, repetitive and for Mr. Wong quickly soul-numbing, it is the assembly-line work of animation. ...\u003c/p>\n\u003cp>... A reprieve came in the late 1930s, when Mr. Wong learned that Disney was adapting “Bambi, a Life in the Woods,” the 1923 novel by the Austrian writer Felix Salten about a fawn whose mother is killed by a hunter.\u003c/p>\n\u003cp>In trying to animate the book, Disney had reached an impasse. The studio had enjoyed great success in 1937 with its animated film “Snow White and the Seven Dwarfs,” a baroque production in which every detail of the backgrounds — every petal on every flower, every leaf on every tree — was meticulously represented.\u003c/p>\n\u003cp>In an attempt to use a similar style for “Bambi,” it found that the ornate backgrounds camouflaged the deer and other forest creatures on which the narrative centered.\u003c/p>\n\u003cp>Mr. Wong spied his chance.\u003c/p>\n\u003cp>“I said, ‘Gee, this is all outdoor scenery,’” he recalled in a video interview years afterward, adding: “I said, ‘Gee, I’m a landscape painter!’”\u003c/p>\n\u003cp>Invoking the exquisite landscape paintings of the Song dynasty (A.D. 960–1279), he rendered in watercolors and pastels a series of nature scenes that were moody, lyrical and atmospheric — at once lush and spare — with backgrounds subtly suggested by a stroke or two of the brush.\u003c/p>\n\u003cp>“Walt Disney went crazy over them,” said John Canemaker, who wrote about Mr. Wong in his book “Before the Animation Begins: The Art and Lives of Disney Inspirational Sketch Artists” (1996). “He said, ‘I love this indefinite quality, the mysterious quality of the forest.’”\u003c/p>\n\u003cp>Mr. Wong was unofficially promoted to the rank of inspirational sketch artist.\u003c/p>\n\u003cp>“But he was more than that,” Mr. Canemaker explained. “He was the designer; he was the person they went to when they had questions about the color, about how to lay something out. He even influenced the music and the special effects: Just by the look of the drawings, he inspired people.”\u003c/p>\n\u003cp>Mr. Wong spent two years painting the illustrations that would inform every aspect of “Bambi.” Throughout the finished film — lent a brooding quality by its stark landscapes; misty, desaturated palette; and figures often seen in silhouette — his influence is unmistakable.\u003c/p>\u003c/blockquote>\n\u003cp>Disney fired Wong in 1941 after a strike at the studio. He went to work at Warner Brothers, retiribng in 1968. Amid many other accomplishments, Wong became known as a creator of striking kites. From \u003ca href=\"http://www.lisasee.com/on-gold-mountain/tyrus-wong-exhibit/\" target=\"_blank\">a catalog for a 2003-04 retrospective\u003c/a> of the \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-fta-tyrus-wong-art-exhibit-20161230-story.html\" target=\"_blank\">artist's work and career\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\"After retirement Wong felt restless. One day his wife, Ruth, said, \"Why don't you go fly a kite?\" Wong rose to the lighthearted domestic challenge by embarking on the traditional and complex art of Chinese kite making. His kites are amazing works of art -- a centipede a hundred feet long, a fluttering swarm of butterflies with individual moving parts, and schools of intricately painted goldfish -- for which he was been inducted into the World Kite Museum and Hall of Fame.\"\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And Wong told the L.A. Times in 1995:\u003c/p>\n\u003cblockquote>\u003cp>“You get a certain satisfaction in making them, and you get a certain satisfaction flying them. Some are attention-getters, but that’s not what I’m after. I used to go fishing a lot, and I love fishing. This is just like fishing, except in fishing you look down. Kite flying, you look up.”\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"title": "2016 Video Playlist Celebrates Bold Bay Area Artists",
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"content": "\u003cp>“Art is a strong reflection of who we are,” poet and playwright Paul Flores told KQED Arts in the midst of the \u003ca href=\"https://ww2.kqed.org/arts/2016/05/12/the-frisco-five-protest-moves-bay-area-artists-to-action/\" target=\"_blank\" rel=\"noopener\">Frisco Five hunger strike\u003c/a> against police brutality led by artists earlier this year. In 2016, Bay Area artists showed us how to be \u003ca href=\"https://ww2.kqed.org/arts/2016/07/20/oakland-on-the-precipice-a-video-postcard-with-fantastic-negrito/\" target=\"_blank\" rel=\"noopener\">resilient\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2016/11/02/instead-of-dividing-a-border-wall-of-pinatas-brings-a-community-together/\" target=\"_blank\" rel=\"noopener\">creative\u003c/a>, and \u003ca href=\"https://ww2.kqed.org/arts/2016/08/09/antoine-hunter-empowers-deaf-community-through-dance/\" target=\"_blank\" rel=\"noopener\">inspiring\u003c/a> through the most difficult of times.\u003c/p>\n\u003cp>We put together \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KioZv-gAQhHaNhNWRr5xd_C\">this best of 2016 video playlist\u003c/a>, featuring some of the Bay’s boldest artists and culture makers.\u003c/p>\n\u003cp>Let’s keep the arts more alive than ever, create together, and support artists in 2017.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Art is a strong reflection of who we are,” poet and playwright Paul Flores told KQED Arts in the midst of the \u003ca href=\"https://ww2.kqed.org/arts/2016/05/12/the-frisco-five-protest-moves-bay-area-artists-to-action/\" target=\"_blank\" rel=\"noopener\">Frisco Five hunger strike\u003c/a> against police brutality led by artists earlier this year. In 2016, Bay Area artists showed us how to be \u003ca href=\"https://ww2.kqed.org/arts/2016/07/20/oakland-on-the-precipice-a-video-postcard-with-fantastic-negrito/\" target=\"_blank\" rel=\"noopener\">resilient\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2016/11/02/instead-of-dividing-a-border-wall-of-pinatas-brings-a-community-together/\" target=\"_blank\" rel=\"noopener\">creative\u003c/a>, and \u003ca href=\"https://ww2.kqed.org/arts/2016/08/09/antoine-hunter-empowers-deaf-community-through-dance/\" target=\"_blank\" rel=\"noopener\">inspiring\u003c/a> through the most difficult of times.\u003c/p>\n\u003cp>We put together \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KioZv-gAQhHaNhNWRr5xd_C\">this best of 2016 video playlist\u003c/a>, featuring some of the Bay’s boldest artists and culture makers.\u003c/p>\n\u003cp>Let’s keep the arts more alive than ever, create together, and support artists in 2017.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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