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"title": "The Dynamic Miss Faye Carol is the East Bay's Hardest-Working Live Musician",
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"content": "\u003cp>Active since the 1960s, the \u003ca href=\"https://www.fayecarol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dynamic Miss Faye Carol\u003c/a> is arguably the hardest-working live musician in the East Bay.\u003c/p>\n\u003cp>On a recent afternoon, we meet at \u003ca href=\"http://geoffreyslive.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Geoffrey’s Inner Circle\u003c/a> in Oakland, where she’s hosting weekly concerts throughout March that draw links between her jazz repertoire and blues, Latin jazz and even hip-hop, with collaborators such as percussionist Pete Escovedo, veteran bluesman Bobby Rush and rapper Mistah F.A.B. Dubbed \u003ca href=\"https://www.fayecarol.com/bio--photo\" target=\"_blank\" rel=\"noopener noreferrer\">Faye Carol & the Folks\u003c/a>, the program is just part of Carol’s 24/7, 365-day-a-year grind of rehearsing, promoting, performing and teaching—a grind she’s maintained for the last six decades.\u003c/p>\n\u003cp>“I do my own everything,” Carol tells me in her honeyed, resounding voice, and that includes her manicures. When we meet for our interview, she takes a seat on a regal, velvet chair in Geoffrey’s emerald-green hall, and pulls out a bottle of light pink nail polish to touch up an impressively lengthy fingernail on her ornately bejeweled hand.\u003c/p>\n\u003cp>In connecting jazz with the blues and hip-hop, Carol seeks to show the common black roots of American popular music. Her husband, the late scholar Jim Gamble, who was also her manager and musical director, taught a class at UC Berkeley called the Black History of Music. Early on in her career, Carol audited the course on a weekly basis, and it opened her eyes to the ways the African diaspora’s creative innovations have shaped virtually all popular genres.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think of it as black music coming from that source, and then there are many flavors—just like if you cookin’,” she says. “Do you want to put some oregano in something, or do you wanna put some cayenne? It’s different flavors, different expressions coming from different parts of the country, different creative beings. They create differently, they hear differently. We are not a monolith.”\u003c/span>\u003c/p>\n\u003ch2>The Aftermath of the Harlem of the West\u003c/h2>\n\u003cp>If there’s one word to describe Faye Carol, it’s resilient. As a young girl, she moved to the East Bay town of Pittsburg from the segregated South. As a young adult in the 1960s, she was making a name for herself as a soul singer in West Oakland’s clubs, and even toured with Marvin Gaye.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The music in the hood was so rich,” she says of West Oakland’s musical legacy. After World War II, the neighborhood, along with San Francisco’s historically black Fillmore district, was referred to as the Harlem of the West. That era came to a close after hundreds of black-owned homes and businesses were destroyed to make room for the post office, BART and the interstate freeway system. By the mid 1960s, the bustle of 7th Street’s nightlife district dwindled. [aside postid='arts_13809453']\u003c/p>\n\u003cp>This turbulent history deeply impacted Carol. So her choice to present Faye Carol & the Folks at Geoffrey’s, one of the last standing black-owned clubs in Oakland, was an intentional one. As she explains it, world-class jazz musicians\u003cspan style=\"font-weight: 400\"> “come to Yoshi’s or they come to SFJAZZ—which is fine, nothing wrong with that, I want them to continue to go to those places. But let’s add this place also. We don’t want to leave it out because it’s a viable, beautiful, wonderful, should-be-treasured place.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Over time, you see [the music has] been dissipated out of the hood,” she laments, “to the point where we don’t have our own music in our own neighborhoods anymore.”\u003c/span>\u003c/p>\n\u003ch2>Reinvention in the Age of the AIDS Crisis\u003c/h2>\n\u003cp>In the 1970s, after the majority of West Oakland’s black clubs shut down, Carol’s love for the music continued to buoy her. She persisted and found a new niche: singing cabaret for the burgeoning gay community in the Castro, who, like her, were big fans of musical theater and show tunes. In the Castro, she gossiped on her breaks with trailblazing disco star Sylvester (of “\u003ca href=\"https://www.youtube.com/watch?v=VyAHULpMXKQ\" target=\"_blank\" rel=\"noopener noreferrer\">You Make Me Feel (Mighty Real\u003c/a>” fame), and established herself in a new scene. [aside postid=\"arts_13854644\"]\u003c/p>\n\u003cp>“I loved that so much, these was my babies,” she says. “They lived hard, they played hard, they worked hard and they enjoyed the finer things in life.”\u003c/p>\n\u003cp>But Carol’s new audience was hit by tragedy yet again—this time by the AIDS epidemic. “That’s still devastating to me,” she says. “It wiped—I’m telling you, girlfriend—it wiped \u003cem>everybody\u003c/em> out. All the people who owned the clubs, all the bartenders, all the waitresses, the people who came to the clubs. Everybody was just falling, falling, falling.” [aside postid='arts_13859408']\u003c/p>\n\u003cp>Yet, once again, Carol continued to persevere and adapt. In the ’80s, she performed with avant-garde saxophonist Pharoah Sanders and soul legend Ray Charles. In 1990, the City of Oakland chose her to sing for Nelson Mandela during a visit following his release from a 27-year sentence as a political prisoner. That decade, Carol deepened her collaboration with her daughter, pianist Kito Gamble (who joins the Faye Carol & the Folks bill on March 29), and the mother and daughter released an album together in 1996.\u003c/p>\n\u003cfigure id=\"attachment_13876264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/IMG_4781-800x450.jpg\" alt=\"The Dynamic Miss Faye Carol and pianist Joe Warner.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dynamic Miss Faye Carol and pianist Joe Warner. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Passing Musical Traditions to the Next Generation\u003c/h2>\n\u003cp>These days, Carol performs regularly around the East Bay at concert halls and private parties alike with a variety of ensembles. She also teaches singing in private lessons and at her \u003ca href=\"https://www.fayecarol.com/copy-of-school-of-the-getdown\" target=\"_blank\" rel=\"noopener noreferrer\">School of the Getdown\u003c/a>. In all of her projects, a constant is her pianist of nearly a decade, Joe Warner. Warner, a 27-year-old originally from the East Bay town of Martinez, first saw Carol perform when he was only 13 years old after his music teacher, saxophonist Howard Wiley (another Faye Carol protégé), brought him to Yoshi’s.\u003c/p>\n\u003cp>For Carol, the collaboration with Warner was unexpected given their ages and cultural differences. “I thought, how the hell am I gonna be with some white guy from Martinez?” she jokes, giving Warner a sly look. “But you know, with some people you just gel, and that’s the way we do.”\u003c/p>\n\u003cp>“She’s the holder of a lot of traditions that are no longer here or not as prevalent as they used to be,” says Warner with reverence. “It’s really unique and remarkable for an artist to be able to do all the different things she can—she can really sing gospel, she can really sing the blues, she’s really a jazz singer, she can scat. She knows about R&B and hip-hop and can adapt herself to that. And to put it all into really unique sound—you don’t really see anybody do that.”\u003c/p>\n\u003cp>Indeed, it’s that adaptability and embrace of younger generations that’s given Carol’s career its longevity—a longevity that sometimes even surprises the singer herself.\u003c/p>\n\u003cp>Her secret?\u003c/p>\n\u003cp>“Well, I’m pretty stubborn. I think it’s my right to do this—when you’re born you have certain inalienable rights,” she says. “When you’re not doing anything to harm anybody or to harm yourself, then you should have the right to do it. And I just fight to do it. That’s about what it is in a nutshell.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Faye Carol & the Folks takes place at Geoffrey’s Inner Circle on Sundays through March 29. The March 15 concert features Pete Escovedo, John Santos, Carolyn Brandy, and Jesus Diaz. On March 22, she performs with Mistah F.A.B., and on March 29, she performs with Bobby Rush and Kito Kamili. \u003ca href=\"https://www.fayecarol.com/bio--photo\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Active since the 1960s, the \u003ca href=\"https://www.fayecarol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dynamic Miss Faye Carol\u003c/a> is arguably the hardest-working live musician in the East Bay.\u003c/p>\n\u003cp>On a recent afternoon, we meet at \u003ca href=\"http://geoffreyslive.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Geoffrey’s Inner Circle\u003c/a> in Oakland, where she’s hosting weekly concerts throughout March that draw links between her jazz repertoire and blues, Latin jazz and even hip-hop, with collaborators such as percussionist Pete Escovedo, veteran bluesman Bobby Rush and rapper Mistah F.A.B. Dubbed \u003ca href=\"https://www.fayecarol.com/bio--photo\" target=\"_blank\" rel=\"noopener noreferrer\">Faye Carol & the Folks\u003c/a>, the program is just part of Carol’s 24/7, 365-day-a-year grind of rehearsing, promoting, performing and teaching—a grind she’s maintained for the last six decades.\u003c/p>\n\u003cp>“I do my own everything,” Carol tells me in her honeyed, resounding voice, and that includes her manicures. When we meet for our interview, she takes a seat on a regal, velvet chair in Geoffrey’s emerald-green hall, and pulls out a bottle of light pink nail polish to touch up an impressively lengthy fingernail on her ornately bejeweled hand.\u003c/p>\n\u003cp>In connecting jazz with the blues and hip-hop, Carol seeks to show the common black roots of American popular music. Her husband, the late scholar Jim Gamble, who was also her manager and musical director, taught a class at UC Berkeley called the Black History of Music. Early on in her career, Carol audited the course on a weekly basis, and it opened her eyes to the ways the African diaspora’s creative innovations have shaped virtually all popular genres.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think of it as black music coming from that source, and then there are many flavors—just like if you cookin’,” she says. “Do you want to put some oregano in something, or do you wanna put some cayenne? It’s different flavors, different expressions coming from different parts of the country, different creative beings. They create differently, they hear differently. We are not a monolith.”\u003c/span>\u003c/p>\n\u003ch2>The Aftermath of the Harlem of the West\u003c/h2>\n\u003cp>If there’s one word to describe Faye Carol, it’s resilient. As a young girl, she moved to the East Bay town of Pittsburg from the segregated South. As a young adult in the 1960s, she was making a name for herself as a soul singer in West Oakland’s clubs, and even toured with Marvin Gaye.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The music in the hood was so rich,” she says of West Oakland’s musical legacy. After World War II, the neighborhood, along with San Francisco’s historically black Fillmore district, was referred to as the Harlem of the West. That era came to a close after hundreds of black-owned homes and businesses were destroyed to make room for the post office, BART and the interstate freeway system. By the mid 1960s, the bustle of 7th Street’s nightlife district dwindled. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This turbulent history deeply impacted Carol. So her choice to present Faye Carol & the Folks at Geoffrey’s, one of the last standing black-owned clubs in Oakland, was an intentional one. As she explains it, world-class jazz musicians\u003cspan style=\"font-weight: 400\"> “come to Yoshi’s or they come to SFJAZZ—which is fine, nothing wrong with that, I want them to continue to go to those places. But let’s add this place also. We don’t want to leave it out because it’s a viable, beautiful, wonderful, should-be-treasured place.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Over time, you see [the music has] been dissipated out of the hood,” she laments, “to the point where we don’t have our own music in our own neighborhoods anymore.”\u003c/span>\u003c/p>\n\u003ch2>Reinvention in the Age of the AIDS Crisis\u003c/h2>\n\u003cp>In the 1970s, after the majority of West Oakland’s black clubs shut down, Carol’s love for the music continued to buoy her. She persisted and found a new niche: singing cabaret for the burgeoning gay community in the Castro, who, like her, were big fans of musical theater and show tunes. In the Castro, she gossiped on her breaks with trailblazing disco star Sylvester (of “\u003ca href=\"https://www.youtube.com/watch?v=VyAHULpMXKQ\" target=\"_blank\" rel=\"noopener noreferrer\">You Make Me Feel (Mighty Real\u003c/a>” fame), and established herself in a new scene. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I loved that so much, these was my babies,” she says. “They lived hard, they played hard, they worked hard and they enjoyed the finer things in life.”\u003c/p>\n\u003cp>But Carol’s new audience was hit by tragedy yet again—this time by the AIDS epidemic. “That’s still devastating to me,” she says. “It wiped—I’m telling you, girlfriend—it wiped \u003cem>everybody\u003c/em> out. All the people who owned the clubs, all the bartenders, all the waitresses, the people who came to the clubs. Everybody was just falling, falling, falling.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet, once again, Carol continued to persevere and adapt. In the ’80s, she performed with avant-garde saxophonist Pharoah Sanders and soul legend Ray Charles. In 1990, the City of Oakland chose her to sing for Nelson Mandela during a visit following his release from a 27-year sentence as a political prisoner. That decade, Carol deepened her collaboration with her daughter, pianist Kito Gamble (who joins the Faye Carol & the Folks bill on March 29), and the mother and daughter released an album together in 1996.\u003c/p>\n\u003cfigure id=\"attachment_13876264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/IMG_4781-800x450.jpg\" alt=\"The Dynamic Miss Faye Carol and pianist Joe Warner.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dynamic Miss Faye Carol and pianist Joe Warner. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Passing Musical Traditions to the Next Generation\u003c/h2>\n\u003cp>These days, Carol performs regularly around the East Bay at concert halls and private parties alike with a variety of ensembles. She also teaches singing in private lessons and at her \u003ca href=\"https://www.fayecarol.com/copy-of-school-of-the-getdown\" target=\"_blank\" rel=\"noopener noreferrer\">School of the Getdown\u003c/a>. In all of her projects, a constant is her pianist of nearly a decade, Joe Warner. Warner, a 27-year-old originally from the East Bay town of Martinez, first saw Carol perform when he was only 13 years old after his music teacher, saxophonist Howard Wiley (another Faye Carol protégé), brought him to Yoshi’s.\u003c/p>\n\u003cp>For Carol, the collaboration with Warner was unexpected given their ages and cultural differences. “I thought, how the hell am I gonna be with some white guy from Martinez?” she jokes, giving Warner a sly look. “But you know, with some people you just gel, and that’s the way we do.”\u003c/p>\n\u003cp>“She’s the holder of a lot of traditions that are no longer here or not as prevalent as they used to be,” says Warner with reverence. “It’s really unique and remarkable for an artist to be able to do all the different things she can—she can really sing gospel, she can really sing the blues, she’s really a jazz singer, she can scat. She knows about R&B and hip-hop and can adapt herself to that. And to put it all into really unique sound—you don’t really see anybody do that.”\u003c/p>\n\u003cp>Indeed, it’s that adaptability and embrace of younger generations that’s given Carol’s career its longevity—a longevity that sometimes even surprises the singer herself.\u003c/p>\n\u003cp>Her secret?\u003c/p>\n\u003cp>“Well, I’m pretty stubborn. I think it’s my right to do this—when you’re born you have certain inalienable rights,” she says. “When you’re not doing anything to harm anybody or to harm yourself, then you should have the right to do it. And I just fight to do it. That’s about what it is in a nutshell.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Faye Carol & the Folks takes place at Geoffrey’s Inner Circle on Sundays through March 29. The March 15 concert features Pete Escovedo, John Santos, Carolyn Brandy, and Jesus Diaz. On March 22, she performs with Mistah F.A.B., and on March 29, she performs with Bobby Rush and Kito Kamili. \u003ca href=\"https://www.fayecarol.com/bio--photo\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Her Side of the Story: Tales of California Pioneer Women",
"headTitle": "Her Side of the Story: Tales of California Pioneer Women | KQED",
"content": "\u003cp>In an age that delights in ripping apart hackneyed origin stories, there remains the fact that the promise of gold really did launch an exodus from all over the world to a place the \u003ca href=\"https://www.kqed.org/news/92759/when-california-was-an-island\" target=\"_blank\" rel=\"noopener noreferrer\">Spanish\u003c/a> named California.\u003c/p>\n\u003cp>An estimated 300,000 people from the rest of the United States and abroad proverbially dropped their plows in the field, and left half-written sermons fluttering on church pulpits to join ships and wagon trains headed to a land where life-changing fortunes could be made.\u003c/p>\n\u003cp>Most of these bright-eyed fortune-seekers were men, but women came, too. They dragged with them trunks, sewing machines, laundry tubs, even wedding gowns half-way across the world in their zeal to start a new life in unfamiliar territory. A new exhibition tells \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/hotel-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Her Side of the Story: Tales of California Pioneer Women\u003c/em>\u003c/a> at History San Jose.\u003c/p>\n\u003cp>The California Gold Rush (1848–1855) began on January 24, 1848, when gold was found by James W. Marshall at Sutter’s Mill in Coloma. The exhibit, produced in collaboration with the \u003ca href=\"https://www.californiapioneers.org\" target=\"_blank\" rel=\"noopener noreferrer\">Society of California Pioneers\u003c/a> in San Francisco, features 30 first-person accounts from women who came to California prior to 1854. Also: 40 portraits of unidentified women, whose stories were not recorded at the time, taken by photographers we’ll never know either.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13876072\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY.jpg\" alt=\"\" width=\"1800\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-1020x1020.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">As preparations were made to commemorate California’s Golden Jubilee in 1900, the Association of Pioneer Women of California collected reminiscences of women, many of whom arrived here as children alongside their mothers 50 years prior. These stories, more than 800 of them, form the basis for the exhibition at History San Jose.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What strikes me most reading them is the matter-of-fact way these women wrote about experiences most of us today would find traumatic. For instance, watching loved ones die on the way to California, or almost die.\u003c/p>\n\u003cblockquote>\u003cp>“Mother was so ill from seasickness and exposure that she had to be carried off the steamer. After leaving Gorgona she was strapped on the back of a mule, but the mule refused to move. After some coaxing, he trotted off, passed all others on the way, reaching Panama far in advance.” – Kathleen Cole, originally of Ireland\u003c/p>\u003c/blockquote>\n\u003cp>Rosa Reynolds Boyd came by steamer in 1853. The ship she was on got lost in heavy fog, and hit rocks off the coast of Marin County.\u003c/p>\n\u003cp>“My mother was the first to be lowered to the life boat. We spent two days and one night on the beach,” Boyd wrote.\u003c/p>\n\u003cfigure id=\"attachment_13876067\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST.jpg\" alt=\"Rosa Reynolds Boyd survived her journey to California, but just barely.\" width=\"1800\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-1020x1020.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Rosa Reynolds Boyd survived her journey to California, but just barely. \u003ccite>(Courtesy of The Society of California Pioneers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The party made it to shore, but just about everything other than the clothes on their backs sank with the steamer.\u003c/p>\n\u003cp>“The first step my mother made in S.F. was upon a bright shining silver quarter dollar, which she deemed an omen of good fortune. But not so. That very night, the Hotel we were in was burnt to the ground.”\u003c/p>\n\u003cp>White men have hogged the headlines for generations. If you think of Gold Rush era women at all, it’s typically as exotified prostitutes, or dutiful wives. Many did come bound to serve others, dying as constricted as they were in the places they started in.\u003c/p>\n\u003cp>But others took advantage of the opportunities presented by fast-burgeoning settlements in desperate need of talent, charm and business acumen. Women were saloon keepers, chefs, seamstresses, journalists and even \u003ca href=\"https://www.kqed.org/news/11700225/the-ghost-of-a-legend-how-a-san-francisco-civil-rights-icon-was-made-a-monster\" target=\"_blank\" rel=\"noopener noreferrer\">entrepreneurs\u003c/a> who made fortunes, when there were fortunes to be made.\u003c/p>\n\u003cfigure id=\"attachment_13876074\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876074\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS41904_35-2-qut.jpg\" alt='This unidentified woman is one of 40 Gold Rush pioneers featured in \"Her Side of the Story: Tales of California Pioneer Women\" at the Arbuckle Gallery in History Park San Jose through June 28th, 2020.' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-1020x1020.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">This unidentified woman is one of 40 Gold Rush pioneers featured in “Her Side of the Story: Tales of California Pioneer Women” at the Arbuckle Gallery in History Park San Jose through June 28th, 2020. \u003ccite>(Courtesy of the Society of California Pioneers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They came from \u003ca href=\"https://www.kqed.org/news/11626850/for-chinas-gold-rush-prospectors-bone-scraping-was-the-last-way-home\" target=\"_blank\" rel=\"noopener noreferrer\">China\u003c/a>, Mexico, Chile, France, Italy and Ireland, as well as the Eastern Seaboard and the Midwest. My imagination yearns for the stories set down in languages other than English, or never set down at all.\u003c/p>\n\u003cp>We have today a wealth of newspapers, books, TV shows and movies to tell us the stories of the men who came to California, but those seeking enlightenment about women must sift through fragmentary evidence like untitled daguerreotypes and divorce records.\u003c/p>\n\u003cp>Artists like Bay Area composer \u003ca href=\"https://www.kqed.org/arts/13815647/girls-of-the-golden-west-is-nothing-like-your-high-school-history-book\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a> have only just begun to mine the legacy, to reimagine our past from a perspective more sympathetic to and curious about women. His opera owes much to Louise Amelia Clappe, whose 1851-52 letters were published as \u003cem>The Shirley Papers\u003c/em>. Perhaps exploring these first-person accounts, you’ll be inspired to add to this genre, so rich with unrealized potential.\u003c/p>\n\u003cp>History San Jose’s exhibitions coordinator Dan Charm says \u003cem>Her Side of the Story\u003c/em> “represents a part of history that has been under-told.” To him, that’s the very best kind of history to tell now.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Her Side of the Story: Tales of California Pioneer Women \u003c/strong> runs March 5 – June 28, 2020 at History San Jose. For more information, click \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/hotel-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "A new exhibit at History San Jose explores first-hand accounts of the California Gold Rush from women.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an age that delights in ripping apart hackneyed origin stories, there remains the fact that the promise of gold really did launch an exodus from all over the world to a place the \u003ca href=\"https://www.kqed.org/news/92759/when-california-was-an-island\" target=\"_blank\" rel=\"noopener noreferrer\">Spanish\u003c/a> named California.\u003c/p>\n\u003cp>An estimated 300,000 people from the rest of the United States and abroad proverbially dropped their plows in the field, and left half-written sermons fluttering on church pulpits to join ships and wagon trains headed to a land where life-changing fortunes could be made.\u003c/p>\n\u003cp>Most of these bright-eyed fortune-seekers were men, but women came, too. They dragged with them trunks, sewing machines, laundry tubs, even wedding gowns half-way across the world in their zeal to start a new life in unfamiliar territory. A new exhibition tells \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/hotel-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Her Side of the Story: Tales of California Pioneer Women\u003c/em>\u003c/a> at History San Jose.\u003c/p>\n\u003cp>The California Gold Rush (1848–1855) began on January 24, 1848, when gold was found by James W. Marshall at Sutter’s Mill in Coloma. The exhibit, produced in collaboration with the \u003ca href=\"https://www.californiapioneers.org\" target=\"_blank\" rel=\"noopener noreferrer\">Society of California Pioneers\u003c/a> in San Francisco, features 30 first-person accounts from women who came to California prior to 1854. Also: 40 portraits of unidentified women, whose stories were not recorded at the time, taken by photographers we’ll never know either.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13876072\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY.jpg\" alt=\"\" width=\"1800\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-1020x1020.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">As preparations were made to commemorate California’s Golden Jubilee in 1900, the Association of Pioneer Women of California collected reminiscences of women, many of whom arrived here as children alongside their mothers 50 years prior. These stories, more than 800 of them, form the basis for the exhibition at History San Jose.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What strikes me most reading them is the matter-of-fact way these women wrote about experiences most of us today would find traumatic. For instance, watching loved ones die on the way to California, or almost die.\u003c/p>\n\u003cblockquote>\u003cp>“Mother was so ill from seasickness and exposure that she had to be carried off the steamer. After leaving Gorgona she was strapped on the back of a mule, but the mule refused to move. After some coaxing, he trotted off, passed all others on the way, reaching Panama far in advance.” – Kathleen Cole, originally of Ireland\u003c/p>\u003c/blockquote>\n\u003cp>Rosa Reynolds Boyd came by steamer in 1853. The ship she was on got lost in heavy fog, and hit rocks off the coast of Marin County.\u003c/p>\n\u003cp>“My mother was the first to be lowered to the life boat. We spent two days and one night on the beach,” Boyd wrote.\u003c/p>\n\u003cfigure id=\"attachment_13876067\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST.jpg\" alt=\"Rosa Reynolds Boyd survived her journey to California, but just barely.\" width=\"1800\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-1020x1020.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Rosa Reynolds Boyd survived her journey to California, but just barely. \u003ccite>(Courtesy of The Society of California Pioneers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The party made it to shore, but just about everything other than the clothes on their backs sank with the steamer.\u003c/p>\n\u003cp>“The first step my mother made in S.F. was upon a bright shining silver quarter dollar, which she deemed an omen of good fortune. But not so. That very night, the Hotel we were in was burnt to the ground.”\u003c/p>\n\u003cp>White men have hogged the headlines for generations. If you think of Gold Rush era women at all, it’s typically as exotified prostitutes, or dutiful wives. Many did come bound to serve others, dying as constricted as they were in the places they started in.\u003c/p>\n\u003cp>But others took advantage of the opportunities presented by fast-burgeoning settlements in desperate need of talent, charm and business acumen. Women were saloon keepers, chefs, seamstresses, journalists and even \u003ca href=\"https://www.kqed.org/news/11700225/the-ghost-of-a-legend-how-a-san-francisco-civil-rights-icon-was-made-a-monster\" target=\"_blank\" rel=\"noopener noreferrer\">entrepreneurs\u003c/a> who made fortunes, when there were fortunes to be made.\u003c/p>\n\u003cfigure id=\"attachment_13876074\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876074\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS41904_35-2-qut.jpg\" alt='This unidentified woman is one of 40 Gold Rush pioneers featured in \"Her Side of the Story: Tales of California Pioneer Women\" at the Arbuckle Gallery in History Park San Jose through June 28th, 2020.' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-1020x1020.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">This unidentified woman is one of 40 Gold Rush pioneers featured in “Her Side of the Story: Tales of California Pioneer Women” at the Arbuckle Gallery in History Park San Jose through June 28th, 2020. \u003ccite>(Courtesy of the Society of California Pioneers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They came from \u003ca href=\"https://www.kqed.org/news/11626850/for-chinas-gold-rush-prospectors-bone-scraping-was-the-last-way-home\" target=\"_blank\" rel=\"noopener noreferrer\">China\u003c/a>, Mexico, Chile, France, Italy and Ireland, as well as the Eastern Seaboard and the Midwest. My imagination yearns for the stories set down in languages other than English, or never set down at all.\u003c/p>\n\u003cp>We have today a wealth of newspapers, books, TV shows and movies to tell us the stories of the men who came to California, but those seeking enlightenment about women must sift through fragmentary evidence like untitled daguerreotypes and divorce records.\u003c/p>\n\u003cp>Artists like Bay Area composer \u003ca href=\"https://www.kqed.org/arts/13815647/girls-of-the-golden-west-is-nothing-like-your-high-school-history-book\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a> have only just begun to mine the legacy, to reimagine our past from a perspective more sympathetic to and curious about women. His opera owes much to Louise Amelia Clappe, whose 1851-52 letters were published as \u003cem>The Shirley Papers\u003c/em>. Perhaps exploring these first-person accounts, you’ll be inspired to add to this genre, so rich with unrealized potential.\u003c/p>\n\u003cp>History San Jose’s exhibitions coordinator Dan Charm says \u003cem>Her Side of the Story\u003c/em> “represents a part of history that has been under-told.” To him, that’s the very best kind of history to tell now.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Her Side of the Story: Tales of California Pioneer Women \u003c/strong> runs March 5 – June 28, 2020 at History San Jose. For more information, click \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/hotel-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Is Coachella Next? Canceled Ultra Festival, SXSW Has Fans Worried About Coronavirus",
"headTitle": "Is Coachella Next? Canceled Ultra Festival, SXSW Has Fans Worried About Coronavirus | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>UPDATE, March 9\u003c/strong>: \u003ca href=\"https://variety.com/2020/music/news/coachella-stagecoach-festival-postponed-coronavirus-1203526766/\" rel=\"noopener noreferrer\" target=\"_blank\">According to reports\u003c/a>, Coachella organizers will soon announce that the festival is rescheduled this year to October.\u003c/em>\u003c/p>\n\u003cp>Coachella fans worried about a canceled festival this year due to the coronavirus got a new reason to be nervous Friday.\u003c/p>\n\u003cp>Officials in Austin \u003ca href=\"https://www.sxsw.com/2020-event-update/\" target=\"_blank\" rel=\"noopener noreferrer\">canceled\u003c/a> this year’s South by Southwest festival in Austin, Texas on Friday, just two days after organizers canceled \u003ca href=\"https://www.miamiherald.com/news/local/community/miami-dade/downtown-miami/article240878956.html\" target=\"_blank\" rel=\"noopener noreferrer\">this year’s Ultra festival\u003c/a> in Miami.\u003c/p>\n\u003cp>Both festivals draw over 100,000 people, roughly the per-day attendance of Coachella. And with coronavirus fears on high alert, petitions have circulated both \u003ca href=\"https://www.change.org/p/coachella-2020-music-festival-cancellation-of-coachella-2020-music-festival-due-to-covid-19-outbreak/sign?original_footer_petition_id=18993157&algorithm=promoted&source_location=petition_footer&grid_position=2&pt=AVBldGl0aW9uAKitOgEAAAAAXl8rTDJKY0kzNjg1NWIxYw%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">for\u003c/a> and \u003ca href=\"https://www.change.org/p/goldenvoice-do-not-cancel-coachella?source_location=topic_page\" target=\"_blank\" rel=\"noopener noreferrer\">against\u003c/a> canceling Coachella.\u003c/p>\n\u003cp>But officials so far have given only standard statements about monitoring the situation. [aside postid=\"arts_13876108,science_1957469\"]\u003c/p>\n\u003cp>“It is still over five weeks before visitors will make their way to Indio to attend a series of concerts here,” reads a statement issued by Indio, the city where \u003ca href=\"https://www.coachella.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella\u003c/a> is held. “The City of Indio is actively monitoring input from local, state, and national health officials to assess the health risks of COVID-19 and update those risks to stakeholders.”\u003c/p>\n\u003cp>As if to quell fears, Goldenvoice, the organizers of Coachella, released set times for the country music \u003ca href=\"https://www.stagecoachfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stagecoach festival\u003c/a> on Thursday. Like Coachella, Stagecoach is also held at the polo fields in Indio.\u003c/p>\n\u003cp>Many of Coachella’s attendees drive from other regions of California and beyond. Meanwhile, those flying to Coachella have worried not only about festival ticket refunds but airfare refunds and transfers.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.vox.com/the-goods/2020/3/5/21166359/us-airlines-coronavirus-cancel-flights-waiving-fees\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> by Vox, several airlines are waiving some cancellation fees and change-of-travel fees. American, Alaska, Delta, JetBlue and United have all made adjustments for the coronavirus. However, as Vox notes, those waivers are subject to limited terms and conditions and the time of the tickets’ purchase, which may affect Coachella attendees.\u003c/p>\n\u003cp>As for the festival itself, which runs for two consecutive weekends in April? Time will have to tell.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>UPDATE, March 9\u003c/strong>: \u003ca href=\"https://variety.com/2020/music/news/coachella-stagecoach-festival-postponed-coronavirus-1203526766/\" rel=\"noopener noreferrer\" target=\"_blank\">According to reports\u003c/a>, Coachella organizers will soon announce that the festival is rescheduled this year to October.\u003c/em>\u003c/p>\n\u003cp>Coachella fans worried about a canceled festival this year due to the coronavirus got a new reason to be nervous Friday.\u003c/p>\n\u003cp>Officials in Austin \u003ca href=\"https://www.sxsw.com/2020-event-update/\" target=\"_blank\" rel=\"noopener noreferrer\">canceled\u003c/a> this year’s South by Southwest festival in Austin, Texas on Friday, just two days after organizers canceled \u003ca href=\"https://www.miamiherald.com/news/local/community/miami-dade/downtown-miami/article240878956.html\" target=\"_blank\" rel=\"noopener noreferrer\">this year’s Ultra festival\u003c/a> in Miami.\u003c/p>\n\u003cp>Both festivals draw over 100,000 people, roughly the per-day attendance of Coachella. And with coronavirus fears on high alert, petitions have circulated both \u003ca href=\"https://www.change.org/p/coachella-2020-music-festival-cancellation-of-coachella-2020-music-festival-due-to-covid-19-outbreak/sign?original_footer_petition_id=18993157&algorithm=promoted&source_location=petition_footer&grid_position=2&pt=AVBldGl0aW9uAKitOgEAAAAAXl8rTDJKY0kzNjg1NWIxYw%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">for\u003c/a> and \u003ca href=\"https://www.change.org/p/goldenvoice-do-not-cancel-coachella?source_location=topic_page\" target=\"_blank\" rel=\"noopener noreferrer\">against\u003c/a> canceling Coachella.\u003c/p>\n\u003cp>But officials so far have given only standard statements about monitoring the situation. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It is still over five weeks before visitors will make their way to Indio to attend a series of concerts here,” reads a statement issued by Indio, the city where \u003ca href=\"https://www.coachella.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella\u003c/a> is held. “The City of Indio is actively monitoring input from local, state, and national health officials to assess the health risks of COVID-19 and update those risks to stakeholders.”\u003c/p>\n\u003cp>As if to quell fears, Goldenvoice, the organizers of Coachella, released set times for the country music \u003ca href=\"https://www.stagecoachfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stagecoach festival\u003c/a> on Thursday. Like Coachella, Stagecoach is also held at the polo fields in Indio.\u003c/p>\n\u003cp>Many of Coachella’s attendees drive from other regions of California and beyond. Meanwhile, those flying to Coachella have worried not only about festival ticket refunds but airfare refunds and transfers.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.vox.com/the-goods/2020/3/5/21166359/us-airlines-coronavirus-cancel-flights-waiving-fees\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> by Vox, several airlines are waiving some cancellation fees and change-of-travel fees. American, Alaska, Delta, JetBlue and United have all made adjustments for the coronavirus. However, as Vox notes, those waivers are subject to limited terms and conditions and the time of the tickets’ purchase, which may affect Coachella attendees.\u003c/p>\n\u003cp>As for the festival itself, which runs for two consecutive weekends in April? Time will have to tell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Bay Area Braces for Coronavirus Closures and Cancellations",
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"content": "\u003cp>\u003cstrong>Update, March 6, 5:30pm: \u003c/strong>San Francisco Mayor London Breed issued an advisory urging residents to cancel or postpone “non-essential events” such as sports games and concerts to stop the spread of coronavirus. \u003ca href=\"https://twitter.com/LondonBreed/status/1236086209740337152\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Children’s Discovery Museum\u003c/a> in San Jose announced Thursday that it will be closed through March 10 after one of its employees came in contact with a person who tested positive for the novel coronavirus. The employee is currently awaiting test results as the museum comes up with next steps.\u003c/p>\n\u003cp>“We are looking at all our protocols moving forward,” the musuem’s public relations manager, Cecilia Clark, \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/san-joses-childrens-discovery-museum-closes-after-coronavirus-scare\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>. “We will be cleaning and sanitizing the entire museum with a third-party professional before we open to the public.” [aside postid=\"arts_13876121\"]\u003c/p>\n\u003cp>The announcement comes after an \u003ca href=\"https://www.sccgov.org/sites/phd/DiseaseInformation/novel-coronavirus/Pages/home.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">advisory\u003c/a> from Santa Clara County’s public health department suggesting to postpone mass gatherings such as sports games and cultural events. Contra Costa County has also issued an advisory for people over 50 years old to avoid large events.\u003c/p>\n\u003cp>Over a dozen tech conferences in the Bay Area have been canceled or postponed due to the outbreak, including \u003ca href=\"https://lesbianswhotech.org/sanfrancisco2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Lesbians Who Tech\u003c/a> and the \u003ca href=\"https://www.gdconf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Game Developers Conference\u003c/a>, both now taking place in the summer. \u003ca href=\"https://www.rebootideasfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Reboot Ideas Festival\u003c/a> in San Francisco’s Fort Mason Center, a conference about issues captivating the Jewish world, has been postponed. The Gucci Cruise 2021 fashion show, slated for San Francisco in May, is now \u003ca href=\"https://wwd.com/fashion-news/fashion-scoops/gucci-cancels-cruise-2021-show-in-san-francisco-1203526819/\" target=\"_blank\" rel=\"noopener noreferrer\">canceled\u003c/a>. The Tactile Dome exhibit, where visitors crawl through a dark, textured labyrinth in San Francisco’s Exploratorium, is \u003ca href=\"https://www.exploratorium.edu/visit/covid19\" target=\"_blank\" rel=\"noopener noreferrer\">closed indefinitely\u003c/a>. [aside postid=\"science_1957877\"]\u003c/p>\n\u003cp>The Stanford Theater in Palo Alto has \u003ca href=\"https://stanfordtheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">suspended\u003c/a> all movie screenings, and San Francisco’s \u003ca href=\"http://intloceanfilmfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">International Ocean Film Festival\u003c/a> at Cowell Theater has been delayed. And Stanford University’s \u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Cantor Arts Center\u003c/a> and Anderson Collection have \u003ca href=\"https://museum.stanford.edu/about/news/event-updates-related-novel-coronavirus-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">suspended public tours\u003c/a> through April 15.\u003c/p>\n\u003cp>For information on how to keep yourself safe from the coronavirus, \u003ca href=\"https://www.kqed.org/science/1957469/what-californians-need-to-know-about-the-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>, and see KQED’s \u003ca href=\"https://www.kqed.org/science/1957877/live-updates-coronavirus-in-the-san-francisco-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">live updates\u003c/a> for the latest news.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, March 6, 5:30pm: \u003c/strong>San Francisco Mayor London Breed issued an advisory urging residents to cancel or postpone “non-essential events” such as sports games and concerts to stop the spread of coronavirus. \u003ca href=\"https://twitter.com/LondonBreed/status/1236086209740337152\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Children’s Discovery Museum\u003c/a> in San Jose announced Thursday that it will be closed through March 10 after one of its employees came in contact with a person who tested positive for the novel coronavirus. The employee is currently awaiting test results as the museum comes up with next steps.\u003c/p>\n\u003cp>“We are looking at all our protocols moving forward,” the musuem’s public relations manager, Cecilia Clark, \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/san-joses-childrens-discovery-museum-closes-after-coronavirus-scare\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>. “We will be cleaning and sanitizing the entire museum with a third-party professional before we open to the public.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The announcement comes after an \u003ca href=\"https://www.sccgov.org/sites/phd/DiseaseInformation/novel-coronavirus/Pages/home.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">advisory\u003c/a> from Santa Clara County’s public health department suggesting to postpone mass gatherings such as sports games and cultural events. Contra Costa County has also issued an advisory for people over 50 years old to avoid large events.\u003c/p>\n\u003cp>Over a dozen tech conferences in the Bay Area have been canceled or postponed due to the outbreak, including \u003ca href=\"https://lesbianswhotech.org/sanfrancisco2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Lesbians Who Tech\u003c/a> and the \u003ca href=\"https://www.gdconf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Game Developers Conference\u003c/a>, both now taking place in the summer. \u003ca href=\"https://www.rebootideasfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Reboot Ideas Festival\u003c/a> in San Francisco’s Fort Mason Center, a conference about issues captivating the Jewish world, has been postponed. The Gucci Cruise 2021 fashion show, slated for San Francisco in May, is now \u003ca href=\"https://wwd.com/fashion-news/fashion-scoops/gucci-cancels-cruise-2021-show-in-san-francisco-1203526819/\" target=\"_blank\" rel=\"noopener noreferrer\">canceled\u003c/a>. The Tactile Dome exhibit, where visitors crawl through a dark, textured labyrinth in San Francisco’s Exploratorium, is \u003ca href=\"https://www.exploratorium.edu/visit/covid19\" target=\"_blank\" rel=\"noopener noreferrer\">closed indefinitely\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Stanford Theater in Palo Alto has \u003ca href=\"https://stanfordtheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">suspended\u003c/a> all movie screenings, and San Francisco’s \u003ca href=\"http://intloceanfilmfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">International Ocean Film Festival\u003c/a> at Cowell Theater has been delayed. And Stanford University’s \u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Cantor Arts Center\u003c/a> and Anderson Collection have \u003ca href=\"https://museum.stanford.edu/about/news/event-updates-related-novel-coronavirus-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">suspended public tours\u003c/a> through April 15.\u003c/p>\n\u003cp>For information on how to keep yourself safe from the coronavirus, \u003ca href=\"https://www.kqed.org/science/1957469/what-californians-need-to-know-about-the-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>, and see KQED’s \u003ca href=\"https://www.kqed.org/science/1957877/live-updates-coronavirus-in-the-san-francisco-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">live updates\u003c/a> for the latest news.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Updated Friday at 3:10 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>On Friday afternoon, Hachette Book Group (HBG) announced publicly and to its employees that it will not publish Woody Allen’s memoir, \u003cem>Apropos of Nothing\u003c/em>, as planned next month.\u003c/p>\n\u003cp>In a statement to NPR, the publisher said: “Hachette Book Group has decided that it will not publish Woody Allen’s memoir \u003cem>A Propos of Nothing\u003c/em>, originally scheduled for sale in April 2020, and will return all rights to the author.”\u003c/p>\n\u003cp>“The decision to cancel Mr. Allen’s book was a difficult one. At HBG we take our relationships with authors very seriously, and do not cancel books lightly. We have published and will continue to publish many challenging books. As publishers, we make sure every day in our work that different voices and conflicting points of views can be heard.”\u003c/p>\n\u003cp>“Also, as a company, we are committed to offering a stimulating, supportive and open work environment for all our staff. Over the past few days, HBG leadership had extensive conversations with our staff and others. After listening, we came to the conclusion that moving forward with publication would not be feasible for HBG.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The decision was announced to HBG’s employees as well at a brief town-hall meeting on Friday afternoon.\u003c/p>\n\u003cp>On Thursday afternoon, dozens of employees of the publishing imprints Grand Central Publishing and Little, Brown staged a walkout in both New York and Boston to protest Grand Central’s decision to publish Allen’s book.\u003c/p>\n\u003cp>Both imprints are owned by Hachette Book Group, the same house that published journalist Ronan Farrow’s \u003cem>Catch and Kill\u003c/em>. The walkout comes after Farrow \u003ca href=\"https://twitter.com/RonanFarrow/status/1234999252381618178\">announced\u003c/a> on Tuesday that he felt he could no longer work with HBG after the Allen acquisition.\u003c/p>\n\u003cp>Farrow is Allen’s son with actress Mia Farrow; his sister, Dylan Farrow, \u003ca href=\"https://www.vanityfair.com/style/2013/10/mia-farrow-children-family-scandal\">has accused\u003c/a> Allen of having sexually abused her as a child. Allen has long denied her allegations.\u003c/p>\n\u003cp>In his statement, Farrow wrote in part that HBG “concealed the decision from me and its own employees while we were working on \u003cem>Catch and Kill\u003c/em> — a book about how powerful men, including Woody Allen, avoid accountability for sexual abuse.”\u003c/p>\n\u003cp>[aside postID='news_11781549'label='Ronan Farrow on 'Catch and Kill,' the Weinstein Scandal and Investigative Journalism']\u003c/p>\n\u003cp>Dylan Farrow also released a \u003ca href=\"https://twitter.com/RealDylanFarrow/status/1234649622670430208/photo/1\">statement\u003c/a> on Monday evening, in which she said in part: “Hachette’s publishing of Woody Allen’s memoir is deeply upsetting to me personally and an utter betrayal of my brother whose brave reporting, capitalized on by Hachette, gave voice to numerous survivors of sexual assault by powerful men. … This provides yet another example of the profound privilege that power, money and notoriety affords. Hachette’s complicity in this should be called out for what it is and they should have to answer for it.”\u003c/p>\n\u003cp>Employees at both HBG’s New York and Boston offices participated in the Thursday walkout. Many also sent out an auto-reply email that read in part: “We stand in solidarity with Ronan Farrow, Dylan Farrow and survivors of sexual assault.” Those \u003ca href=\"https://twitter.com/davidfolkenflik/status/1235680790920523794?s=20\">include\u003c/a> Little, Brown executive editor Vanessa Mobley, who was the editor of \u003cem>Catch and Kill\u003c/em>.\u003c/p>\n\u003cp>In a statement sent to NPR Thursday afternoon, HBG CEO Michael Pietsch said: “We respect and understand the perspective of our employees who have decided to express their concern over the publication of this book. We will engage our staff in a fuller discussion about this at the earliest opportunity.”\u003c/p>\n\u003cp>NPR reached out for comment to Allen’s agent, who did not respond as of publication time.\u003c/p>\n\u003cp>The \u003cem>New York Post\u003c/em> \u003ca href=\"https://pagesix.com/2020/03/05/litlte-brown-staff-stages-walkout-in-support-of-ronan-and-dylan-farrow/\">reported\u003c/a> that HBG employees approached the company’s human resources department on Thursday afternoon to complain about the planned publication of Allen’s book. A Hachette employee told NPR that HBG’s CEO, Michael Pietsch, attempted to hold a town hall meeting on Thursday to discuss the issue, but the employees walked out before the meeting was held.\u003c/p>\n\u003cp>Farrow’s agent, \u003ca href=\"https://www.janklowandnesbit.com/people/lynn-nesbit\">Lynn Nesbit\u003c/a>, told NPR on Thursday, “I feel moved almost to tears by the walkout. It was such a brave gesture to management who, in my opinion, made such a misguided decision.”\u003c/p>\n\u003cp>Signing Allen, she said, was “a betrayal of Ronan, of the women in his book, of the issues in the book and of the staff of this publisher.” She added that Farrow is “grateful for the support of his colleagues at Little, Brown.”\u003c/p>\n\u003cp>Last year, \u003cem>The New York Times \u003c/em>reported that Allen had tried to sell the memoir to several major publishing houses, “only to be met with indifference or \u003ca href=\"https://www.nytimes.com/2019/05/02/movies/woody-allen-memoir.html\">hard passes\u003c/a>“; one source told NPR on Thursday afternoon that the title had been considered “radioactive” in the publishing world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Farrow also said in his Tuesday statement that HBG had not fact-checked Allen’s memoir nor did it contact Dylan Farrow for any response. “It also shows a lack of ethics and compassion for victims of sexual abuse, regardless of any personal connection or breach of trust here. … I’ve also told Hachette that a publisher that would conduct itself in this way is one I can’t work with in good conscience.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated Friday at 3:10 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>On Friday afternoon, Hachette Book Group (HBG) announced publicly and to its employees that it will not publish Woody Allen’s memoir, \u003cem>Apropos of Nothing\u003c/em>, as planned next month.\u003c/p>\n\u003cp>In a statement to NPR, the publisher said: “Hachette Book Group has decided that it will not publish Woody Allen’s memoir \u003cem>A Propos of Nothing\u003c/em>, originally scheduled for sale in April 2020, and will return all rights to the author.”\u003c/p>\n\u003cp>“The decision to cancel Mr. Allen’s book was a difficult one. At HBG we take our relationships with authors very seriously, and do not cancel books lightly. We have published and will continue to publish many challenging books. As publishers, we make sure every day in our work that different voices and conflicting points of views can be heard.”\u003c/p>\n\u003cp>“Also, as a company, we are committed to offering a stimulating, supportive and open work environment for all our staff. Over the past few days, HBG leadership had extensive conversations with our staff and others. After listening, we came to the conclusion that moving forward with publication would not be feasible for HBG.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The decision was announced to HBG’s employees as well at a brief town-hall meeting on Friday afternoon.\u003c/p>\n\u003cp>On Thursday afternoon, dozens of employees of the publishing imprints Grand Central Publishing and Little, Brown staged a walkout in both New York and Boston to protest Grand Central’s decision to publish Allen’s book.\u003c/p>\n\u003cp>Both imprints are owned by Hachette Book Group, the same house that published journalist Ronan Farrow’s \u003cem>Catch and Kill\u003c/em>. The walkout comes after Farrow \u003ca href=\"https://twitter.com/RonanFarrow/status/1234999252381618178\">announced\u003c/a> on Tuesday that he felt he could no longer work with HBG after the Allen acquisition.\u003c/p>\n\u003cp>Farrow is Allen’s son with actress Mia Farrow; his sister, Dylan Farrow, \u003ca href=\"https://www.vanityfair.com/style/2013/10/mia-farrow-children-family-scandal\">has accused\u003c/a> Allen of having sexually abused her as a child. Allen has long denied her allegations.\u003c/p>\n\u003cp>In his statement, Farrow wrote in part that HBG “concealed the decision from me and its own employees while we were working on \u003cem>Catch and Kill\u003c/em> — a book about how powerful men, including Woody Allen, avoid accountability for sexual abuse.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dylan Farrow also released a \u003ca href=\"https://twitter.com/RealDylanFarrow/status/1234649622670430208/photo/1\">statement\u003c/a> on Monday evening, in which she said in part: “Hachette’s publishing of Woody Allen’s memoir is deeply upsetting to me personally and an utter betrayal of my brother whose brave reporting, capitalized on by Hachette, gave voice to numerous survivors of sexual assault by powerful men. … This provides yet another example of the profound privilege that power, money and notoriety affords. Hachette’s complicity in this should be called out for what it is and they should have to answer for it.”\u003c/p>\n\u003cp>Employees at both HBG’s New York and Boston offices participated in the Thursday walkout. Many also sent out an auto-reply email that read in part: “We stand in solidarity with Ronan Farrow, Dylan Farrow and survivors of sexual assault.” Those \u003ca href=\"https://twitter.com/davidfolkenflik/status/1235680790920523794?s=20\">include\u003c/a> Little, Brown executive editor Vanessa Mobley, who was the editor of \u003cem>Catch and Kill\u003c/em>.\u003c/p>\n\u003cp>In a statement sent to NPR Thursday afternoon, HBG CEO Michael Pietsch said: “We respect and understand the perspective of our employees who have decided to express their concern over the publication of this book. We will engage our staff in a fuller discussion about this at the earliest opportunity.”\u003c/p>\n\u003cp>NPR reached out for comment to Allen’s agent, who did not respond as of publication time.\u003c/p>\n\u003cp>The \u003cem>New York Post\u003c/em> \u003ca href=\"https://pagesix.com/2020/03/05/litlte-brown-staff-stages-walkout-in-support-of-ronan-and-dylan-farrow/\">reported\u003c/a> that HBG employees approached the company’s human resources department on Thursday afternoon to complain about the planned publication of Allen’s book. A Hachette employee told NPR that HBG’s CEO, Michael Pietsch, attempted to hold a town hall meeting on Thursday to discuss the issue, but the employees walked out before the meeting was held.\u003c/p>\n\u003cp>Farrow’s agent, \u003ca href=\"https://www.janklowandnesbit.com/people/lynn-nesbit\">Lynn Nesbit\u003c/a>, told NPR on Thursday, “I feel moved almost to tears by the walkout. It was such a brave gesture to management who, in my opinion, made such a misguided decision.”\u003c/p>\n\u003cp>Signing Allen, she said, was “a betrayal of Ronan, of the women in his book, of the issues in the book and of the staff of this publisher.” She added that Farrow is “grateful for the support of his colleagues at Little, Brown.”\u003c/p>\n\u003cp>Last year, \u003cem>The New York Times \u003c/em>reported that Allen had tried to sell the memoir to several major publishing houses, “only to be met with indifference or \u003ca href=\"https://www.nytimes.com/2019/05/02/movies/woody-allen-memoir.html\">hard passes\u003c/a>“; one source told NPR on Thursday afternoon that the title had been considered “radioactive” in the publishing world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Farrow also said in his Tuesday statement that HBG had not fact-checked Allen’s memoir nor did it contact Dylan Farrow for any response. “It also shows a lack of ethics and compassion for victims of sexual abuse, regardless of any personal connection or breach of trust here. … I’ve also told Hachette that a publisher that would conduct itself in this way is one I can’t work with in good conscience.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The global response to COVID-19 has made clear that the fear of contracting disease has an ugly cousin: xenophobia. As the coronavirus has spread from China to other countries, anti-Asian discrimination has followed closely behind, manifesting in \u003ca href=\"https://www.npr.org/2020/02/11/804750392/coronavirus-affects-bottom-line-for-businesses-in-u-s-chinatowns\">plummeting sales at Chinese restaurants\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/26/809741251/san-francisco-chinatown-affected-by-coronavirus-fears-despite-no-confirmed-cases\">near-deserted Chinatown districts\u003c/a> and \u003ca href=\"https://www.cnn.com/2020/02/20/us/coronavirus-racist-attacks-against-asian-americans/index.html\">racist bullying\u003c/a> against people perceived to be Chinese.\u003c/p>\n\u003cp>We asked our listeners whether they had experienced this kind of coronavirus-related racism and xenophobia firsthand. And judging by the volume of emails, comments and tweets we got in response, the harassment has been intense for Asian Americans across the country — regardless of ethnicity, location or age.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/811363404/811927113\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>A common theme across our responses: Public transit has been \u003cem>really\u003c/em> hostile. Roger Chiang, who works in San Francisco, recalled a white woman glaring at him on the train to work, covering her nose and mouth. When he told her in a joking tone that he didn’t have the coronavirus, she replied that she “wasn’t racist — she just didn’t want to get sick.”\u003c/p>\n\u003cp>Allison Park from Brooklyn told us that when visiting D.C., she saw a man making faces at her on the Metro train. She tried to move away from him, but he wouldn’t stop. After a while, she said, he confronted her outright, saying: “Get out of here. Go back to China. I don’t want none of your swine flu here.” A week later, on a Muni train in San Francisco, another man yelled the same thing to her — “Go back to China” — and even threatened to shoot her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even a single cough or sneeze can trigger harassment. Amy Jiravisitcul from Boston said a man on a bus muttered about “diseased Chinese people” when she sneezed into her sleeve. When she confronted him, he told her: “Cover your fucking mouth.” When South San Franciscan Diane Tran sneezed into her elbow in a hallway in a hospital, where she was getting a flu shot, she said a middle-aged white woman yelled a racist slur at her.\u003c/p>\n\u003cp>Children have been targeted, too — by other children and adults alike. Devin Cabanilla, from Seattle, told us that a Costco food sample vendor told his Korean wife and mixed-race son to “get away” from the samples, questioning whether they had come from China. \u003ca href=\"https://www.insider.com/wuhan-coronavirus-kid-turned-away-food-samples-at-costco-2020-1\">Company executives later apologized\u003c/a> to his family, but he’s still shaken. “It just reminds me that when people look at us, they don’t see us as American,” he said.\u003c/p>\n\u003cp>Thirteen-year-old Sara Aalgaard told us that since the outbreak, many middle-school classmates of hers have been targeting the small population of Asian Americans at her school in Middletown, Conn. “People call us ‘corona,’ ” she said, or ask if they eat dogs. Rebecca Wen from North Brunswick, N.J., told us that her 9-year-old son reported that his 11-year-old classmate said: “You’re Chinese, so you must have the coronavirus.”\u003c/p>\n\u003cp>The anti-Asian harassment isn’t limited to the U.S., either. International outlets have reported harassment in majority-white countries like Australia, where parents in Melbourne\u003ca href=\"https://www.theguardian.com/commentisfree/2020/feb/28/sensationalist-media-is-exacerbating-racist-coronavirus-fears-we-need-to-combat-it\"> refused to let Asian doctors treat their children\u003c/a>, and Canada, where around 10,000 Toronto-area people signed a petition \u003ca href=\"https://www.aljazeera.com/news/2020/02/chinese-canadians-denounce-rising-xenophobia-tied-coronavirus-200202191216923.html\">calling for the local school district to track and isolate Chinese-Canadian students\u003c/a> who may have traveled to China for the Lunar New Year.\u003c/p>\n\u003cp>In Germany, Thea Suh said that when she sat down on her train to work, the person sitting next to turned away from her and covered his face. A few days later, a woman told her to move her “corona-riddled body” elsewhere. Not once did someone step in to help, she said. “I have also not seen or heard any German politician or major influencer coming to our defenses,” she said. “And I feel like as a part of the so-called \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/04/19/524571669/model-minority-myth-again-used-as-a-racial-wedge-between-asians-and-blacks\">model minority\u003c/a>, we are being left alone.”\u003c/p>\n\u003cp>That’s another common theme from the responses we got: Witnesses and bystanders were slow to intervene. Allison Park remembers that when the man on the D.C. Metro told her to go back to China, the train was nearly two-thirds full, but no one said anything. At best, she got some sympathetic looks. Amy Jiravisitcul said that the other passengers ignored the yelling, which made her wonder whether they thought she was just making a scene.\u003c/p>\n\u003cp>And when the harassment has passed, unease still lingers. Jane Hong from New York told us that when she and a fellow Korean American were walking from lunch, she heard a man screaming “yuck” in their direction. Now, she notices whenever people on the street look at her for more than a passing glance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t know if ‘paranoid’ is the word,” Hong said. “Now it’s in my head. I wonder if they are thinking, ‘I have to stay away from her, I don’t want to walk near her.’ Now that the seed has been planted in my head, it’s hard to not have that thought cross my mind.”\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv class=\"hr\">\u003cem>For more on xenophobia and coronavirus, \u003c/em>\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">listen to this week’s episode of the Code Switch podcast\u003c/a>\u003cem>. We hear from some of these folks, as well as Erika Lee, a historian at the University of Minnesota who studies history, immigration and epidemics.\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The global response to COVID-19 has made clear that the fear of contracting disease has an ugly cousin: xenophobia. As the coronavirus has spread from China to other countries, anti-Asian discrimination has followed closely behind, manifesting in \u003ca href=\"https://www.npr.org/2020/02/11/804750392/coronavirus-affects-bottom-line-for-businesses-in-u-s-chinatowns\">plummeting sales at Chinese restaurants\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/26/809741251/san-francisco-chinatown-affected-by-coronavirus-fears-despite-no-confirmed-cases\">near-deserted Chinatown districts\u003c/a> and \u003ca href=\"https://www.cnn.com/2020/02/20/us/coronavirus-racist-attacks-against-asian-americans/index.html\">racist bullying\u003c/a> against people perceived to be Chinese.\u003c/p>\n\u003cp>We asked our listeners whether they had experienced this kind of coronavirus-related racism and xenophobia firsthand. And judging by the volume of emails, comments and tweets we got in response, the harassment has been intense for Asian Americans across the country — regardless of ethnicity, location or age.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/811363404/811927113\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>A common theme across our responses: Public transit has been \u003cem>really\u003c/em> hostile. Roger Chiang, who works in San Francisco, recalled a white woman glaring at him on the train to work, covering her nose and mouth. When he told her in a joking tone that he didn’t have the coronavirus, she replied that she “wasn’t racist — she just didn’t want to get sick.”\u003c/p>\n\u003cp>Allison Park from Brooklyn told us that when visiting D.C., she saw a man making faces at her on the Metro train. She tried to move away from him, but he wouldn’t stop. After a while, she said, he confronted her outright, saying: “Get out of here. Go back to China. I don’t want none of your swine flu here.” A week later, on a Muni train in San Francisco, another man yelled the same thing to her — “Go back to China” — and even threatened to shoot her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even a single cough or sneeze can trigger harassment. Amy Jiravisitcul from Boston said a man on a bus muttered about “diseased Chinese people” when she sneezed into her sleeve. When she confronted him, he told her: “Cover your fucking mouth.” When South San Franciscan Diane Tran sneezed into her elbow in a hallway in a hospital, where she was getting a flu shot, she said a middle-aged white woman yelled a racist slur at her.\u003c/p>\n\u003cp>Children have been targeted, too — by other children and adults alike. Devin Cabanilla, from Seattle, told us that a Costco food sample vendor told his Korean wife and mixed-race son to “get away” from the samples, questioning whether they had come from China. \u003ca href=\"https://www.insider.com/wuhan-coronavirus-kid-turned-away-food-samples-at-costco-2020-1\">Company executives later apologized\u003c/a> to his family, but he’s still shaken. “It just reminds me that when people look at us, they don’t see us as American,” he said.\u003c/p>\n\u003cp>Thirteen-year-old Sara Aalgaard told us that since the outbreak, many middle-school classmates of hers have been targeting the small population of Asian Americans at her school in Middletown, Conn. “People call us ‘corona,’ ” she said, or ask if they eat dogs. Rebecca Wen from North Brunswick, N.J., told us that her 9-year-old son reported that his 11-year-old classmate said: “You’re Chinese, so you must have the coronavirus.”\u003c/p>\n\u003cp>The anti-Asian harassment isn’t limited to the U.S., either. International outlets have reported harassment in majority-white countries like Australia, where parents in Melbourne\u003ca href=\"https://www.theguardian.com/commentisfree/2020/feb/28/sensationalist-media-is-exacerbating-racist-coronavirus-fears-we-need-to-combat-it\"> refused to let Asian doctors treat their children\u003c/a>, and Canada, where around 10,000 Toronto-area people signed a petition \u003ca href=\"https://www.aljazeera.com/news/2020/02/chinese-canadians-denounce-rising-xenophobia-tied-coronavirus-200202191216923.html\">calling for the local school district to track and isolate Chinese-Canadian students\u003c/a> who may have traveled to China for the Lunar New Year.\u003c/p>\n\u003cp>In Germany, Thea Suh said that when she sat down on her train to work, the person sitting next to turned away from her and covered his face. A few days later, a woman told her to move her “corona-riddled body” elsewhere. Not once did someone step in to help, she said. “I have also not seen or heard any German politician or major influencer coming to our defenses,” she said. “And I feel like as a part of the so-called \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/04/19/524571669/model-minority-myth-again-used-as-a-racial-wedge-between-asians-and-blacks\">model minority\u003c/a>, we are being left alone.”\u003c/p>\n\u003cp>That’s another common theme from the responses we got: Witnesses and bystanders were slow to intervene. Allison Park remembers that when the man on the D.C. Metro told her to go back to China, the train was nearly two-thirds full, but no one said anything. At best, she got some sympathetic looks. Amy Jiravisitcul said that the other passengers ignored the yelling, which made her wonder whether they thought she was just making a scene.\u003c/p>\n\u003cp>And when the harassment has passed, unease still lingers. Jane Hong from New York told us that when she and a fellow Korean American were walking from lunch, she heard a man screaming “yuck” in their direction. Now, she notices whenever people on the street look at her for more than a passing glance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t know if ‘paranoid’ is the word,” Hong said. “Now it’s in my head. I wonder if they are thinking, ‘I have to stay away from her, I don’t want to walk near her.’ Now that the seed has been planted in my head, it’s hard to not have that thought cross my mind.”\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv class=\"hr\">\u003cem>For more on xenophobia and coronavirus, \u003c/em>\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">listen to this week’s episode of the Code Switch podcast\u003c/a>\u003cem>. We hear from some of these folks, as well as Erika Lee, a historian at the University of Minnesota who studies history, immigration and epidemics.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As reactions to the deaths of over 3,000 people go, creating fluffy renditions of the thing that killed them has to be right down there with 9/11 \u003ca href=\"https://www.11alive.com/article/news/local/911-costume-at-dragon-con-depicts-dolls-jumping-from-buildings/85-313817488\" target=\"_blank\" rel=\"noopener noreferrer\">cosplay\u003c/a>. Yet in the past month, a sizable number of people have taken it upon themselves to create a range of hand-crafted coronavirus merch. And based on the number of already sold-out items, people are actually buying it.\u003c/p>\n\u003cp>Etsy alone currently offers a wide range of coronavirus merch that ranges from tacky (a multitude of \u003ca href=\"https://www.etsy.com/search?q=coronavirus%20t%20shirts\" target=\"_blank\" rel=\"noopener noreferrer\">T-shirts\u003c/a> and \u003ca href=\"https://www.etsy.com/search?q=coronavirus%20mugs\" target=\"_blank\" rel=\"noopener noreferrer\">mugs\u003c/a>) to totally baffling. Here are some that fall into the latter category.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Crocheted baby rattles:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875968 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.56.12-PM.png\" alt=\"\" width=\"387\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.56.12-PM.png 387w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.56.12-PM-160x195.png 160w\" sizes=\"(max-width: 387px) 100vw, 387px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Key rings (pills presumably not included):\u003c/strong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875963 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.46.08-PM.png\" alt=\"\" width=\"383\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.46.08-PM.png 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.46.08-PM-160x181.png 160w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Whatever this is:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875965 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.43.48-PM.png\" alt=\"\" width=\"408\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.43.48-PM.png 408w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.43.48-PM-160x168.png 160w\" sizes=\"(max-width: 408px) 100vw, 408px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>An array of “Plushie” toys:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875964 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM-800x362.png\" alt=\"\" width=\"800\" height=\"362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM-800x362.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM-160x72.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM-768x348.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM.png 1018w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Doilies, maybe?:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875966 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.42.51-PM.png\" alt=\"\" width=\"376\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.42.51-PM.png 376w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.42.51-PM-160x180.png 160w\" sizes=\"(max-width: 376px) 100vw, 376px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Patches:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875974 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.03.37-PM.png\" alt=\"\" width=\"398\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.03.37-PM.png 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.03.37-PM-160x179.png 160w\" sizes=\"(max-width: 398px) 100vw, 398px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Pins:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875975 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.05.02-PM.png\" alt=\"\" width=\"394\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.05.02-PM.png 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.05.02-PM-160x176.png 160w\" sizes=\"(max-width: 394px) 100vw, 394px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Worry Dolls:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875977 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.08.14-PM.png\" alt=\"\" width=\"339\" height=\"382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.08.14-PM.png 339w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.08.14-PM-160x180.png 160w\" sizes=\"(max-width: 339px) 100vw, 339px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Stickers:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875976 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.06.42-PM.png\" alt=\"\" width=\"345\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.06.42-PM.png 345w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.06.42-PM-160x174.png 160w\" sizes=\"(max-width: 345px) 100vw, 345px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>And even crotchet patterns:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875973 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.01.34-PM.png\" alt=\"\" width=\"393\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.01.34-PM.png 393w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.01.34-PM-160x180.png 160w\" sizes=\"(max-width: 393px) 100vw, 393px\">\u003c/p>\n\u003cp>If none of that tickles your fancy, you can also buy a surprisingly large number of self-published \u003ca href=\"https://www.amazon.com/s?k=coronavirus&ref=nb_sb_noss_2\" target=\"_blank\" rel=\"noopener noreferrer\">coronavirus survival guides\u003c/a> on Amazon, that can’t help but beg the question, “How did they write these books so fast?”\u003c/p>\n\u003cp>Don’t forget to wash your hands, everybody.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Crochet... key rings... baby rattles?! Etsy currently has pages of COVID-19–related merchandise for sale.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As reactions to the deaths of over 3,000 people go, creating fluffy renditions of the thing that killed them has to be right down there with 9/11 \u003ca href=\"https://www.11alive.com/article/news/local/911-costume-at-dragon-con-depicts-dolls-jumping-from-buildings/85-313817488\" target=\"_blank\" rel=\"noopener noreferrer\">cosplay\u003c/a>. Yet in the past month, a sizable number of people have taken it upon themselves to create a range of hand-crafted coronavirus merch. And based on the number of already sold-out items, people are actually buying it.\u003c/p>\n\u003cp>Etsy alone currently offers a wide range of coronavirus merch that ranges from tacky (a multitude of \u003ca href=\"https://www.etsy.com/search?q=coronavirus%20t%20shirts\" target=\"_blank\" rel=\"noopener noreferrer\">T-shirts\u003c/a> and \u003ca href=\"https://www.etsy.com/search?q=coronavirus%20mugs\" target=\"_blank\" rel=\"noopener noreferrer\">mugs\u003c/a>) to totally baffling. Here are some that fall into the latter category.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Crocheted baby rattles:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875968 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.56.12-PM.png\" alt=\"\" width=\"387\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.56.12-PM.png 387w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.56.12-PM-160x195.png 160w\" sizes=\"(max-width: 387px) 100vw, 387px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Key rings (pills presumably not included):\u003c/strong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875963 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.46.08-PM.png\" alt=\"\" width=\"383\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.46.08-PM.png 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.46.08-PM-160x181.png 160w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Whatever this is:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875965 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.43.48-PM.png\" alt=\"\" width=\"408\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.43.48-PM.png 408w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.43.48-PM-160x168.png 160w\" sizes=\"(max-width: 408px) 100vw, 408px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>An array of “Plushie” toys:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875964 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM-800x362.png\" alt=\"\" width=\"800\" height=\"362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM-800x362.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM-160x72.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM-768x348.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM.png 1018w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Doilies, maybe?:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875966 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.42.51-PM.png\" alt=\"\" width=\"376\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.42.51-PM.png 376w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.42.51-PM-160x180.png 160w\" sizes=\"(max-width: 376px) 100vw, 376px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Patches:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875974 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.03.37-PM.png\" alt=\"\" width=\"398\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.03.37-PM.png 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.03.37-PM-160x179.png 160w\" sizes=\"(max-width: 398px) 100vw, 398px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Pins:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875975 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.05.02-PM.png\" alt=\"\" width=\"394\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.05.02-PM.png 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.05.02-PM-160x176.png 160w\" sizes=\"(max-width: 394px) 100vw, 394px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Worry Dolls:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875977 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.08.14-PM.png\" alt=\"\" width=\"339\" height=\"382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.08.14-PM.png 339w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.08.14-PM-160x180.png 160w\" sizes=\"(max-width: 339px) 100vw, 339px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Stickers:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875976 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.06.42-PM.png\" alt=\"\" width=\"345\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.06.42-PM.png 345w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.06.42-PM-160x174.png 160w\" sizes=\"(max-width: 345px) 100vw, 345px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>And even crotchet patterns:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875973 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.01.34-PM.png\" alt=\"\" width=\"393\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.01.34-PM.png 393w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.01.34-PM-160x180.png 160w\" sizes=\"(max-width: 393px) 100vw, 393px\">\u003c/p>\n\u003cp>If none of that tickles your fancy, you can also buy a surprisingly large number of self-published \u003ca href=\"https://www.amazon.com/s?k=coronavirus&ref=nb_sb_noss_2\" target=\"_blank\" rel=\"noopener noreferrer\">coronavirus survival guides\u003c/a> on Amazon, that can’t help but beg the question, “How did they write these books so fast?”\u003c/p>\n\u003cp>Don’t forget to wash your hands, everybody.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "amnesias-last-show-an-essential-sf-venue-for-local-artists-closes-after-20-years",
"title": "Amnesia's Last Show: An 'Essential' SF Venue for Local Artists Closes After 20 Years",
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"headTitle": "Amnesia’s Last Show: An ‘Essential’ SF Venue for Local Artists Closes After 20 Years | KQED",
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"content": "\u003cp>Amnesia ended its 20-year run as a music venue with a sold-out show Saturday night. The Mission District bar — with capacity for less than 100 people — is another one of San Francisco’s small music venues to shut down in recent years.\u003c/p>\n\u003cp>https://twitter.com/bethlaberge/status/1234139246539104259\u003c/p>\n\u003cp>General Manager Adam Del Rio said that there was a combination of problems that led to the venue closing. “The last year has been a struggle. Shows haven’t been as well attended and people have been drinking less,” he said.\u003c/p>\n\u003cp>The owners plan to reopen the bar and pledge that it will live on as a neighborhood gathering space, as it has been for the past 100 years. “It’s been a wild and wonderful run, and truly bittersweet to say goodbye,” Craig Wathen, Amnesia’s owner, said in a statement.\u003c/p>\n\u003cfigure id=\"attachment_11804480\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804480\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1.jpg\" alt=\"Parker Simon plays bass for the band Tong, who opened the final show at Amnesia on Saturday night. This is the band's 10th time playing at the venue and Parker said, "We found our identity as a band at Amnesia." When asked about the closure of the venue and what it means to him he said, "It scares me. Especially seeing somewhere like this to close. As you're coming up as a new band ... these are the only kinds of places where you can start to build. You can't go straight to the Independent or anything like that. These places are so essential because they'll give anybody a chance. It's one less place supporting creativity."\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1-1020x679.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The band Tong opens during Amnesia’s last show on Feb. 29, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the final show at Amnesia begins Saturday night, Parker Simon plays bass for the band Tong. This is the band’s tenth time playing at the venue, and Simon said, “We found our identity as a band at Amnesia.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When asked about the closure of the venue and what it means to him, he said, “It scares me. Especially seeing somewhere like this to close. As you’re coming up as a new band … these are the only kinds of places where you can start to build. You can’t go straight to the Independent or anything like that. These places are so essential because they’ll give anybody a chance. It’s one less place supporting creativity.”\u003c/p>\n\u003cfigure id=\"attachment_11804491\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804491\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871.jpg\" alt=\"Patrons dance to the band Novio Electrico during the last night of Amnesia on Saturday.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Patrons dance to the band Novio Electrico during the last night of Amnesia on Saturday. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11804477\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804477\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357.jpg\" alt=\"A slim selection of beer remained at Amnesia in San Francisco during the music venue's last night on Saturday. The sign reads, "Thank you! It has been one HELL of a run." The bar will reopen in another capacity in the future, but not as a music venue. In a statement from the current owner Craig Wathen, who also owns City Beer Store, he said "In 2015 we took over the helm at Amnesia. In those five years, we have put on over 4,000 shows, shared countless experiences, served thousands of beers, and created many joyful memories. Amnesia has been a great experience for our families, and we want to thank all the musicians, patrons and employees for that gift." He goes on to say that, "We’ve explored many options over the course of the past two years, but the hard truth is that this business is not fiscally sustainable."\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357-1020x679.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The drink board is unusually empty during Amnesia’s last show. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a drink board once full of craft beer choices, only a few remain. The sign reads, “Thank you! It has been one HELL of a run.”\u003c/p>\n\u003cp>The bar will reopen in another capacity in the future, but not as a music venue. In a statement from Wathen, who also owns City Beer Store, he said, “In 2015 we took over the helm at Amnesia. In those five years, we have put on over 4,000 shows, shared countless experiences, served thousands of beers and created many joyful memories. Amnesia has been a great experience for our families, and we want to thank all the musicians, patrons and employees for that gift. We’ve explored many options over the course of the past two years, but the hard truth is that this business is not fiscally sustainable.”\u003c/p>\n\u003cfigure id=\"attachment_11804417\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804417\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839.jpg\" alt=\"Rex Shelverton plays in Novio Electrico during the last night of the small music venue Amnesia on Saturday night. The band has played at Amnesia just about every 6 weeks for the past 1 1/2 years. Rex Shelverton said, "I've been playing here since it was called the Chameleon. It feels like such a neighborhood spot. It doesn't feel like such a destination like the way The Chapel does. I love all those places too. This is just more casual, you can just show up." When asked about the future of small music venue's in San Francisco he said, "City's change. Unfortunately, it's the way it goes."\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist Rex Shelverton plays with Novio Electrico. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next up on stage is Novio Electrico. Rex Shelverton plays guitar for the band, which has played at Amnesia just about every month for the past one and a half years.\u003c/p>\n\u003cp>“I’ve been playing here since it was called the Chameleon. It feels like such a neighborhood spot. It doesn’t feel like such a destination like the way The Chapel does. I love all those places, too. This is just more casual, you can just show up,” Shelverton said.\u003c/p>\n\u003cp>When asked about the future of small music venues in San Francisco, he said, “Cities change. Unfortunately, it’s the way it goes.”\u003c/p>\n\u003cfigure id=\"attachment_11804485\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11804485 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894-800x533.jpg\" alt=\"Amnesia's General Manager Adam Del Rio (left) hangs out backstage during the last show at the venue on Saturday night. He said that there was a combination of problems that lead to the closure. “The last year has been a struggle. Shows haven’t been as well attended and people have been drinking less in general.” He has many fond memories of the bar, including playing his own music and "watching the kids who cut their teeth here. They're stoked to play and have a rock n roll show."\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amnesia’s General Manager Adam Del Rio (left) hangs out backstage during the last show at the venue on Saturday night. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hanging out backstage, Amnesia’s General Manager, Adam Del Rio, talked about his favorite memories of the bar, including playing his own music and “watching the kids who cut their teeth here. They’re stoked to play and have a rock ‘n’ roll show.”\u003c/p>\n\u003cfigure id=\"attachment_11804486\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11804486 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1-800x533.jpg\" alt=\"Indiana Hale plays during the last night at Amnesia on Saturday night. The bar was known for its eclectic music nights, cozy space and dim red lighting. Mondays were bluegrass and Wednesdays were jazz and other nights could be anything and everything in between.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indianna Hale plays during the last night at Amnesia on Saturday night. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11804425\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804425\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864.jpg\" alt=\"Regulars, band members and staff fill Amnesia during the last night of music on Saturday.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Regulars, band members and staff fill Amnesia during the last night of music on Saturday. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The bar was known for its eclectic music nights, cozy space and dim red lighting. Mondays were bluegrass, Wednesdays were jazz and other nights could be anything and everything in between.\u003c/p>\n\u003cfigure id=\"attachment_11804484\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11804484\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533-800x533.jpg\" alt=\"Caravan 222 plays during the last night before the venue closes on March 1, 2020.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caravan 222 plays during the last night before the venue closes. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11804490\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11804490 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915-800x533.jpg\" alt='Caravan 222 plays the last set during the last night at Amnesia on Saturday. They announced during their set that due to the closing of Amnesia they would change their name to the Chinatown Mustangs. Guitarist Jacob Landry said, \"this is a huge loss for me.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd watches Caravan 222 play on Feb. 29, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To close the night, Caravan 222 plays the last set for Amnesia’s final show. In between songs, the band announces that due to the closing of Amnesia, they are changing their name to the Chinatown Mustangs. “We’ve had a lot of good times here. And we’ll have a lot of good times in the future,” the band said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Looking for another small venue in the Mission District to see local or underground music? Here are some places to stop by: \u003ca href=\"http://www.makeoutroom.com/\">The Makeout Room\u003c/a>, \u003ca href=\"https://theknockoutsf.com/\">The Knockout\u003c/a>, \u003ca href=\"http://ritespotcafe.net/\">Rite Spot\u003c/a>, \u003ca href=\"http://www.amadossf.com/\">Amado’s\u003c/a> and \u003ca href=\"https://www.elriosf.com/\">El Rio\u003c/a> host a consistent rotation of music. Missing gypsy jazz? Check out \u003ca href=\"http://www.revolutioncafesf.com/\">Revolution Cafe\u003c/a>. For an acoustic set, \u003ca href=\"https://www.thelostchurch.com/san-francisco.html\">The Lost Church\u003c/a> has you covered. While \u003ca href=\"https://www.thechapelsf.com/\">The Chapel\u003c/a> and \u003ca href=\"https://www.brickandmortarmusic.com/\">Brick & Mortar\u003c/a> are larger venues, they book both local and touring bands.\u003c/p>\n\n",
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"excerpt": "The Mission District bar — with capacity for only about 100 people — is another one of the city's small music venues to shut down in recent years.",
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"title": "Amnesia's Last Show: An 'Essential' SF Venue for Local Artists Closes After 20 Years | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amnesia ended its 20-year run as a music venue with a sold-out show Saturday night. The Mission District bar — with capacity for less than 100 people — is another one of San Francisco’s small music venues to shut down in recent years.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>General Manager Adam Del Rio said that there was a combination of problems that led to the venue closing. “The last year has been a struggle. Shows haven’t been as well attended and people have been drinking less,” he said.\u003c/p>\n\u003cp>The owners plan to reopen the bar and pledge that it will live on as a neighborhood gathering space, as it has been for the past 100 years. “It’s been a wild and wonderful run, and truly bittersweet to say goodbye,” Craig Wathen, Amnesia’s owner, said in a statement.\u003c/p>\n\u003cfigure id=\"attachment_11804480\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804480\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1.jpg\" alt=\"Parker Simon plays bass for the band Tong, who opened the final show at Amnesia on Saturday night. This is the band's 10th time playing at the venue and Parker said, "We found our identity as a band at Amnesia." When asked about the closure of the venue and what it means to him he said, "It scares me. Especially seeing somewhere like this to close. As you're coming up as a new band ... these are the only kinds of places where you can start to build. You can't go straight to the Independent or anything like that. These places are so essential because they'll give anybody a chance. It's one less place supporting creativity."\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1-1020x679.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The band Tong opens during Amnesia’s last show on Feb. 29, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the final show at Amnesia begins Saturday night, Parker Simon plays bass for the band Tong. This is the band’s tenth time playing at the venue, and Simon said, “We found our identity as a band at Amnesia.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When asked about the closure of the venue and what it means to him, he said, “It scares me. Especially seeing somewhere like this to close. As you’re coming up as a new band … these are the only kinds of places where you can start to build. You can’t go straight to the Independent or anything like that. These places are so essential because they’ll give anybody a chance. It’s one less place supporting creativity.”\u003c/p>\n\u003cfigure id=\"attachment_11804491\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804491\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871.jpg\" alt=\"Patrons dance to the band Novio Electrico during the last night of Amnesia on Saturday.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Patrons dance to the band Novio Electrico during the last night of Amnesia on Saturday. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11804477\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804477\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357.jpg\" alt=\"A slim selection of beer remained at Amnesia in San Francisco during the music venue's last night on Saturday. The sign reads, "Thank you! It has been one HELL of a run." The bar will reopen in another capacity in the future, but not as a music venue. In a statement from the current owner Craig Wathen, who also owns City Beer Store, he said "In 2015 we took over the helm at Amnesia. In those five years, we have put on over 4,000 shows, shared countless experiences, served thousands of beers, and created many joyful memories. Amnesia has been a great experience for our families, and we want to thank all the musicians, patrons and employees for that gift." He goes on to say that, "We’ve explored many options over the course of the past two years, but the hard truth is that this business is not fiscally sustainable."\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357-1020x679.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The drink board is unusually empty during Amnesia’s last show. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a drink board once full of craft beer choices, only a few remain. The sign reads, “Thank you! It has been one HELL of a run.”\u003c/p>\n\u003cp>The bar will reopen in another capacity in the future, but not as a music venue. In a statement from Wathen, who also owns City Beer Store, he said, “In 2015 we took over the helm at Amnesia. In those five years, we have put on over 4,000 shows, shared countless experiences, served thousands of beers and created many joyful memories. Amnesia has been a great experience for our families, and we want to thank all the musicians, patrons and employees for that gift. We’ve explored many options over the course of the past two years, but the hard truth is that this business is not fiscally sustainable.”\u003c/p>\n\u003cfigure id=\"attachment_11804417\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804417\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839.jpg\" alt=\"Rex Shelverton plays in Novio Electrico during the last night of the small music venue Amnesia on Saturday night. The band has played at Amnesia just about every 6 weeks for the past 1 1/2 years. Rex Shelverton said, "I've been playing here since it was called the Chameleon. It feels like such a neighborhood spot. It doesn't feel like such a destination like the way The Chapel does. I love all those places too. This is just more casual, you can just show up." When asked about the future of small music venue's in San Francisco he said, "City's change. Unfortunately, it's the way it goes."\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist Rex Shelverton plays with Novio Electrico. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next up on stage is Novio Electrico. Rex Shelverton plays guitar for the band, which has played at Amnesia just about every month for the past one and a half years.\u003c/p>\n\u003cp>“I’ve been playing here since it was called the Chameleon. It feels like such a neighborhood spot. It doesn’t feel like such a destination like the way The Chapel does. I love all those places, too. This is just more casual, you can just show up,” Shelverton said.\u003c/p>\n\u003cp>When asked about the future of small music venues in San Francisco, he said, “Cities change. Unfortunately, it’s the way it goes.”\u003c/p>\n\u003cfigure id=\"attachment_11804485\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11804485 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894-800x533.jpg\" alt=\"Amnesia's General Manager Adam Del Rio (left) hangs out backstage during the last show at the venue on Saturday night. He said that there was a combination of problems that lead to the closure. “The last year has been a struggle. Shows haven’t been as well attended and people have been drinking less in general.” He has many fond memories of the bar, including playing his own music and "watching the kids who cut their teeth here. They're stoked to play and have a rock n roll show."\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amnesia’s General Manager Adam Del Rio (left) hangs out backstage during the last show at the venue on Saturday night. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hanging out backstage, Amnesia’s General Manager, Adam Del Rio, talked about his favorite memories of the bar, including playing his own music and “watching the kids who cut their teeth here. They’re stoked to play and have a rock ‘n’ roll show.”\u003c/p>\n\u003cfigure id=\"attachment_11804486\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11804486 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1-800x533.jpg\" alt=\"Indiana Hale plays during the last night at Amnesia on Saturday night. The bar was known for its eclectic music nights, cozy space and dim red lighting. Mondays were bluegrass and Wednesdays were jazz and other nights could be anything and everything in between.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indianna Hale plays during the last night at Amnesia on Saturday night. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11804425\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804425\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864.jpg\" alt=\"Regulars, band members and staff fill Amnesia during the last night of music on Saturday.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Regulars, band members and staff fill Amnesia during the last night of music on Saturday. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The bar was known for its eclectic music nights, cozy space and dim red lighting. Mondays were bluegrass, Wednesdays were jazz and other nights could be anything and everything in between.\u003c/p>\n\u003cfigure id=\"attachment_11804484\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11804484\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533-800x533.jpg\" alt=\"Caravan 222 plays during the last night before the venue closes on March 1, 2020.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caravan 222 plays during the last night before the venue closes. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11804490\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11804490 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915-800x533.jpg\" alt='Caravan 222 plays the last set during the last night at Amnesia on Saturday. They announced during their set that due to the closing of Amnesia they would change their name to the Chinatown Mustangs. Guitarist Jacob Landry said, \"this is a huge loss for me.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd watches Caravan 222 play on Feb. 29, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To close the night, Caravan 222 plays the last set for Amnesia’s final show. In between songs, the band announces that due to the closing of Amnesia, they are changing their name to the Chinatown Mustangs. “We’ve had a lot of good times here. And we’ll have a lot of good times in the future,” the band said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Looking for another small venue in the Mission District to see local or underground music? Here are some places to stop by: \u003ca href=\"http://www.makeoutroom.com/\">The Makeout Room\u003c/a>, \u003ca href=\"https://theknockoutsf.com/\">The Knockout\u003c/a>, \u003ca href=\"http://ritespotcafe.net/\">Rite Spot\u003c/a>, \u003ca href=\"http://www.amadossf.com/\">Amado’s\u003c/a> and \u003ca href=\"https://www.elriosf.com/\">El Rio\u003c/a> host a consistent rotation of music. Missing gypsy jazz? Check out \u003ca href=\"http://www.revolutioncafesf.com/\">Revolution Cafe\u003c/a>. For an acoustic set, \u003ca href=\"https://www.thelostchurch.com/san-francisco.html\">The Lost Church\u003c/a> has you covered. While \u003ca href=\"https://www.thechapelsf.com/\">The Chapel\u003c/a> and \u003ca href=\"https://www.brickandmortarmusic.com/\">Brick & Mortar\u003c/a> are larger venues, they book both local and touring bands.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "An Eye for the Strange and Wonderful: Remembering KQED’s Patricia Yollin",
"title": "An Eye for the Strange and Wonderful: Remembering KQED’s Patricia Yollin",
"headTitle": "KQED News",
"content": "\u003cp>[dropcap]O[/dropcap]ften when Pat Yollin had to break bad news about a piece I had written — as when she had encountered a typo or missing word or some other gibberish in my copy — she’d preface it with a tongue-in-cheek apology.\u003c/p>\n\u003cp>“Not to be galling and nettlesome,” she’d say, “but there seems to be a word left out here.”\u003c/p>\n\u003cp>Her notes stopped just before Christmas, when doctors told Pat — a KQED News online editor for the past seven years — that she was suffering from an incurable cancer that had already reached an advanced stage. The cancer, complicated by infections and a stroke, rapidly overwhelmed her, and she died last Saturday in Berkeley. She was 69.\u003c/p>\n\u003cp>[aside postID=\"news_11759599,news_11765805,news_11680221,news_11629475,news_11632348\" label=\"Stories From KQED's Patricia Yollin\"]Pat’s illness also ended a 45-year career as a reporter, editor and mentor who was unendingly curious and eager to explore the world with all its quirks, oddities and wonders.\u003c/p>\n\u003cp>Pat told her longtime partner, San Francisco Chronicle photographer Paul Chinn, that she wanted no formal memorial or tributes after she died. She probably would have insisted that she didn’t want a formal obituary, either.\u003c/p>\n\u003cp>So now, it’s my turn to apologize to her for something she might well find galling and nettlesome: a look at her life and work.\u003c/p>\n\u003cp>[dropcap]A[/dropcap]mong the many things Pat was known for — the precision and clarity in her writing and editing, her eye for detail, her empathy for the people she wrote about — was her sense of fun and love of the oddball story. So in her time editing for KQED, she’d sometimes make time to do pieces like one on \u003ca href=\"//www.kqed.org/news/11513197/its-really-big-and-really-stinks-but-people-cant-wait-to-see-s-f-s-corpse-flower%E2%80%9D\" target=\"”_blank”\" rel=\"noopener noreferrer\">the blooming of a corpse flower\u003c/a> at the San Francisco Conservatory of Flowers or on the challenges a group of local entrepreneurs faced \u003ca href=\"//www.kqed.org/news/11680221/the-female-orgasm-comes-quietly-to-the-streets-of-san-francisco%E2%80%9D\" target=\"”_blank”\" rel=\"noopener noreferrer\">marketing a smart vibrator\u003c/a>.\u003c/p>\n\u003cp>“There is no prouder parent than Sidney Price,” the corpse flower story began. “On Monday morning, he savored a private visit with his ‘baby’ at the San Francisco Conservatory of Flowers.\u003c/p>\n\u003cp>“ ‘I always thought she'd be an early bloomer,’ said Price, as he gazed at Terra the Titan, a 9-year-old corpse flower poised to unleash an overpowering stench that has been compared to decaying animal flesh, filthy socks, rotting garbage and human feces.”\u003c/p>\n\u003cp>But even knowing how enthusiastically she embraced the unusual, it’s surprising to dig through Pat’s earliest stories.\u003c/p>\n\u003cp>The very first piece I can find carrying her byline is from the summer of 1975 for the San Francisco Examiner’s old Sunday magazine, California Living.\u003c/p>\n\u003cp>The story tells the tale of a young woman named Magi (pronounced Maggie), recently hired as a barker for one of the North Beach strip clubs. Pat hung out for an afternoon with the new barker, whose job was to entice (or badger) male passersby to come see the show inside. Business was depressingly slow: The few people strolling down Broadway weren’t interested in Magi’s spiel. And then this happened:\u003c/p>\n\u003cblockquote>\u003cp>“A short bespectacled white-haired man is approaching at a brisk pace, puffing on a cigar. He breezes past Magi’s pitch, and has almost reached the end of the block when Magi, still persevering, shouts, “Let me show you something really disgusting.” It works. His head whirls around. “Disgusting!” he yelps hopefully in a heavy German accent, and marches back to investigate. He’s on his way once again within a few minutes, but the encounter has revived Magi’s good humor.”\u003c/p>\u003c/blockquote>\n\u003cp>I laughed out loud at the line, “Let me show you something really disgusting.” It’s so unexpected, so funny and so Pat. And it’s a little astounding to me to see her, at age 24, showing such a refined eye for the detail that would make the story.\u003c/p>\n\u003cp>Where did she pick up the affinity for the strange and the knack for conveying it to readers? Pat didn’t talk much about her formative years — spent in and around Philadelphia. After she fell ill, I told her once I’d like to ask her about her family.\u003c/p>\n\u003cp>“Why?” she demanded, as if she knew what I might be up to. I let it drop. But maybe her past holds a few clues to her fundamental enthusiasm for life and her willingness to embrace and learn from whoever and whatever she encountered.\u003c/p>\n\u003cp>[dropcap]P[/dropcap]atricia Leah Yollin was born Aug. 17, 1950, in Abington, Pennsylvania, just outside Philadelphia, the only child of Charles Yollin and Veronica Rita Dugan.\u003c/p>\n\u003cp>Pat’s father was Jewish, a native of Kiev, Ukraine, whose family emigrated to Pennsylvania during the last years of Czar Nicholas II’s reign. Charlie Yollin left high school after one year and worked as a salesman and electrician.\u003c/p>\n\u003cp>Her mother, the daughter of Irish Catholic immigrants, was born at home in the town of Bristol, just up the Delaware River from Philadelphia. If census records are to be believed, she also dropped out of high school and worked for years as a stenographer at a local Elks Club.\u003c/p>\n\u003cp>None of that sounds way out there, but of course there’s a lot more to the story.\u003c/p>\n\u003cp>Charlie Yollin was 46 and had two sons from his previous marriage — they were already in their 20s — when Pat came along. Veronica had apparently lived at home into her 30s before marrying Charles. She was 42 when Pat was born.\u003c/p>\n\u003cp>Friends say Pat spoke seldom about her upbringing, but a couple of details stick out. Pat described her mother poring over the Daily Racing Form, the horse players’ bible, as she sipped Schmidt's beer. Veronica, whom Pat described to some as “a hard-drinking, hard-smoking, hard-gambling woman,” would sometimes take her daughter along on her outings to the track.\u003c/p>\n\u003cp>Her father? My eye is drawn to one particular about him. In the early ‘50s, soon after Pat was born, Charles advertised for a business he had started — raising minks — at the family’s home in the outlying Philadelphia suburb of Ambler.\u003c/p>\n\u003cp>“Attention Mink Rancher,” the ads were headlined. “We are looking for live stock. If you have 300 minks or less and would like to sell out before pelting season, call or write. …”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Charlie turned the family’s backyard into a mink farm. Pat said the animals were remarkable for their viciousness and stink.\u003c/p>\n\u003cp>Outside Pat’s household, there was serious trouble in the extended Yollin family. One of her much older half-brothers, Louis Yollin, had been placed in a Philadelphia psychiatric hospital after committing a series of crimes in the late 1940s. In one case, he had stolen a collection of replica diamonds and other gems from a museum in the city and been arrested after trying to sell them to tourists on the Atlantic City boardwalk.\u003c/p>\n\u003cp>Louis went on to a more sensational crime in 1952, when he was 28. Allowed to leave the psychiatric facility to visit his mother, he got his hands on a .25-caliber pistol and 50 rounds of ammunition and made his way back to Atlantic City. He held up a cab driver, who took him on a long drive to another town. There, Louis opened fire on random strangers, wounding three.\u003c/p>\n\u003cp>An Associated Press story carried by papers across the country the next day quoted Louis as telling arresting officers that he simply had “an urge to kill.” He was committed to a facility for the criminally insane, where he spent the next 16 years.\u003c/p>\n\u003cp>Did the case’s notoriety and the fate of Pat’s half-brother affect life in the Yollin household? I don’t know. But one other traumatic episode did.\u003c/p>\n\u003cp>One evening when she was six, Pat was eating nuts. One got stuck in her throat. She told her parents, who didn’t believe her and sent her to bed. The next morning, the pain was worse and Pat complained again. This time, her parents took her to a doctor, who told them Pat needed an emergency tracheotomy.\u003c/p>\n\u003cp>She remembered the date of that operation, Oct. 21, for the rest of her life. And after she fell ill last fall, she said she experienced the first symptoms of her cancer on Oct. 21, 2019.\u003c/p>\n\u003cp>[dropcap]P[/dropcap]at went on to be the woman and journalist she became because of her own innate intelligence and curiosity. But she also got a hand from her Aunt Katie, Veronica Dugan’s older sister.\u003c/p>\n\u003cp>Catherine Dugan, who was unmarried and had no children, paid for Pat to attend Catholic schools from the first grade on.\u003c/p>\n\u003cp>Pat said later her aunt’s generosity was not entirely selfless. Katie, a Catholic, also wanted to “counteract” the influence of Charles Yollin, who was Jewish.\u003c/p>\n\u003cp>Pat finished her schooling at Gwynedd Mercy High School, a highly regarded all-girls school in the Philadelphia suburbs. From there, Pat went on to Northwestern University, graduating with a bachelor’s in politics and government in 1972. She attended UC Berkeley’s Graduate School of Journalism and earned her master’s in 1976.\u003c/p>\n\u003cp>She worked for the Hayward Daily Review from 1978 through early 1983. With a bent for feature reporting, she also proved adept at breaking news coverage. Among the stories she reported was the 1982 retrial of Sacramento Valley serial killer Juan Corona.\u003c/p>\n\u003cp>That coverage brought her to the attention of Jim Wood, a reporter at the San Francisco Examiner also assigned to the retrial. Wood persuaded his editors to hire Pat, and she joined the Examiner in 1983.\u003c/p>\n\u003cfigure id=\"attachment_11804304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11804304\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-800x601.jpg\" alt=\"Hippos had a special place in Patricia Yollin's heart. The late KQED editor, who died Feb. 22 in Berkeley, had a collection of 200 hippopotamus figures, statuettes and stuffed animals.\" width=\"800\" height=\"601\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-800x601.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-1020x767.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hippos had a special place in Patricia Yollin's heart. The late KQED editor, who died Feb. 22 in Berkeley, had a collection of 200 hippopotamus figures, statuettes and stuffed animals. \u003ccite>(Courtesy of Paul Chinn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the next 26 years — first for the Ex and later for the San Francisco Chronicle — Pat covered an extraordinary variety of stories and filled many different newsroom roles.\u003c/p>\n\u003cp>From 1983 through 1987, she covered transportation issues for the Examiner and took over writing the paper’s “Phantom Commuter” column.\u003c/p>\n\u003cp>In Pat's hands, the Phantom was a feature that combined her sense of fun with her interest in providing a useful reader service. She would ride transit in the Bay Area and well beyond and report the good, the bad and the ugly she encountered.\u003c/p>\n\u003cp>Every bus and train ride she wrote about was memorable. Here’s her impression of one Muni line, the 27-Bryant, that readers had told her was beset by interminable delays.\u003c/p>\n\u003cblockquote>\u003cp>“The caped commuter finished her round trip an hour and 35 minutes later, struck by two things: The 27-Bryant makes more turns than bumper cars manned by hyperactive children, and the rather nondescript route provides one of the most spectacular views in the city when it reaches 30th and Castro Street at the end of the line.”\u003c/p>\u003c/blockquote>\n\u003cp>Later, she wrote a two-part report on how the region’s transit services were serving people with disabilities. The story featured a Berkeley woman who struggled to ride transit in her wheelchair. The twist: In doing the piece, Pat rode in a wheelchair, too. Her description of boarding one bus:\u003c/p>\n\u003cblockquote>\u003cp>\"The Phantom enjoyed a flawless lift ride, but then struggled to negotiate a tight right turn past the driver. She had never given much thought to the considerable difficulties of backing down the narrow front of a crowded bus while attempting to slalom between old people’s feet.\"\u003c/p>\u003c/blockquote>\n\u003cp>Her coverage made enough of an impression that Pat was invited in July 1984 to participate in a KQED-TV show, “Damn This Traffic Jam,” that focused on the Bay Area’s seemingly intractable transportation problems. (Sound familiar?). Here’s the segment, in which Pat appeared in full Phantom disguise: a cape, a floppy hat and a mask that left only her eyes uncovered.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tagSlECrhKs\u003c/p>\n\u003cp>Later in her career, Pat was part of an Examiner team that produced a wide-ranging, 16-day series on the lives of gay and lesbian people in the United States. For the Chronicle, she produced a series on the many issues facing organ transplant recipients.\u003c/p>\n\u003cp>Among topics she returned to repeatedly: zoos. She loved the animals, was concerned about their welfare and was fascinated by how people interact with them.\u003c/p>\n\u003cp>In \u003ca href=\"//www.sfchronicle.com/bayarea/article/Penguin-frenzy-over-Birds-back-where-they-2665415.php%E2%80%9D\" target=\"”_blank”\" rel=\"noopener noreferrer\">a 2003 piece\u003c/a> detailing boisterous mating behavior among Magellanic penguins at the San Francisco Zoo, she quoted the birds’ keeper, Jane Tollini: “For me, it's heaven. It's a pleasant time right now. A whole month of foreplay — what's more pleasant than that?\"\u003c/p>\n\u003cp>After a Siberian tiger fatally mauled a visitor to the zoo and injured two others on Christmas Day 2007, Pat and colleagues at the Chronicle \u003ca href=\"//www.sfgate.com/news/article/S-F-Zoo-visitor-saw-2-victims-of-tiger-attack-3233323.php%E2%80%9D\" target=\"”_blank”\" rel=\"noopener noreferrer\">broke the story\u003c/a> revealing the victims had taunted the animal before it escaped its enclosure and attacked.\u003c/p>\n\u003cp>[dropcap]O[/dropcap]ne last chapter.\u003c/p>\n\u003cp>Pat took a buyout from the Chronicle in 2009. She had little trouble finding freelance work, and did stories for UC Berkeley’s California Magazine and UCSF. She began work as a part-time editor for KQED in 2013, an arrangement that quickly became permanent. Her major contribution to the organization, to her coworkers and to our readers was to improve everything she laid her hands on.\u003c/p>\n\u003cp>Among her colleagues, Pat was known as a very clear-headed and constructive editor who treated reporters with respect and criticized their work with a level of tact that was well-beyond the abilities of most of us in the news business. Put another way, she could point out your shortcomings — even mistakes that were galling and nettlesome — in a way that made the point but didn’t make people feel stupid.\u003c/p>\n\u003cp>Beyond all that, Pat was generous with her coaching and encouragement. She was instrumental in setting up and continuing San Francisco State's Raul Ramirez Diversity in Journalism Fund, a scholarship created in honor of KQED's late executive director of news and public affairs. Advocating for the fund was a reflection of her commitment to opening our profession to voices that have been shut out in the past. Pat also took a personal interest in the success of the students who have come to work at KQED as part of the scholarship.\u003c/p>\n\u003cp>Tyche Hendricks, a colleague at KQED who was among the hundreds of people who responded to \u003ca href=\"https://www.facebook.com/pfc1960/posts/10218472000665805\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> announcing Pat’s passing this past week, summed her up this way: “Her intelligence, curiosity, beautiful prose, journalistic instincts and ethics, her amazing ability to tell a story, her humor and pithy insights, her sense of justice, her quiet leadership … are irreplaceable and will be terribly missed.”\u003c/p>\n\u003cp>Besides her husband and partner Paul Chinn, Patricia Yollin is survived by two nieces — Jennifer Yollin of San Francisco and Julie Yollin Berk of London — and a nephew, Guy Yollin of Seattle.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "A reporter, editor and mentor for news organizations including the San Francisco Examiner, Chronicle and KQED, Pat Yollin spent 45 years in journalism. She died last week in Berkeley at age 69.",
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"description": "A reporter, editor and mentor for news organizations including the San Francisco Examiner, Chronicle and KQED, Pat Yollin spent 45 years in journalism. She died last week in Berkeley at age 69.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>ften when Pat Yollin had to break bad news about a piece I had written — as when she had encountered a typo or missing word or some other gibberish in my copy — she’d preface it with a tongue-in-cheek apology.\u003c/p>\n\u003cp>“Not to be galling and nettlesome,” she’d say, “but there seems to be a word left out here.”\u003c/p>\n\u003cp>Her notes stopped just before Christmas, when doctors told Pat — a KQED News online editor for the past seven years — that she was suffering from an incurable cancer that had already reached an advanced stage. The cancer, complicated by infections and a stroke, rapidly overwhelmed her, and she died last Saturday in Berkeley. She was 69.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Pat’s illness also ended a 45-year career as a reporter, editor and mentor who was unendingly curious and eager to explore the world with all its quirks, oddities and wonders.\u003c/p>\n\u003cp>Pat told her longtime partner, San Francisco Chronicle photographer Paul Chinn, that she wanted no formal memorial or tributes after she died. She probably would have insisted that she didn’t want a formal obituary, either.\u003c/p>\n\u003cp>So now, it’s my turn to apologize to her for something she might well find galling and nettlesome: a look at her life and work.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>mong the many things Pat was known for — the precision and clarity in her writing and editing, her eye for detail, her empathy for the people she wrote about — was her sense of fun and love of the oddball story. So in her time editing for KQED, she’d sometimes make time to do pieces like one on \u003ca href=\"//www.kqed.org/news/11513197/its-really-big-and-really-stinks-but-people-cant-wait-to-see-s-f-s-corpse-flower%E2%80%9D\" target=\"”_blank”\" rel=\"noopener noreferrer\">the blooming of a corpse flower\u003c/a> at the San Francisco Conservatory of Flowers or on the challenges a group of local entrepreneurs faced \u003ca href=\"//www.kqed.org/news/11680221/the-female-orgasm-comes-quietly-to-the-streets-of-san-francisco%E2%80%9D\" target=\"”_blank”\" rel=\"noopener noreferrer\">marketing a smart vibrator\u003c/a>.\u003c/p>\n\u003cp>“There is no prouder parent than Sidney Price,” the corpse flower story began. “On Monday morning, he savored a private visit with his ‘baby’ at the San Francisco Conservatory of Flowers.\u003c/p>\n\u003cp>“ ‘I always thought she'd be an early bloomer,’ said Price, as he gazed at Terra the Titan, a 9-year-old corpse flower poised to unleash an overpowering stench that has been compared to decaying animal flesh, filthy socks, rotting garbage and human feces.”\u003c/p>\n\u003cp>But even knowing how enthusiastically she embraced the unusual, it’s surprising to dig through Pat’s earliest stories.\u003c/p>\n\u003cp>The very first piece I can find carrying her byline is from the summer of 1975 for the San Francisco Examiner’s old Sunday magazine, California Living.\u003c/p>\n\u003cp>The story tells the tale of a young woman named Magi (pronounced Maggie), recently hired as a barker for one of the North Beach strip clubs. Pat hung out for an afternoon with the new barker, whose job was to entice (or badger) male passersby to come see the show inside. Business was depressingly slow: The few people strolling down Broadway weren’t interested in Magi’s spiel. And then this happened:\u003c/p>\n\u003cblockquote>\u003cp>“A short bespectacled white-haired man is approaching at a brisk pace, puffing on a cigar. He breezes past Magi’s pitch, and has almost reached the end of the block when Magi, still persevering, shouts, “Let me show you something really disgusting.” It works. His head whirls around. “Disgusting!” he yelps hopefully in a heavy German accent, and marches back to investigate. He’s on his way once again within a few minutes, but the encounter has revived Magi’s good humor.”\u003c/p>\u003c/blockquote>\n\u003cp>I laughed out loud at the line, “Let me show you something really disgusting.” It’s so unexpected, so funny and so Pat. And it’s a little astounding to me to see her, at age 24, showing such a refined eye for the detail that would make the story.\u003c/p>\n\u003cp>Where did she pick up the affinity for the strange and the knack for conveying it to readers? Pat didn’t talk much about her formative years — spent in and around Philadelphia. After she fell ill, I told her once I’d like to ask her about her family.\u003c/p>\n\u003cp>“Why?” she demanded, as if she knew what I might be up to. I let it drop. But maybe her past holds a few clues to her fundamental enthusiasm for life and her willingness to embrace and learn from whoever and whatever she encountered.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">P\u003c/span>\u003c/p>\u003cp>atricia Leah Yollin was born Aug. 17, 1950, in Abington, Pennsylvania, just outside Philadelphia, the only child of Charles Yollin and Veronica Rita Dugan.\u003c/p>\n\u003cp>Pat’s father was Jewish, a native of Kiev, Ukraine, whose family emigrated to Pennsylvania during the last years of Czar Nicholas II’s reign. Charlie Yollin left high school after one year and worked as a salesman and electrician.\u003c/p>\n\u003cp>Her mother, the daughter of Irish Catholic immigrants, was born at home in the town of Bristol, just up the Delaware River from Philadelphia. If census records are to be believed, she also dropped out of high school and worked for years as a stenographer at a local Elks Club.\u003c/p>\n\u003cp>None of that sounds way out there, but of course there’s a lot more to the story.\u003c/p>\n\u003cp>Charlie Yollin was 46 and had two sons from his previous marriage — they were already in their 20s — when Pat came along. Veronica had apparently lived at home into her 30s before marrying Charles. She was 42 when Pat was born.\u003c/p>\n\u003cp>Friends say Pat spoke seldom about her upbringing, but a couple of details stick out. Pat described her mother poring over the Daily Racing Form, the horse players’ bible, as she sipped Schmidt's beer. Veronica, whom Pat described to some as “a hard-drinking, hard-smoking, hard-gambling woman,” would sometimes take her daughter along on her outings to the track.\u003c/p>\n\u003cp>Her father? My eye is drawn to one particular about him. In the early ‘50s, soon after Pat was born, Charles advertised for a business he had started — raising minks — at the family’s home in the outlying Philadelphia suburb of Ambler.\u003c/p>\n\u003cp>“Attention Mink Rancher,” the ads were headlined. “We are looking for live stock. If you have 300 minks or less and would like to sell out before pelting season, call or write. …”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Charlie turned the family’s backyard into a mink farm. Pat said the animals were remarkable for their viciousness and stink.\u003c/p>\n\u003cp>Outside Pat’s household, there was serious trouble in the extended Yollin family. One of her much older half-brothers, Louis Yollin, had been placed in a Philadelphia psychiatric hospital after committing a series of crimes in the late 1940s. In one case, he had stolen a collection of replica diamonds and other gems from a museum in the city and been arrested after trying to sell them to tourists on the Atlantic City boardwalk.\u003c/p>\n\u003cp>Louis went on to a more sensational crime in 1952, when he was 28. Allowed to leave the psychiatric facility to visit his mother, he got his hands on a .25-caliber pistol and 50 rounds of ammunition and made his way back to Atlantic City. He held up a cab driver, who took him on a long drive to another town. There, Louis opened fire on random strangers, wounding three.\u003c/p>\n\u003cp>An Associated Press story carried by papers across the country the next day quoted Louis as telling arresting officers that he simply had “an urge to kill.” He was committed to a facility for the criminally insane, where he spent the next 16 years.\u003c/p>\n\u003cp>Did the case’s notoriety and the fate of Pat’s half-brother affect life in the Yollin household? I don’t know. But one other traumatic episode did.\u003c/p>\n\u003cp>One evening when she was six, Pat was eating nuts. One got stuck in her throat. She told her parents, who didn’t believe her and sent her to bed. The next morning, the pain was worse and Pat complained again. This time, her parents took her to a doctor, who told them Pat needed an emergency tracheotomy.\u003c/p>\n\u003cp>She remembered the date of that operation, Oct. 21, for the rest of her life. And after she fell ill last fall, she said she experienced the first symptoms of her cancer on Oct. 21, 2019.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">P\u003c/span>\u003c/p>\u003cp>at went on to be the woman and journalist she became because of her own innate intelligence and curiosity. But she also got a hand from her Aunt Katie, Veronica Dugan’s older sister.\u003c/p>\n\u003cp>Catherine Dugan, who was unmarried and had no children, paid for Pat to attend Catholic schools from the first grade on.\u003c/p>\n\u003cp>Pat said later her aunt’s generosity was not entirely selfless. Katie, a Catholic, also wanted to “counteract” the influence of Charles Yollin, who was Jewish.\u003c/p>\n\u003cp>Pat finished her schooling at Gwynedd Mercy High School, a highly regarded all-girls school in the Philadelphia suburbs. From there, Pat went on to Northwestern University, graduating with a bachelor’s in politics and government in 1972. She attended UC Berkeley’s Graduate School of Journalism and earned her master’s in 1976.\u003c/p>\n\u003cp>She worked for the Hayward Daily Review from 1978 through early 1983. With a bent for feature reporting, she also proved adept at breaking news coverage. Among the stories she reported was the 1982 retrial of Sacramento Valley serial killer Juan Corona.\u003c/p>\n\u003cp>That coverage brought her to the attention of Jim Wood, a reporter at the San Francisco Examiner also assigned to the retrial. Wood persuaded his editors to hire Pat, and she joined the Examiner in 1983.\u003c/p>\n\u003cfigure id=\"attachment_11804304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11804304\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-800x601.jpg\" alt=\"Hippos had a special place in Patricia Yollin's heart. The late KQED editor, who died Feb. 22 in Berkeley, had a collection of 200 hippopotamus figures, statuettes and stuffed animals.\" width=\"800\" height=\"601\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-800x601.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-1020x767.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hippos had a special place in Patricia Yollin's heart. The late KQED editor, who died Feb. 22 in Berkeley, had a collection of 200 hippopotamus figures, statuettes and stuffed animals. \u003ccite>(Courtesy of Paul Chinn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the next 26 years — first for the Ex and later for the San Francisco Chronicle — Pat covered an extraordinary variety of stories and filled many different newsroom roles.\u003c/p>\n\u003cp>From 1983 through 1987, she covered transportation issues for the Examiner and took over writing the paper’s “Phantom Commuter” column.\u003c/p>\n\u003cp>In Pat's hands, the Phantom was a feature that combined her sense of fun with her interest in providing a useful reader service. She would ride transit in the Bay Area and well beyond and report the good, the bad and the ugly she encountered.\u003c/p>\n\u003cp>Every bus and train ride she wrote about was memorable. Here’s her impression of one Muni line, the 27-Bryant, that readers had told her was beset by interminable delays.\u003c/p>\n\u003cblockquote>\u003cp>“The caped commuter finished her round trip an hour and 35 minutes later, struck by two things: The 27-Bryant makes more turns than bumper cars manned by hyperactive children, and the rather nondescript route provides one of the most spectacular views in the city when it reaches 30th and Castro Street at the end of the line.”\u003c/p>\u003c/blockquote>\n\u003cp>Later, she wrote a two-part report on how the region’s transit services were serving people with disabilities. The story featured a Berkeley woman who struggled to ride transit in her wheelchair. The twist: In doing the piece, Pat rode in a wheelchair, too. Her description of boarding one bus:\u003c/p>\n\u003cblockquote>\u003cp>\"The Phantom enjoyed a flawless lift ride, but then struggled to negotiate a tight right turn past the driver. She had never given much thought to the considerable difficulties of backing down the narrow front of a crowded bus while attempting to slalom between old people’s feet.\"\u003c/p>\u003c/blockquote>\n\u003cp>Her coverage made enough of an impression that Pat was invited in July 1984 to participate in a KQED-TV show, “Damn This Traffic Jam,” that focused on the Bay Area’s seemingly intractable transportation problems. (Sound familiar?). Here’s the segment, in which Pat appeared in full Phantom disguise: a cape, a floppy hat and a mask that left only her eyes uncovered.\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/tagSlECrhKs'\n title='//www.youtube.com/embed/tagSlECrhKs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Later in her career, Pat was part of an Examiner team that produced a wide-ranging, 16-day series on the lives of gay and lesbian people in the United States. For the Chronicle, she produced a series on the many issues facing organ transplant recipients.\u003c/p>\n\u003cp>Among topics she returned to repeatedly: zoos. She loved the animals, was concerned about their welfare and was fascinated by how people interact with them.\u003c/p>\n\u003cp>In \u003ca href=\"//www.sfchronicle.com/bayarea/article/Penguin-frenzy-over-Birds-back-where-they-2665415.php%E2%80%9D\" target=\"”_blank”\" rel=\"noopener noreferrer\">a 2003 piece\u003c/a> detailing boisterous mating behavior among Magellanic penguins at the San Francisco Zoo, she quoted the birds’ keeper, Jane Tollini: “For me, it's heaven. It's a pleasant time right now. A whole month of foreplay — what's more pleasant than that?\"\u003c/p>\n\u003cp>After a Siberian tiger fatally mauled a visitor to the zoo and injured two others on Christmas Day 2007, Pat and colleagues at the Chronicle \u003ca href=\"//www.sfgate.com/news/article/S-F-Zoo-visitor-saw-2-victims-of-tiger-attack-3233323.php%E2%80%9D\" target=\"”_blank”\" rel=\"noopener noreferrer\">broke the story\u003c/a> revealing the victims had taunted the animal before it escaped its enclosure and attacked.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>ne last chapter.\u003c/p>\n\u003cp>Pat took a buyout from the Chronicle in 2009. She had little trouble finding freelance work, and did stories for UC Berkeley’s California Magazine and UCSF. She began work as a part-time editor for KQED in 2013, an arrangement that quickly became permanent. Her major contribution to the organization, to her coworkers and to our readers was to improve everything she laid her hands on.\u003c/p>\n\u003cp>Among her colleagues, Pat was known as a very clear-headed and constructive editor who treated reporters with respect and criticized their work with a level of tact that was well-beyond the abilities of most of us in the news business. Put another way, she could point out your shortcomings — even mistakes that were galling and nettlesome — in a way that made the point but didn’t make people feel stupid.\u003c/p>\n\u003cp>Beyond all that, Pat was generous with her coaching and encouragement. She was instrumental in setting up and continuing San Francisco State's Raul Ramirez Diversity in Journalism Fund, a scholarship created in honor of KQED's late executive director of news and public affairs. Advocating for the fund was a reflection of her commitment to opening our profession to voices that have been shut out in the past. Pat also took a personal interest in the success of the students who have come to work at KQED as part of the scholarship.\u003c/p>\n\u003cp>Tyche Hendricks, a colleague at KQED who was among the hundreds of people who responded to \u003ca href=\"https://www.facebook.com/pfc1960/posts/10218472000665805\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> announcing Pat’s passing this past week, summed her up this way: “Her intelligence, curiosity, beautiful prose, journalistic instincts and ethics, her amazing ability to tell a story, her humor and pithy insights, her sense of justice, her quiet leadership … are irreplaceable and will be terribly missed.”\u003c/p>\n\u003cp>Besides her husband and partner Paul Chinn, Patricia Yollin is survived by two nieces — Jennifer Yollin of San Francisco and Julie Yollin Berk of London — and a nephew, Guy Yollin of Seattle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "After Nearly 100 Years, Catalina Island's Avalon Theatre to Stop Showing Nightly Films",
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"headTitle": "The California Report Magazine | KQED News",
"content": "\u003cp>If you’ve ever been to Catalina Island, the first thing you spot in the harbor when you come in on the ferry is the Catalina Casino. You can’t miss it. It’s a giant, round, white stone building with a red cone-shaped roof, standing as tall as a 12-story building.\u003c/p>\n\u003cp>Inside this massive building is the Avalon Theatre. There’s been films shown at the Avalon Theatre since the “talkies” of the 1920s — but not anymore.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Diana Alvarez, a resident of Catalina Island\"]'That one lifeline is being taken away. We feel so much more isolated now.'[/pullquote]\u003c/p>\n\u003cp>On a chilly December evening, I went on a ride over to the Avalon Theatre island-style, in the back seat of a golf cart. It was two nights before the theater stopped showing movies for good.\u003c/p>\n\u003cp>“It's very sad,” said Clara Alvarez. We’ve been friends since elementary school, but were visiting for the holidays. We were on our way to see \"Jumanji: The Next Level.\" “It's the only reason why we're going to see 'Jumanji: The Next Level,' ” she admitted.\u003c/p>\n\u003cp>Her sister Diana also came. “It honestly seems like a big fuck you to the community,” she said. “That one lifeline is being taken away. We feel so much more isolated now.”\u003c/p>\n\u003cfigure id=\"attachment_11803730\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-11803730\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut.jpg\" alt=\"Avalon High School's graduation in the theater is a popular community event. It's the only high school on the island.\" width=\"640\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut-550x550.jpg 550w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut-470x470.jpg 470w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Avalon High School's graduation in the theater is a popular community event. It's the only high school on the island. \u003ccite>(Zac Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most people visit Catalina Island as tourists — but over 4,000 people live there year round.\u003c/p>\n\u003cp>For islanders, the theater is a lifeline. On a regular night, going to the movies was one of the only things to do. Catalina is surrounded by water, isolated from Los Angeles by an hour-long boat ride. Seeing a movie meant getting a taste of culture outside our island, being transported to a different place.\u003c/p>\n\u003cp>I even graduated high school inside the Avalon Theatre.\u003c/p>\n\u003cfigure id=\"attachment_11803731\" class=\"wp-caption alignnone\" style=\"max-width: 960px\">\u003cimg class=\"size-full wp-image-11803731\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut.jpg\" alt=\"\" width=\"960\" height=\"720\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut-536x402.jpg 536w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Ariella Markowitz and her dad, David Markowitz, at Ariella's high school graduation in the theater. \u003ccite>(Ariella Markowitz/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Named after the town of Avalon, the theater felt like\u003cem> our theater. \u003c/em>\u003c/p>\n\u003cp>Soon, we arrived at the Casino. We pulled over and bought our tickets. The film started, and Danny DeVito appeared. I was at peace. It was a normal night, and also a sacred experience.\u003c/p>\n\u003cp>“Sacred really, that's really the word,\" said Melinda Benson, who also grew up on Catalina. She lives in San Francisco now. “It's just breathtaking, you know.”\u003c/p>\n\u003cp>This past November, Melinda saw a controversial post on the \u003ca href=\"https://www.facebook.com/groups/1138631529487626/\">Catalina Discussion Page\u003c/a>, a Facebook group for local drama. In frank language, it announced, \"We will discontinue showing movies at the Avalon Theatre.\"\u003c/p>\n\u003cfigure id=\"attachment_11803737\" class=\"wp-caption alignnone\" style=\"max-width: 494px\">\u003cimg class=\"size-full wp-image-11803737\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41598_fb-crop-qut.jpg\" alt=\"\" width=\"494\" height=\"420\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41598_fb-crop-qut.jpg 494w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41598_fb-crop-qut-160x136.jpg 160w\" sizes=\"(max-width: 494px) 100vw, 494px\">\u003cfigcaption class=\"wp-caption-text\">The original Facebook post from the Island Company. The note warranted many angry reactions from community members. \u003ccite>(Facebook Catalina Discussion Page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had to read it again,” Melinda said. “I was just in shock and disbelief.”\u003c/p>\n\u003cp>Soon after, she made a \u003ca href=\"https://www.change.org/p/catalina-island-company-don-t-close-our-beautiful-historic-avalon-theatre-on-catalina-island\">petition on Change.org\u003c/a> that went viral. It has almost 20,000 signatures, which is more than four times the population of Catalina.\u003c/p>\n\u003cp>She sent the petition to the theater’s owner and operator, the Island Company. The CEO, Randy Herrel, sent her an email, saying, “It’s out of our hands.”\u003c/p>\n\u003cp>Ticket sales for movies have been declining since the 1950s. And industry giants, like Disney, take over half of ticket revenue.\u003c/p>\n\u003cp>The theater seats over 1,000 people, but only 36 people show up on an average night — it’s a financial sinkhole.\u003c/p>\n\u003cp>But this economic logic feels cold to Melinda. “The kids of Avalon, they're the ones that are going to be hurt the most by this,\" she said.\u003c/p>\n\u003cfigure id=\"attachment_11803734\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11803734\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-536x402.jpg 536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Catalina Casino events bulletin, which usually shows the next movie, is empty. \u003ccite>(Ariella Markowitz/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>William Wrigley Jr., of chewing gum fame, bought the Catalina Island Company in 1919. He had a vision: to turn the livestock farmlands into a glamorous tourist destination. He built the theater and upstairs ballroom in 1929 for $2 million.\u003c/p>\n\u003cp>The theater premiered with \"The Iron Mask,\" a part-talkie. Celebrities in the 1930s and '40s flocked to Catalina for film premieres and to escape Los Angeles. Some still do.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"\"]In a community designed for cruise ship day-trippers, the theater was for us, the islanders.[/pullquote]\u003c/p>\n\u003cp>Nicolas Cage called the Avalon Theatre his “favorite theater,” in a \u003ca href=\"https://www.youtube.com/watch?v=pcM5tAdHoxc\">2015 interview\u003c/a> for the Catalina Film Festival. “I’ve had some of the best days of my life on Catalina Island,” he said.\u003c/p>\n\u003cp>When I went home for the holidays, I got to talk to the guy who spends so much time in the theater that Nicolas Cage would be jealous.\u003c/p>\n\u003cp>Jon Tusak is the resident organist at the Avalon Theatre, but he didn’t start off on the organ. He was an accordion player in jazz bands for years. He even went to accordion school with \"Weird Al\" Yankovic, and has since transitioned to a larger keyboard.\u003c/p>\n\u003cp>With a signature black ponytail, even the back of his head is an iconic fixture at the Avalon Theatre. He’s been playing a movie overture a few nights a week for the past 21 years.\u003c/p>\n\u003cp>“I came over here on a day trip in 1998. I just kind of latched onto the place,” Tusak said.\u003c/p>\n\u003cfigure id=\"attachment_11803736\" class=\"wp-caption alignnone\" style=\"max-width: 4032px\">\u003cimg class=\"size-full wp-image-11803736\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217.jpg\" alt=\"\" width=\"4032\" height=\"3024\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217.jpg 4032w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-536x402.jpg 536w\" sizes=\"(max-width: 4032px) 100vw, 4032px\">\u003cfigcaption class=\"wp-caption-text\">Jon Tusak with the famous 1930s Page Organ. \u003ccite>(Ariella Markowitz/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theater’s organ was built in the '30s by the Page Organ Company. It’s one of two still in operation.\u003c/p>\n\u003cp>Jon’s sticking around once the theater closes, to restore the organ. He hopes to keep the music of Hollywood’s golden age alive.\u003c/p>\n\u003cp>“Hopefully I will be here for a long time. Maybe I'll be the phantom of the theater,” he chuckled.\u003c/p>\n\u003cp>Without nightly movies, locals can pay around $20 to tour the theater. High school graduation will still happen annually, as well as the Catalina and Silent Film Festivals. In the end, islanders can still access the space — but not in the same way.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Rebecca Watson, a tour guide at the Casino\"]'There’s probably a light at the end of the tunnel some way, somehow.'[/pullquote]\u003c/p>\n\u003cp>On New Year's Eve, folks in fancy attire lined up to attend the New Years’ Eve Ball in the upstairs ballroom. I stood outside the box office, talking to folks on their way to the last movie screening. Some weren’t taking it well.\u003c/p>\n\u003cp>But Julie Perlin Lee attended the last showing with her kids. “It doesn’t feel too sad for us, we watch all our movies at home anyways,” she said. Streaming services like Netflix are partly to blame for a drop in nationwide movie attendance.\u003c/p>\n\u003cp>Other folks are hoping to see the theater reopen one day. Rebecca Watson, who gives tours inside the Catalina Casino, is one of them.\u003c/p>\n\u003cp>“There’s probably a light at the end of the tunnel some way, somehow,\" she said.\u003c/p>\n\u003cp>The last song organist Jon Tusak plays is always “Avalon.” It’s an old jazz standard about our town. But knowing it’s the last time, it sounded different.\u003c/p>\n\u003cp>It was like leaving the house you grew up in after your parents move out, knowing you’ll never be able to come back and have it feel the same.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve ever been to Catalina Island, the first thing you spot in the harbor when you come in on the ferry is the Catalina Casino. You can’t miss it. It’s a giant, round, white stone building with a red cone-shaped roof, standing as tall as a 12-story building.\u003c/p>\n\u003cp>Inside this massive building is the Avalon Theatre. There’s been films shown at the Avalon Theatre since the “talkies” of the 1920s — but not anymore.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On a chilly December evening, I went on a ride over to the Avalon Theatre island-style, in the back seat of a golf cart. It was two nights before the theater stopped showing movies for good.\u003c/p>\n\u003cp>“It's very sad,” said Clara Alvarez. We’ve been friends since elementary school, but were visiting for the holidays. We were on our way to see \"Jumanji: The Next Level.\" “It's the only reason why we're going to see 'Jumanji: The Next Level,' ” she admitted.\u003c/p>\n\u003cp>Her sister Diana also came. “It honestly seems like a big fuck you to the community,” she said. “That one lifeline is being taken away. We feel so much more isolated now.”\u003c/p>\n\u003cfigure id=\"attachment_11803730\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-11803730\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut.jpg\" alt=\"Avalon High School's graduation in the theater is a popular community event. It's the only high school on the island.\" width=\"640\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut-550x550.jpg 550w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut-470x470.jpg 470w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Avalon High School's graduation in the theater is a popular community event. It's the only high school on the island. \u003ccite>(Zac Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most people visit Catalina Island as tourists — but over 4,000 people live there year round.\u003c/p>\n\u003cp>For islanders, the theater is a lifeline. On a regular night, going to the movies was one of the only things to do. Catalina is surrounded by water, isolated from Los Angeles by an hour-long boat ride. Seeing a movie meant getting a taste of culture outside our island, being transported to a different place.\u003c/p>\n\u003cp>I even graduated high school inside the Avalon Theatre.\u003c/p>\n\u003cfigure id=\"attachment_11803731\" class=\"wp-caption alignnone\" style=\"max-width: 960px\">\u003cimg class=\"size-full wp-image-11803731\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut.jpg\" alt=\"\" width=\"960\" height=\"720\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut-536x402.jpg 536w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Ariella Markowitz and her dad, David Markowitz, at Ariella's high school graduation in the theater. \u003ccite>(Ariella Markowitz/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Named after the town of Avalon, the theater felt like\u003cem> our theater. \u003c/em>\u003c/p>\n\u003cp>Soon, we arrived at the Casino. We pulled over and bought our tickets. The film started, and Danny DeVito appeared. I was at peace. It was a normal night, and also a sacred experience.\u003c/p>\n\u003cp>“Sacred really, that's really the word,\" said Melinda Benson, who also grew up on Catalina. She lives in San Francisco now. “It's just breathtaking, you know.”\u003c/p>\n\u003cp>This past November, Melinda saw a controversial post on the \u003ca href=\"https://www.facebook.com/groups/1138631529487626/\">Catalina Discussion Page\u003c/a>, a Facebook group for local drama. In frank language, it announced, \"We will discontinue showing movies at the Avalon Theatre.\"\u003c/p>\n\u003cfigure id=\"attachment_11803737\" class=\"wp-caption alignnone\" style=\"max-width: 494px\">\u003cimg class=\"size-full wp-image-11803737\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41598_fb-crop-qut.jpg\" alt=\"\" width=\"494\" height=\"420\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41598_fb-crop-qut.jpg 494w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41598_fb-crop-qut-160x136.jpg 160w\" sizes=\"(max-width: 494px) 100vw, 494px\">\u003cfigcaption class=\"wp-caption-text\">The original Facebook post from the Island Company. The note warranted many angry reactions from community members. \u003ccite>(Facebook Catalina Discussion Page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had to read it again,” Melinda said. “I was just in shock and disbelief.”\u003c/p>\n\u003cp>Soon after, she made a \u003ca href=\"https://www.change.org/p/catalina-island-company-don-t-close-our-beautiful-historic-avalon-theatre-on-catalina-island\">petition on Change.org\u003c/a> that went viral. It has almost 20,000 signatures, which is more than four times the population of Catalina.\u003c/p>\n\u003cp>She sent the petition to the theater’s owner and operator, the Island Company. The CEO, Randy Herrel, sent her an email, saying, “It’s out of our hands.”\u003c/p>\n\u003cp>Ticket sales for movies have been declining since the 1950s. And industry giants, like Disney, take over half of ticket revenue.\u003c/p>\n\u003cp>The theater seats over 1,000 people, but only 36 people show up on an average night — it’s a financial sinkhole.\u003c/p>\n\u003cp>But this economic logic feels cold to Melinda. “The kids of Avalon, they're the ones that are going to be hurt the most by this,\" she said.\u003c/p>\n\u003cfigure id=\"attachment_11803734\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11803734\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-536x402.jpg 536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Catalina Casino events bulletin, which usually shows the next movie, is empty. \u003ccite>(Ariella Markowitz/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>William Wrigley Jr., of chewing gum fame, bought the Catalina Island Company in 1919. He had a vision: to turn the livestock farmlands into a glamorous tourist destination. He built the theater and upstairs ballroom in 1929 for $2 million.\u003c/p>\n\u003cp>The theater premiered with \"The Iron Mask,\" a part-talkie. Celebrities in the 1930s and '40s flocked to Catalina for film premieres and to escape Los Angeles. Some still do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nicolas Cage called the Avalon Theatre his “favorite theater,” in a \u003ca href=\"https://www.youtube.com/watch?v=pcM5tAdHoxc\">2015 interview\u003c/a> for the Catalina Film Festival. “I’ve had some of the best days of my life on Catalina Island,” he said.\u003c/p>\n\u003cp>When I went home for the holidays, I got to talk to the guy who spends so much time in the theater that Nicolas Cage would be jealous.\u003c/p>\n\u003cp>Jon Tusak is the resident organist at the Avalon Theatre, but he didn’t start off on the organ. He was an accordion player in jazz bands for years. He even went to accordion school with \"Weird Al\" Yankovic, and has since transitioned to a larger keyboard.\u003c/p>\n\u003cp>With a signature black ponytail, even the back of his head is an iconic fixture at the Avalon Theatre. He’s been playing a movie overture a few nights a week for the past 21 years.\u003c/p>\n\u003cp>“I came over here on a day trip in 1998. I just kind of latched onto the place,” Tusak said.\u003c/p>\n\u003cfigure id=\"attachment_11803736\" class=\"wp-caption alignnone\" style=\"max-width: 4032px\">\u003cimg class=\"size-full wp-image-11803736\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217.jpg\" alt=\"\" width=\"4032\" height=\"3024\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217.jpg 4032w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-536x402.jpg 536w\" sizes=\"(max-width: 4032px) 100vw, 4032px\">\u003cfigcaption class=\"wp-caption-text\">Jon Tusak with the famous 1930s Page Organ. \u003ccite>(Ariella Markowitz/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theater’s organ was built in the '30s by the Page Organ Company. It’s one of two still in operation.\u003c/p>\n\u003cp>Jon’s sticking around once the theater closes, to restore the organ. He hopes to keep the music of Hollywood’s golden age alive.\u003c/p>\n\u003cp>“Hopefully I will be here for a long time. Maybe I'll be the phantom of the theater,” he chuckled.\u003c/p>\n\u003cp>Without nightly movies, locals can pay around $20 to tour the theater. High school graduation will still happen annually, as well as the Catalina and Silent Film Festivals. In the end, islanders can still access the space — but not in 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>On New Year's Eve, folks in fancy attire lined up to attend the New Years’ Eve Ball in the upstairs ballroom. I stood outside the box office, talking to folks on their way to the last movie screening. Some weren’t taking it well.\u003c/p>\n\u003cp>But Julie Perlin Lee attended the last showing with her kids. “It doesn’t feel too sad for us, we watch all our movies at home anyways,” she said. Streaming services like Netflix are partly to blame for a drop in nationwide movie attendance.\u003c/p>\n\u003cp>Other folks are hoping to see the theater reopen one day. Rebecca Watson, who gives tours inside the Catalina Casino, is one of them.\u003c/p>\n\u003cp>“There’s probably a light at the end of the tunnel some way, somehow,\" she said.\u003c/p>\n\u003cp>The last song organist Jon Tusak plays is always “Avalon.” It’s an old jazz standard about our town. But knowing it’s the last time, it sounded different.\u003c/p>\n\u003cp>It was like leaving the house you grew up in after your parents move out, knowing you’ll never be able to come back and have it feel the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The coronavirus has begun to halt touring plans for some of the world’s biggest pop groups, rock bands and symphony orchestras.\u003c/p>\n\u003cp>K-pop superstars BTS canceled an upcoming concert series in South Korea’s capital as the country tries to contain the COVID-19 virus outbreak. \u003c/p>\n\u003cp>BTS, which performed at the Grammys and at New York’s Grand Central Terminal for \u003cem>The Tonight Show\u003c/em> in recent weeks, is seen as an emblem of South Korea’s cultural and economic power. The canceled concerts were the inaugural leg of the band’s new world tour.\u003c/p>\n\u003cp>“We regret to announce that the BTS MAP OF THE SOUL TOUR … has been cancelled,” the band’s agency Big Hit Entertainment said, in a statement.\u003c/p>\n\u003cp>The management agency said the outbreak in South Korea, which has more than 2,000 cases so far, made it impossible to predict the scale of the outbreak by April 11-12 and April 18-19, when the group was set to perform at Seoul’s Olympic Stadium.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Thursday, Bay Area rock band Green Day also canceled upcoming tour dates in March throughout Asia, including shows in Singapore, Bangkok, Manila, Taipei, Hong Kong, Seoul, Osaka and Tokyo.\u003c/p>\n\u003cp>“We have unfortunately made the difficult decision to postpone our upcoming shows in Asia due to the health + travel concerns with coronavirus,” the band said in a statement. “We know it sucks, as we were looking forward to seeing you all, but hold on to your tickets we’ll be announcing the new dates very soon.“\u003c/p>\n\u003cp>Also, the National Symphony Orchestra canceled the five remaining performances in Japan of its Asian tour due to the epidemic.\u003c/p>\n\u003cp>The orchestra originally was to play eight concerts in its first international tour with music director Gianandrea Noseda. On Feb. 4, the NSO called off shows in Beijing on March 13 and 14 and one in Shanghai on March 17.\u003c/p>\n\u003cp>In an announcement Thursday night, the orchestra scrapped performances from March 6-11 in Fukui, Sakai, Hiroshima and Tokyo. It cited a recommendation from Japanese Prime Minister Shinzo Abe that major cultural events be canceled for the next two weeks.\u003c/p>\n\u003cp>“After multiple consultations with officials at U.S. government agencies and recommendations from the Japanese government, it became clear that these evolving circumstances are beyond our control,” NSO executive director Gary Ginstling said in a statement.\u003c/p>\n\u003cp>The NSO is based at the Kennedy Center in Washington, D.C., and hopes fill the void in its schedule with orchestra and chamber music in the Washington area.\u003c/p>\n\u003cp>The Boston Symphony Orchestra canceled an Asian tour from Feb. 6-16 that had included performances in Seoul, South Korea; Taipei, Taiwan; Shanghai and Hong Kong.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The COVID-19 illness caused by a new type of coronavirus has sickened tens of thousands of people, most of them in China. Japan and South Korea also have been hard hit among Asian countries.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Thursday, Bay Area rock band Green Day also canceled upcoming tour dates in March throughout Asia, including shows in Singapore, Bangkok, Manila, Taipei, Hong Kong, Seoul, Osaka and Tokyo.\u003c/p>\n\u003cp>“We have unfortunately made the difficult decision to postpone our upcoming shows in Asia due to the health + travel concerns with coronavirus,” the band said in a statement. “We know it sucks, as we were looking forward to seeing you all, but hold on to your tickets we’ll be announcing the new dates very soon.“\u003c/p>\n\u003cp>Also, the National Symphony Orchestra canceled the five remaining performances in Japan of its Asian tour due to the epidemic.\u003c/p>\n\u003cp>The orchestra originally was to play eight concerts in its first international tour with music director Gianandrea Noseda. On Feb. 4, the NSO called off shows in Beijing on March 13 and 14 and one in Shanghai on March 17.\u003c/p>\n\u003cp>In an announcement Thursday night, the orchestra scrapped performances from March 6-11 in Fukui, Sakai, Hiroshima and Tokyo. It cited a recommendation from Japanese Prime Minister Shinzo Abe that major cultural events be canceled for the next two weeks.\u003c/p>\n\u003cp>“After multiple consultations with officials at U.S. government agencies and recommendations from the Japanese government, it became clear that these evolving circumstances are beyond our control,” NSO executive director Gary Ginstling said in a statement.\u003c/p>\n\u003cp>The NSO is based at the Kennedy Center in Washington, D.C., and hopes fill the void in its schedule with orchestra and chamber music in the Washington area.\u003c/p>\n\u003cp>The Boston Symphony Orchestra canceled an Asian tour from Feb. 6-16 that had included performances in Seoul, South Korea; Taipei, Taiwan; Shanghai and Hong Kong.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The COVID-19 illness caused by a new type of coronavirus has sickened tens of thousands of people, most of them in China. Japan and South Korea also have been hard hit among Asian countries.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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