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"title": "10 Lesser-Known Acts to Catch at Hardly Strictly Bluegrass",
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"content": "\u003cp>Returning to Golden Gate Park after a three-year pandemic-induced hiatus, the \u003ca href=\"https://www.hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass Festival\u003c/a> brings a bevy of big names to San Francisco this weekend, Sept. 30-Oct. 2.\u003cbr>\n[aside postID=\"arts_13916410\"]With acts on tap like Elvis Costello, Allison Russell, Bela Fleck and Emmylou Harris, Hardly Strictly has no shortage of artists who’ve earned their vaunted status as institutions. But if you’re inclined to do a little wandering between the festival’s four stages, one of the prime pleasures of the festival comes from checking out unfamiliar artists, whether a rising star or a veteran performer trying out a new combo.\u003c/p>\n\u003cp>In many ways Hardly Strictly is more than a festival. It’s a musical weather system that sweeps over the region, and not just because of the satellite programming presented as part of \u003ca href=\"https://www.hardlystrictlybluegrass.com/out-of-the-park/\">Hardly Strictly Out of the Park\u003c/a>. A spot on the HSBG roster often serves as the centerpiece for a wider West Coast run, providing strong tailwinds for the fall music season. Here are 10 acts well worth a listen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N5cET-ipUcQ\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/satya/\">Satya\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Friday 2-2:30pm\u003cbr>\nBandwagon Stage\u003c/strong>\u003c/p>\n\u003cp>At 22, Oakland-reared, New Orleans-based Satya is a neo-soul singer/songwriter with boundless promise. Her relaxed phrasing and becalmed delivery hints at the deep currents flowing through her music, which slows the passage of time with ripples of self-revelation. Her name means “truth” in Sanskrit, but Satya offers hints and clues rather than a road map, inviting listeners along as she finds her way.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sHbl6zhO3wo\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/joy-oladokun/\">Joy Oladokun\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Friday 3:55-4:45pm\u003cbr>\nTowers of Gold Stage\u003c/strong>\u003c/p>\n\u003cp>A first-generation Nigerian-American singer/songwriter, Joy Oladokun creates music from her perspective as a queer Black woman who’s absorbed the forthright stance of artists like Tracy Chapman and Joan Armatrading. Raised in Arizona and now based in Los Angeles, she’s staked an early claim as one of the decade’s artists to watch with two albums that brim with confidence, vulnerability, and righteous melodic invention: 2020’s \u003cem>in defense of my own happiness (the beginnings)\u003c/em> and 2021’s \u003cem>in defense of my own happiness\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zvie5df0SP8\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/charley-crockett/\">Charley Crockett\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Friday 5:45-7pm\u003c/strong>\u003cbr>\n\u003cstrong>Towers of Gold Stage\u003c/strong>\u003c/p>\n\u003cp>Often cast as polar idioms, country music and the blues share deep roots that the best country artists manifest clearly. With his telegraphic storytelling and dry humor, Charley Crockett embodies the blues aesthetic that hard times are best endured by turning tribulation into a communal exorcism. He’s a dauntingly prolific artist who’s released a diverse array of material on 11 albums since 2015, including a simmering new project, \u003cem>The Man from Waco\u003c/em>, that feels like an homage to Johnny Cash.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JygS9kX-kak\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/cedric-watson/\">Cedric Watson\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Banjo Stage\u003cbr>\nSaturday 11-11:45am\u003c/strong>\u003c/p>\n\u003cp>Fiddler, singer, accordionist and songwriter Cedric Watson is a leading force in the revival of Creole and Acadian roots music, drawing on centuries-old songs spread by the French and Spanish empires and rhythms brought to the Caribbean by enslaved West Africans. Part of what makes Watson such a dynamic artist is that he’s both a deep scholar and a prolific songwriter who carries traditional forms into the 21\u003csup>st\u003c/sup> century, mixing and melding influences as he sees fit. He also performs at the festival afterparty \u003ca href=\"https://www.ashkenaz.com/events-backend/cedric-watson-a-hardly-strictly-bluegrass-afterparty\">Oct. 1 at Ashkenaz\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oEtoiqy0VGo\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/aj-lee-and-blue-summit/\">AJ Lee & Blue Summit\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Saturday 1:30-2:10pm\u003cbr>\nBandwagon Stage\u003c/strong>\u003c/p>\n\u003cp>A product of the Bay Area’s verdant bluegrass music scene, guitarist, mandolinist and vocalist AJ Lee was still in her mid-teens when she started performing with Blue Summit in 2015. Now a road-seasoned act, the band released an impressive second album last year with \u003cem>I’ll Come Back\u003c/em>, featuring Sullivan Tuttle and Scott Gates on steel string guitars, fiddler Jan Purat and bassist Chad Bowen. Bluegrass is still a major source of inspiration for the group, but their sound now draws on a wider constellation of acoustic idioms, fitting comfortably under the Americana umbrella while avoiding many of the attendant clichés.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cEyYlyRr2_U\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/waxahatchee/\">Waxahatchee\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Saturday 3:55-4:55pm\u003cbr>\nBanjo Stage\u003c/strong>\u003c/p>\n\u003cp>Named after a creek that runs close to her childhood home in Alabama, Katie Crutchfield’s solo project Waxahatchee has become a major outlet for her songwriting in recent years. She’s released a series of trenchant, critically acclaimed albums over the past decade, but 2020’s \u003cem>Saint Cloud\u003c/em> found her in particularly harrowing territory, a sojourn inspired by her determination to attain sobriety. Crutchfield returns to the Bay Area next month with Plains, her project with Jess Williamson, playing \u003ca href=\"https://folkyeah.com/#/plains-katie-crutchfield-jess-williamson-sonoma-1024\">Sonoma\u003c/a> and \u003ca href=\"https://www.axs.com/events/442689/plains-featuring-katie-crutchfield-from-waxahatchee-and-jess-williamso-tickets\">San Francisco\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U89BGcn_AOs\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/arooj-aftab/\">Arooj Aftab\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Sunday 12:30-1:15pm\u003cbr>\nRooster Stage\u003c/strong>\u003c/p>\n\u003cp>Born in Saudi Arabia to parents from Pakistan, Grammy Award-winning vocalist Arooj Aftab applies her training in Hindustani classical music to a sumptuous array of settings for Urdu poetry. A brilliant improviser who’s collaborated with leading jazz musicians like pianist Vijay Iyer, she’s crafted her own mesmerizing sound, drawing on love-besotted ghazals and minimalist patterns.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GC5UBAoa6nw\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/danielle-ponder/\">Danielle Ponder\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Sunday 1:20-2pm\u003cbr>\nPorch Stage\u003c/strong>\u003c/p>\n\u003cp>Since leaving her job as a public defender in upstate New York, powerhouse vocalist Danielle Ponder has emerged as a clarion artist whose songs tackle knotty territory without compromising melodic force. Steeped in gospel and inspired by blues, rock and hip-hop, she sings with sanctified authority and hard-knock knowledge gleaned from personal experience. Before Hardly Strictly she also headlines \u003ca href=\"https://moesalley.com/event-details/12402625/-folkyeah-presents-danielle-ponder-with-special-guests/\">Sept. 29 at Moe’s Alley\u003c/a> in Santa Cruz and opens for Marcus Mumford \u003ca href=\"https://concerts.livenation.com/marcus-mumford-san-francisco-california-10-01-2022/event/1C005D0AF94E4173?_ga=2.239581635.1978444917.1663717476-386014478.1663717475\">Sept. 30 at the Fillmore\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4EWY6W5jkSs\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/dashawn-hickman/\">DaShawn Hickman with Charlie Hunter\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Sunday 1:25-2pm\u003cbr>\nBandwagon Stage\u003c/strong>\u003c/p>\n\u003cp>A master of the Sacred Steel tradition, DaShawn Hickman was a founding member of The Allen Boys, a group that took the rollicking music powering Pentecostal Holiness services in North Carolina out of the church and on the road. Teaming up with Charlie Hunter, the jazz-meets-funk guitarist who contributed to influential albums by D’Angelo and A Tribe Called Quest, Hickman recorded the stellar album \u003cem>Drums, Roots & Steel\u003c/em> for Little Village Foundation, a project that ushers the Sacred Steel sound into celebratory secular settings. A Berkeley native based in North Carolina, Hunter is also in town with SuperBlue, his hip-hop-inflected collaboration with jazz vocalist Kurt Elling, playing Menlo Park’s \u003ca href=\"https://guildtheatre.com/events/superblue-kurt-elling-ft-charlie-hunter-9-27-22/\">Guild Theater Sept. 27\u003c/a> and \u003ca href=\"https://secure.thefreight.org/11472/kurt-elling-charlie-hunter\">Freight & Salvage Sept. 30\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7RzaRh6E6bY\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/the-whitmore-sisters/\">The Whitmore Sisters\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Sunday 4:55-5:40pm\u003cbr>\nPorch Stage\u003c/strong>\u003c/p>\n\u003cp>Eleanor Whitmore has long been known for her work with her husband Chris Masterson in The Mastersons, but after being grounded by the pandemic she teamed up with her younger sister Bonnie to renew their musical relationship in the Whitmore Sisters. Collaborating on \u003cem>Ghost Stories\u003c/em> (Red House Records), they created an enthralling collection of songs that marry voluptuous arrangements to fever-pitch themes of love, death and loss.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Acts like Elvis Costello and Emmylou Harris get top billing at this year's festival, which takes place Sept. 30-Oct. 2. But good things come to those who wander—like the discovery of your new favorite up-and-coming artist. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Returning to Golden Gate Park after a three-year pandemic-induced hiatus, the \u003ca href=\"https://www.hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass Festival\u003c/a> brings a bevy of big names to San Francisco this weekend, Sept. 30-Oct. 2.\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With acts on tap like Elvis Costello, Allison Russell, Bela Fleck and Emmylou Harris, Hardly Strictly has no shortage of artists who’ve earned their vaunted status as institutions. But if you’re inclined to do a little wandering between the festival’s four stages, one of the prime pleasures of the festival comes from checking out unfamiliar artists, whether a rising star or a veteran performer trying out a new combo.\u003c/p>\n\u003cp>In many ways Hardly Strictly is more than a festival. It’s a musical weather system that sweeps over the region, and not just because of the satellite programming presented as part of \u003ca href=\"https://www.hardlystrictlybluegrass.com/out-of-the-park/\">Hardly Strictly Out of the Park\u003c/a>. A spot on the HSBG roster often serves as the centerpiece for a wider West Coast run, providing strong tailwinds for the fall music season. Here are 10 acts well worth a listen.\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/N5cET-ipUcQ'\n title='//www.youtube.com/embed/N5cET-ipUcQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/satya/\">Satya\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Friday 2-2:30pm\u003cbr>\nBandwagon Stage\u003c/strong>\u003c/p>\n\u003cp>At 22, Oakland-reared, New Orleans-based Satya is a neo-soul singer/songwriter with boundless promise. Her relaxed phrasing and becalmed delivery hints at the deep currents flowing through her music, which slows the passage of time with ripples of self-revelation. Her name means “truth” in Sanskrit, but Satya offers hints and clues rather than a road map, inviting listeners along as she finds her way.\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/sHbl6zhO3wo'\n title='//www.youtube.com/embed/sHbl6zhO3wo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/joy-oladokun/\">Joy Oladokun\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Friday 3:55-4:45pm\u003cbr>\nTowers of Gold Stage\u003c/strong>\u003c/p>\n\u003cp>A first-generation Nigerian-American singer/songwriter, Joy Oladokun creates music from her perspective as a queer Black woman who’s absorbed the forthright stance of artists like Tracy Chapman and Joan Armatrading. Raised in Arizona and now based in Los Angeles, she’s staked an early claim as one of the decade’s artists to watch with two albums that brim with confidence, vulnerability, and righteous melodic invention: 2020’s \u003cem>in defense of my own happiness (the beginnings)\u003c/em> and 2021’s \u003cem>in defense of my own happiness\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zvie5df0SP8'\n title='//www.youtube.com/embed/zvie5df0SP8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/charley-crockett/\">Charley Crockett\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Friday 5:45-7pm\u003c/strong>\u003cbr>\n\u003cstrong>Towers of Gold Stage\u003c/strong>\u003c/p>\n\u003cp>Often cast as polar idioms, country music and the blues share deep roots that the best country artists manifest clearly. With his telegraphic storytelling and dry humor, Charley Crockett embodies the blues aesthetic that hard times are best endured by turning tribulation into a communal exorcism. He’s a dauntingly prolific artist who’s released a diverse array of material on 11 albums since 2015, including a simmering new project, \u003cem>The Man from Waco\u003c/em>, that feels like an homage to Johnny Cash.\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/JygS9kX-kak'\n title='//www.youtube.com/embed/JygS9kX-kak'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/cedric-watson/\">Cedric Watson\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Banjo Stage\u003cbr>\nSaturday 11-11:45am\u003c/strong>\u003c/p>\n\u003cp>Fiddler, singer, accordionist and songwriter Cedric Watson is a leading force in the revival of Creole and Acadian roots music, drawing on centuries-old songs spread by the French and Spanish empires and rhythms brought to the Caribbean by enslaved West Africans. Part of what makes Watson such a dynamic artist is that he’s both a deep scholar and a prolific songwriter who carries traditional forms into the 21\u003csup>st\u003c/sup> century, mixing and melding influences as he sees fit. He also performs at the festival afterparty \u003ca href=\"https://www.ashkenaz.com/events-backend/cedric-watson-a-hardly-strictly-bluegrass-afterparty\">Oct. 1 at Ashkenaz\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oEtoiqy0VGo'\n title='//www.youtube.com/embed/oEtoiqy0VGo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/aj-lee-and-blue-summit/\">AJ Lee & Blue Summit\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Saturday 1:30-2:10pm\u003cbr>\nBandwagon Stage\u003c/strong>\u003c/p>\n\u003cp>A product of the Bay Area’s verdant bluegrass music scene, guitarist, mandolinist and vocalist AJ Lee was still in her mid-teens when she started performing with Blue Summit in 2015. Now a road-seasoned act, the band released an impressive second album last year with \u003cem>I’ll Come Back\u003c/em>, featuring Sullivan Tuttle and Scott Gates on steel string guitars, fiddler Jan Purat and bassist Chad Bowen. Bluegrass is still a major source of inspiration for the group, but their sound now draws on a wider constellation of acoustic idioms, fitting comfortably under the Americana umbrella while avoiding many of the attendant clichés.\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/cEyYlyRr2_U'\n title='//www.youtube.com/embed/cEyYlyRr2_U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/waxahatchee/\">Waxahatchee\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Saturday 3:55-4:55pm\u003cbr>\nBanjo Stage\u003c/strong>\u003c/p>\n\u003cp>Named after a creek that runs close to her childhood home in Alabama, Katie Crutchfield’s solo project Waxahatchee has become a major outlet for her songwriting in recent years. She’s released a series of trenchant, critically acclaimed albums over the past decade, but 2020’s \u003cem>Saint Cloud\u003c/em> found her in particularly harrowing territory, a sojourn inspired by her determination to attain sobriety. Crutchfield returns to the Bay Area next month with Plains, her project with Jess Williamson, playing \u003ca href=\"https://folkyeah.com/#/plains-katie-crutchfield-jess-williamson-sonoma-1024\">Sonoma\u003c/a> and \u003ca href=\"https://www.axs.com/events/442689/plains-featuring-katie-crutchfield-from-waxahatchee-and-jess-williamso-tickets\">San Francisco\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/U89BGcn_AOs'\n title='//www.youtube.com/embed/U89BGcn_AOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/arooj-aftab/\">Arooj Aftab\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Sunday 12:30-1:15pm\u003cbr>\nRooster Stage\u003c/strong>\u003c/p>\n\u003cp>Born in Saudi Arabia to parents from Pakistan, Grammy Award-winning vocalist Arooj Aftab applies her training in Hindustani classical music to a sumptuous array of settings for Urdu poetry. A brilliant improviser who’s collaborated with leading jazz musicians like pianist Vijay Iyer, she’s crafted her own mesmerizing sound, drawing on love-besotted ghazals and minimalist patterns.\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/GC5UBAoa6nw'\n title='//www.youtube.com/embed/GC5UBAoa6nw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/danielle-ponder/\">Danielle Ponder\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Sunday 1:20-2pm\u003cbr>\nPorch Stage\u003c/strong>\u003c/p>\n\u003cp>Since leaving her job as a public defender in upstate New York, powerhouse vocalist Danielle Ponder has emerged as a clarion artist whose songs tackle knotty territory without compromising melodic force. Steeped in gospel and inspired by blues, rock and hip-hop, she sings with sanctified authority and hard-knock knowledge gleaned from personal experience. Before Hardly Strictly she also headlines \u003ca href=\"https://moesalley.com/event-details/12402625/-folkyeah-presents-danielle-ponder-with-special-guests/\">Sept. 29 at Moe’s Alley\u003c/a> in Santa Cruz and opens for Marcus Mumford \u003ca href=\"https://concerts.livenation.com/marcus-mumford-san-francisco-california-10-01-2022/event/1C005D0AF94E4173?_ga=2.239581635.1978444917.1663717476-386014478.1663717475\">Sept. 30 at the Fillmore\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4EWY6W5jkSs'\n title='//www.youtube.com/embed/4EWY6W5jkSs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/dashawn-hickman/\">DaShawn Hickman with Charlie Hunter\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Sunday 1:25-2pm\u003cbr>\nBandwagon Stage\u003c/strong>\u003c/p>\n\u003cp>A master of the Sacred Steel tradition, DaShawn Hickman was a founding member of The Allen Boys, a group that took the rollicking music powering Pentecostal Holiness services in North Carolina out of the church and on the road. Teaming up with Charlie Hunter, the jazz-meets-funk guitarist who contributed to influential albums by D’Angelo and A Tribe Called Quest, Hickman recorded the stellar album \u003cem>Drums, Roots & Steel\u003c/em> for Little Village Foundation, a project that ushers the Sacred Steel sound into celebratory secular settings. A Berkeley native based in North Carolina, Hunter is also in town with SuperBlue, his hip-hop-inflected collaboration with jazz vocalist Kurt Elling, playing Menlo Park’s \u003ca href=\"https://guildtheatre.com/events/superblue-kurt-elling-ft-charlie-hunter-9-27-22/\">Guild Theater Sept. 27\u003c/a> and \u003ca href=\"https://secure.thefreight.org/11472/kurt-elling-charlie-hunter\">Freight & Salvage Sept. 30\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7RzaRh6E6bY'\n title='//www.youtube.com/embed/7RzaRh6E6bY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/the-whitmore-sisters/\">The Whitmore Sisters\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Sunday 4:55-5:40pm\u003cbr>\nPorch Stage\u003c/strong>\u003c/p>\n\u003cp>Eleanor Whitmore has long been known for her work with her husband Chris Masterson in The Mastersons, but after being grounded by the pandemic she teamed up with her younger sister Bonnie to renew their musical relationship in the Whitmore Sisters. Collaborating on \u003cem>Ghost Stories\u003c/em> (Red House Records), they created an enthralling collection of songs that marry voluptuous arrangements to fever-pitch themes of love, death and loss.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Elvis Costello, Steve Earle, Alison Brown and More to Play Hardly Strictly Bluegrass 2022",
"headTitle": "Elvis Costello, Steve Earle, Alison Brown and More to Play Hardly Strictly Bluegrass 2022 | KQED",
"content": "\u003cp>\u003cstrong>Update, Sept. 7, 2022: \u003c/strong>A new round of artists has been announced as part of the lineup for this year’s Hardly Strictly Bluegrass festival, set to take place Sept. 30 through Oct. 2. Acts include Elvis Costello, Steve Earle & the Dukes, The Travelin’ McCourys, Bob Schneider, Moonalice, Cymande, Arooj Aftab, Cedric Watson, Alison Brown and Jim Lauderdale.\u003c/p>\n\u003cp>Steve Earle is scheduled to host a tribute to longtime festival regulars who have died over the past few years, like John Prine, Justin Townes Earle and Nancy Bechtle.\u003c/p>\n\u003cp>And Elvis Costello has added a night show: “Elvis Sings Hunter-Garcia,” a tribute to the Grateful Dead’s Robert Hunter and Jerry Garcia, is set for Sept. 30 at the Great American Music Hall, with two shows at 7 and 10pm. The evening is a benefit for the nonprofit Prader-Willi Homes of California, which funds residential facilities for people with developmental disabilities. \u003ca href=\"https://gamh.com/shows-elvis-costello-sings-hunter-garcia/\">Tickets and more info here\u003c/a>.\u003c/p>\n\u003cp>Organizers say the full festival lineup will be announced Sept. 13. Check out the lineup (so far) on the \u003ca href=\"https://www.hardlystrictlybluegrass.com/\">HSB website here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Update, Aug. 10, 2022: \u003c/strong>Festival organizers have rolled out a second installment of the lineup for this year’s Hardly Strictly Bluegrass, and it’s a good one, with a strong local showing. Artists added to the slate include festival veteran Emmylou Harris, Talking Heads’ Jerry Harrison & Adrian Belew performing songs from “Remain In Light,” Sacramento’s Tré Burt, San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13817300/the-10-best-bay-area-albums-of-2017-meklit-when-the-people-move-the-music-moves-too\">Meklit\u003c/a>, Petaluma-born \u003ca href=\"https://www.kqed.org/arts/13838086/the-brothers-comatoses-trade-deal-with-china-bluegrass\">the Brothers Comatose\u003c/a>, Seratones, the Tallest Man On Earth, \u003ca href=\"https://www.npr.org/sections/now-playing/2022/02/22/1082325550/jake-blount-the-man-was-burning\">Jake Blount\u003c/a>, Sarah Shook & the Disarmers and Antibalas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Playing Hardly Strictly for the first time ever this year feels a bit like coming home,” Tré Burt told organizers. “I used to sneak in and play for as long as I could on the footpaths before eventually being kicked out by security back in the day, so it feels great to actually be invited onto the stage!”\u003c/p>\n\u003cp>Expect at least one or two more lineup announcements in the coming weeks, teased on the \u003ca href=\"https://www.hardlystrictlybluegrass.com/headline/hsb22-artist-medley-1/\">festival’s website here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Update, July 27, 2022:\u003c/strong> Hardly Strictly Bluegrass organizers have released \u003ca href=\"https://www.hardlystrictlybluegrass.com/headline/hsb22-artist-medley-1/\">an initial lineup\u003c/a> for this year’s festival. Artists slated to perform include Marcus Mumford, Allison Russell, Las Cafeteras, Lucius, Galactic, AJ Lee & Blue Summit, Joy Oladokun, Charley Crockett, Buddy Miller and Dashawn Hickman. Further lineup announcements are expected in the coming weeks, teased \u003ca href=\"https://www.hardlystrictlybluegrass.com/headline/hsb22-artist-medley-1/\" target=\"_blank\" rel=\"noopener noreferrer\">via song medleys on the festival’s website\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original story, July 21, 2022:\u003c/strong>\u003c/p>\n\u003cp>Hardly Strictly Bluegrass, the free music festival, \u003ca href=\"https://www.hardlystrictlybluegrass.com/\">is scheduled to return in-person\u003c/a> to Golden Gate Park this year for the first time since 2019. The festival will run Sept. 30 through Oct. 2.\u003c/p>\n\u003cp>The lineup of performers at this year’s Hardly Strictly festival has yet to be announced, with organizers planning to roll out artist announcements—via hint-filled song medleys—beginning July 26.\u003c/p>\n\u003cp>The all-ages festival was founded in 2001 by the late venture capitalist and bluegrass fan Warren Hellman, and has become a beginning-of-fall \u003ca href=\"https://www.kqed.org/arts/13810342/where-have-all-the-warren-hellmans-gone\" target=\"_blank\" rel=\"noopener noreferrer\">tradition for a generation of San Franciscans\u003c/a> ever since. In pre-pandemic years, the fest reliably drew more than half a million people to Golden Gate Park for performances by folk and bluegrass icons like Emmylou Harris, John Prine, Steve Earle and Mavis Staples.\u003c/p>\n\u003cp>[aside postID='arts_13810342']The 2020 and 2021 Hardly Strictly festivals were held virtually online due to COVID, with livestreams of performances by the likes of Bonnie Raitt, Boz Scaggs, Chuck Prophet, Fantastic Negrito and Rainbow Girls.\u003c/p>\n\u003cp>Still funded by the Hellman Foundation more than a decade after its founder’s death, the festival remains free to attendees, and has never taken on corporate sponsors, making it a cherished anomaly in the current music festival landscape.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Visit the festival’s website\u003c/a> for more information and lineup announcements beginning next week.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Sept. 7, 2022: \u003c/strong>A new round of artists has been announced as part of the lineup for this year’s Hardly Strictly Bluegrass festival, set to take place Sept. 30 through Oct. 2. Acts include Elvis Costello, Steve Earle & the Dukes, The Travelin’ McCourys, Bob Schneider, Moonalice, Cymande, Arooj Aftab, Cedric Watson, Alison Brown and Jim Lauderdale.\u003c/p>\n\u003cp>Steve Earle is scheduled to host a tribute to longtime festival regulars who have died over the past few years, like John Prine, Justin Townes Earle and Nancy Bechtle.\u003c/p>\n\u003cp>And Elvis Costello has added a night show: “Elvis Sings Hunter-Garcia,” a tribute to the Grateful Dead’s Robert Hunter and Jerry Garcia, is set for Sept. 30 at the Great American Music Hall, with two shows at 7 and 10pm. The evening is a benefit for the nonprofit Prader-Willi Homes of California, which funds residential facilities for people with developmental disabilities. \u003ca href=\"https://gamh.com/shows-elvis-costello-sings-hunter-garcia/\">Tickets and more info here\u003c/a>.\u003c/p>\n\u003cp>Organizers say the full festival lineup will be announced Sept. 13. Check out the lineup (so far) on the \u003ca href=\"https://www.hardlystrictlybluegrass.com/\">HSB website here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Update, Aug. 10, 2022: \u003c/strong>Festival organizers have rolled out a second installment of the lineup for this year’s Hardly Strictly Bluegrass, and it’s a good one, with a strong local showing. Artists added to the slate include festival veteran Emmylou Harris, Talking Heads’ Jerry Harrison & Adrian Belew performing songs from “Remain In Light,” Sacramento’s Tré Burt, San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13817300/the-10-best-bay-area-albums-of-2017-meklit-when-the-people-move-the-music-moves-too\">Meklit\u003c/a>, Petaluma-born \u003ca href=\"https://www.kqed.org/arts/13838086/the-brothers-comatoses-trade-deal-with-china-bluegrass\">the Brothers Comatose\u003c/a>, Seratones, the Tallest Man On Earth, \u003ca href=\"https://www.npr.org/sections/now-playing/2022/02/22/1082325550/jake-blount-the-man-was-burning\">Jake Blount\u003c/a>, Sarah Shook & the Disarmers and Antibalas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Playing Hardly Strictly for the first time ever this year feels a bit like coming home,” Tré Burt told organizers. “I used to sneak in and play for as long as I could on the footpaths before eventually being kicked out by security back in the day, so it feels great to actually be invited onto the stage!”\u003c/p>\n\u003cp>Expect at least one or two more lineup announcements in the coming weeks, teased on the \u003ca href=\"https://www.hardlystrictlybluegrass.com/headline/hsb22-artist-medley-1/\">festival’s website here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Update, July 27, 2022:\u003c/strong> Hardly Strictly Bluegrass organizers have released \u003ca href=\"https://www.hardlystrictlybluegrass.com/headline/hsb22-artist-medley-1/\">an initial lineup\u003c/a> for this year’s festival. Artists slated to perform include Marcus Mumford, Allison Russell, Las Cafeteras, Lucius, Galactic, AJ Lee & Blue Summit, Joy Oladokun, Charley Crockett, Buddy Miller and Dashawn Hickman. Further lineup announcements are expected in the coming weeks, teased \u003ca href=\"https://www.hardlystrictlybluegrass.com/headline/hsb22-artist-medley-1/\" target=\"_blank\" rel=\"noopener noreferrer\">via song medleys on the festival’s website\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original story, July 21, 2022:\u003c/strong>\u003c/p>\n\u003cp>Hardly Strictly Bluegrass, the free music festival, \u003ca href=\"https://www.hardlystrictlybluegrass.com/\">is scheduled to return in-person\u003c/a> to Golden Gate Park this year for the first time since 2019. The festival will run Sept. 30 through Oct. 2.\u003c/p>\n\u003cp>The lineup of performers at this year’s Hardly Strictly festival has yet to be announced, with organizers planning to roll out artist announcements—via hint-filled song medleys—beginning July 26.\u003c/p>\n\u003cp>The all-ages festival was founded in 2001 by the late venture capitalist and bluegrass fan Warren Hellman, and has become a beginning-of-fall \u003ca href=\"https://www.kqed.org/arts/13810342/where-have-all-the-warren-hellmans-gone\" target=\"_blank\" rel=\"noopener noreferrer\">tradition for a generation of San Franciscans\u003c/a> ever since. In pre-pandemic years, the fest reliably drew more than half a million people to Golden Gate Park for performances by folk and bluegrass icons like Emmylou Harris, John Prine, Steve Earle and Mavis Staples.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The 2020 and 2021 Hardly Strictly festivals were held virtually online due to COVID, with livestreams of performances by the likes of Bonnie Raitt, Boz Scaggs, Chuck Prophet, Fantastic Negrito and Rainbow Girls.\u003c/p>\n\u003cp>Still funded by the Hellman Foundation more than a decade after its founder’s death, the festival remains free to attendees, and has never taken on corporate sponsors, making it a cherished anomaly in the current music festival landscape.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Visit the festival’s website\u003c/a> for more information and lineup announcements beginning next week.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1894, Golden Gate Park’s Midwinter Fair was the talk of the town. Featuring fairground rides, museums, an ostrich farm and \u003ca href=\"https://www.kqed.org/arts/13909983/victorian-attractions-san-francisco-chutes-gravity-railroad-woodwards-gardens-bonet-tower-auditorium-skating\" target=\"_blank\" rel=\"noopener noreferrer\">the closest thing San Francisco ever got to an Eiffel Tower\u003c/a>, the fair was a raging success with over two million visitors. There was just one element of the five-month exposition, however, that got visitors flustered and flabbergasted: the Gum Girls.\u003c/p>\n\u003cp>Hired to peddle chewing gum to the fair’s male clientele, the Gum Girls wore matching outfits, traveled in pairs, and were in the habit of whistling “Two Little Girls in Blue” any time they made a sale. Which was often. Chewing gum had only recently been transformed from its chicle-based roots into something fun and fruity. (The first fruit-flavored gum, Kis-Me, hit markets in 1886; Wrigley introduced Juicy Fruit just one year before the fair.) The song, penned by Charles Graham in 1893, became a near-constant refrain at the fair—particularly on the Midway, where the Gum Girls did most of their business.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3M0-o7m4Uhg\u003c/p>\n\u003cp>As quaint as this all sounds, the Gum Girls were controversial figures from the very first day of the Midwinter Fair. For one, they flirted shamelessly with their male customers, largely motivated by the fact that they were working on commission. More scandalous still, they wore calf-length pleated skirts that exposed their ankles. That they also wore thick black stockings—meaning there was no bare flesh on display—did not quell the hullaballoo surrounding their revealing (by Victorian standards) attire.\u003c/p>\n\u003cp>[aside postid='arts_13894842']One \u003cem>San Francisco Examiner\u003c/em> reporter could barely conceal his ire while writing about the Gum Girls in April 1894. He did his best to denigrate the young women, implying they lacked grace and class.\u003c/p>\n\u003cblockquote>\u003cp>The prevailing type of gum girl ranges in age from 25 to 40. Most of them are stout, with faces creased from experience. None of them are refined, of course … They never wear gloves, but their hands are protected from the wind by quantities of rings. From their necks boxes of gum are strung by means of a strap. The boxes are always open and the gum girl is always patronizing her own wares. With wagging jaws and a stereotyped smile she gazes at each passer-by and invites almost every man to purchase.\u003c/p>\u003c/blockquote>\n\u003cp>The report continued disdainfully:\u003c/p>\n\u003cblockquote>\u003cp>Everybody calls the gum girls by their first names. To say ‘Mrs’ or ‘Miss’ would seem very inappropriate and if you don’t know their given names and say Mamie or Lizzie at a venture you are almost certain to strike it right. Old patrons ask the gum girls how their children or grandchildren are, and these attempts at wit invariably bring out a flood of choice slang.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13912675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912675\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/opensfhistory_wnp15.145-1-800x624.jpg\" alt=\"Two young women stand close together, the taller with her arm around the shorter. They wear matching uniforms of calve-length skirts, formal jackets, white shirts and ties, and petite caps.\" width=\"800\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/opensfhistory_wnp15.145-1-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/opensfhistory_wnp15.145-1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/opensfhistory_wnp15.145-1-768x599.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/opensfhistory_wnp15.145-1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A pair of Gum Girls in front of the Walter Baker Cocoa Building. \u003ccite>(OpenSFHistory / wnp15.145)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because the Gum Girls were routinely subjected to such disparagement, they found themselves on the receiving end of both verbal abuse and unwanted advances by men at the fair. (This was the primary reason they worked in pairs.) An incident on May 5, 1894, however, sent a loud and clear message to potential harassers all over the city.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gum Girl Violet Eilids was conducting a transaction one day, when the male customer reached over her gum box and started to “toy familiarly” with her necktie. Most displeased by the violation of her personal space, Eilids responded by punching the letch square in the face.\u003c/p>\n\u003cp>The next day, the \u003cem>San Francisco Chronicle\u003c/em> reported:\u003c/p>\n\u003cblockquote>\u003cp>Miss Violet Eilids, a late addition to the rank and file of the gum brigade, knows how to handle her fists in a scientific manner … Doubling up her right, the girl planted a stiff, straight arm punch on the nose of her tormenter. He landed on his back among the [souvenir medal] machines, and now his nose is not as pretty as it used to be. The Gum Girl, who says she has taken boxing lessons from her brother, is now recognized as the champion of the brigade, which is thinking of taking an immediate course in the manly art as a means of self-protection.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13912679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912679\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/opensfhistory_wnp15.146-800x630.jpg\" alt=\"\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/opensfhistory_wnp15.146-800x630.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/opensfhistory_wnp15.146-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/opensfhistory_wnp15.146-768x605.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/opensfhistory_wnp15.146.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gum Girls’ headquarters in Golden Gate Park, during the 1894 Midwinter Fair. \u003ccite>(OpenSFHistory / wnp15.146)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_13902628']The incident added to the Gum Girls’ infamy, but these thoroughly modern women continued their mission to keep visitors chewing right up to the end of the fair. For some, their boldness paid off with subsequent modeling and acting jobs.\u003c/p>\n\u003cp>One Gum Girl named Marion Nolan—said by the \u003cem>San Francisco Examiner\u003c/em> to be “the prettiest of the lot”—won a competition to be the face and body of a marble statue by sculptor Rupert Schmid. Nolan went on to marry a millionaire from Mexico City, became a San Francisco socialite, but was tragically \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=SFC19021021.2.9&e=-------en--20--1--txt-txIN--------\">gunned down by a stalker in 1902\u003c/a>. After Edward Marshuts had murdered Nolan in front of scores of witnesses on O’Farrell Street, he turned the gun on himself. Nolan’s likeness, however, lives on to this day in Schmid’s \u003ca href=\"http://collections.museumca.org/?q=collection-item/a53409\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>California Venus\u003c/i> statue\u003c/a>, on display at the Oakland Museum of California.\u003c/p>\n\u003cp>It would take 20 years after the Midwinter Fair for ankle-revealing skirts to hit the fashion mainstream. It also took that long for women who chewed gum in public to be seen as bold and independent, rather than simply unladylike. But for decades after they first strutted the paths of the Midwinter Fair, the Gum Girls’ reputations for being “bad girls” persisted by all who remembered them. Take, for example, this Dick Tracy newspaper cartoon from 1941.\u003c/p>\n\u003cfigure id=\"attachment_13912766\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Dick-Tracy-Salt-Lake-Tribune-Oct-26-1941-800x264.png\" alt=\"\" width=\"800\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Dick-Tracy-Salt-Lake-Tribune-Oct-26-1941-800x264.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Dick-Tracy-Salt-Lake-Tribune-Oct-26-1941-1020x336.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Dick-Tracy-Salt-Lake-Tribune-Oct-26-1941-160x53.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Dick-Tracy-Salt-Lake-Tribune-Oct-26-1941-768x253.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Dick-Tracy-Salt-Lake-Tribune-Oct-26-1941-1536x506.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Dick-Tracy-Salt-Lake-Tribune-Oct-26-1941-2048x675.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Dick-Tracy-Salt-Lake-Tribune-Oct-26-1941-1920x633.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dick Tracy suspects a Gum Girl of criminal activity in a cartoon strip from Oct. 1941, published by the ‘Salt Lake Tribune.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Today, it’s easier to see the Gum Girls for what they really were: women bucking expectations and making their own money on their own terms. Most of all? They were simply ahead of their time.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1894, Golden Gate Park’s Midwinter Fair was the talk of the town. Featuring fairground rides, museums, an ostrich farm and \u003ca href=\"https://www.kqed.org/arts/13909983/victorian-attractions-san-francisco-chutes-gravity-railroad-woodwards-gardens-bonet-tower-auditorium-skating\" target=\"_blank\" rel=\"noopener noreferrer\">the closest thing San Francisco ever got to an Eiffel Tower\u003c/a>, the fair was a raging success with over two million visitors. There was just one element of the five-month exposition, however, that got visitors flustered and flabbergasted: the Gum Girls.\u003c/p>\n\u003cp>Hired to peddle chewing gum to the fair’s male clientele, the Gum Girls wore matching outfits, traveled in pairs, and were in the habit of whistling “Two Little Girls in Blue” any time they made a sale. Which was often. Chewing gum had only recently been transformed from its chicle-based roots into something fun and fruity. (The first fruit-flavored gum, Kis-Me, hit markets in 1886; Wrigley introduced Juicy Fruit just one year before the fair.) The song, penned by Charles Graham in 1893, became a near-constant refrain at the fair—particularly on the Midway, where the Gum Girls did most of their business.\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/3M0-o7m4Uhg'\n title='//www.youtube.com/embed/3M0-o7m4Uhg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As quaint as this all sounds, the Gum Girls were controversial figures from the very first day of the Midwinter Fair. For one, they flirted shamelessly with their male customers, largely motivated by the fact that they were working on commission. More scandalous still, they wore calf-length pleated skirts that exposed their ankles. That they also wore thick black stockings—meaning there was no bare flesh on display—did not quell the hullaballoo surrounding their revealing (by Victorian standards) attire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One \u003cem>San Francisco Examiner\u003c/em> reporter could barely conceal his ire while writing about the Gum Girls in April 1894. He did his best to denigrate the young women, implying they lacked grace and class.\u003c/p>\n\u003cblockquote>\u003cp>The prevailing type of gum girl ranges in age from 25 to 40. Most of them are stout, with faces creased from experience. None of them are refined, of course … They never wear gloves, but their hands are protected from the wind by quantities of rings. From their necks boxes of gum are strung by means of a strap. The boxes are always open and the gum girl is always patronizing her own wares. With wagging jaws and a stereotyped smile she gazes at each passer-by and invites almost every man to purchase.\u003c/p>\u003c/blockquote>\n\u003cp>The report continued disdainfully:\u003c/p>\n\u003cblockquote>\u003cp>Everybody calls the gum girls by their first names. To say ‘Mrs’ or ‘Miss’ would seem very inappropriate and if you don’t know their given names and say Mamie or Lizzie at a venture you are almost certain to strike it right. Old patrons ask the gum girls how their children or grandchildren are, and these attempts at wit invariably bring out a flood of choice slang.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13912675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912675\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/opensfhistory_wnp15.145-1-800x624.jpg\" alt=\"Two young women stand close together, the taller with her arm around the shorter. They wear matching uniforms of calve-length skirts, formal jackets, white shirts and ties, and petite caps.\" width=\"800\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/opensfhistory_wnp15.145-1-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/opensfhistory_wnp15.145-1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/opensfhistory_wnp15.145-1-768x599.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/opensfhistory_wnp15.145-1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A pair of Gum Girls in front of the Walter Baker Cocoa Building. \u003ccite>(OpenSFHistory / wnp15.145)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because the Gum Girls were routinely subjected to such disparagement, they found themselves on the receiving end of both verbal abuse and unwanted advances by men at the fair. (This was the primary reason they worked in pairs.) An incident on May 5, 1894, however, sent a loud and clear message to potential harassers all over the city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gum Girl Violet Eilids was conducting a transaction one day, when the male customer reached over her gum box and started to “toy familiarly” with her necktie. Most displeased by the violation of her personal space, Eilids responded by punching the letch square in the face.\u003c/p>\n\u003cp>The next day, the \u003cem>San Francisco Chronicle\u003c/em> reported:\u003c/p>\n\u003cblockquote>\u003cp>Miss Violet Eilids, a late addition to the rank and file of the gum brigade, knows how to handle her fists in a scientific manner … Doubling up her right, the girl planted a stiff, straight arm punch on the nose of her tormenter. He landed on his back among the [souvenir medal] machines, and now his nose is not as pretty as it used to be. The Gum Girl, who says she has taken boxing lessons from her brother, is now recognized as the champion of the brigade, which is thinking of taking an immediate course in the manly art as a means of self-protection.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13912679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912679\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/opensfhistory_wnp15.146-800x630.jpg\" alt=\"\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/opensfhistory_wnp15.146-800x630.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/opensfhistory_wnp15.146-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/opensfhistory_wnp15.146-768x605.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/opensfhistory_wnp15.146.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gum Girls’ headquarters in Golden Gate Park, during the 1894 Midwinter Fair. \u003ccite>(OpenSFHistory / wnp15.146)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The incident added to the Gum Girls’ infamy, but these thoroughly modern women continued their mission to keep visitors chewing right up to the end of the fair. For some, their boldness paid off with subsequent modeling and acting jobs.\u003c/p>\n\u003cp>One Gum Girl named Marion Nolan—said by the \u003cem>San Francisco Examiner\u003c/em> to be “the prettiest of the lot”—won a competition to be the face and body of a marble statue by sculptor Rupert Schmid. Nolan went on to marry a millionaire from Mexico City, became a San Francisco socialite, but was tragically \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=SFC19021021.2.9&e=-------en--20--1--txt-txIN--------\">gunned down by a stalker in 1902\u003c/a>. After Edward Marshuts had murdered Nolan in front of scores of witnesses on O’Farrell Street, he turned the gun on himself. Nolan’s likeness, however, lives on to this day in Schmid’s \u003ca href=\"http://collections.museumca.org/?q=collection-item/a53409\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>California Venus\u003c/i> statue\u003c/a>, on display at the Oakland Museum of California.\u003c/p>\n\u003cp>It would take 20 years after the Midwinter Fair for ankle-revealing skirts to hit the fashion mainstream. It also took that long for women who chewed gum in public to be seen as bold and independent, rather than simply unladylike. But for decades after they first strutted the paths of the Midwinter Fair, the Gum Girls’ reputations for being “bad girls” persisted by all who remembered them. Take, for example, this Dick Tracy newspaper cartoon from 1941.\u003c/p>\n\u003cfigure id=\"attachment_13912766\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Dick-Tracy-Salt-Lake-Tribune-Oct-26-1941-800x264.png\" alt=\"\" width=\"800\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Dick-Tracy-Salt-Lake-Tribune-Oct-26-1941-800x264.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Dick-Tracy-Salt-Lake-Tribune-Oct-26-1941-1020x336.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Dick-Tracy-Salt-Lake-Tribune-Oct-26-1941-160x53.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Dick-Tracy-Salt-Lake-Tribune-Oct-26-1941-768x253.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Dick-Tracy-Salt-Lake-Tribune-Oct-26-1941-1536x506.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Dick-Tracy-Salt-Lake-Tribune-Oct-26-1941-2048x675.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Dick-Tracy-Salt-Lake-Tribune-Oct-26-1941-1920x633.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dick Tracy suspects a Gum Girl of criminal activity in a cartoon strip from Oct. 1941, published by the ‘Salt Lake Tribune.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Today, it’s easier to see the Gum Girls for what they really were: women bucking expectations and making their own money on their own terms. Most of all? They were simply ahead of their time.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>During today’s Board of Supervisors meeting on whether or not to allow cars on John F. Kennedy Drive in Golden Gate Park, one of those wonderful, dammit-I-love-the-internet things happened: a San Francisco musician sang a song at the speaker’s podium. \u003c/p>\n\u003cp>https://twitter.com/CommunitySpace_/status/1519042375565279232\u003c/p>\n\u003cp>John Elliott premiered his brief, catchy song “on behalf of the dwindling community of musicians in San Francisco, and the 50% of San Franciscans who rent their homes and do not own a car,” finishing his triumphant coda just as the speaker’s allotted one-minute chime sounded. \u003c/p>\n\u003cp>(KQED readers may remember Elliott from his \u003ca href=\"https://www.kqed.org/arts/13906513/all-too-well-parody-jake-gyllenhaal-taylor-swift-john-elliott-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">Taylor Swift/Jake Gyllenhaal parody, “All Too Well (Jake’s Version).”\u003c/a>)\u003c/p>\n\u003cp>JFK Drive, which became car-free during the pandemic, has been at the center of strong debate over its planned return to vehicular traffic. As least now we know how one District 1 resident feels—and his \u003ca href=\"https://twitter.com/CommunitySpace_/status/1519042375565279232\" rel=\"noopener noreferrer\" target=\"_blank\">short, simple anthem\u003c/a> for all who want to keep JFK Drive car-free.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>John Elliott premiered his brief, catchy song “on behalf of the dwindling community of musicians in San Francisco, and the 50% of San Franciscans who rent their homes and do not own a car,” finishing his triumphant coda just as the speaker’s allotted one-minute chime sounded. \u003c/p>\n\u003cp>(KQED readers may remember Elliott from his \u003ca href=\"https://www.kqed.org/arts/13906513/all-too-well-parody-jake-gyllenhaal-taylor-swift-john-elliott-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">Taylor Swift/Jake Gyllenhaal parody, “All Too Well (Jake’s Version).”\u003c/a>)\u003c/p>\n\u003cp>JFK Drive, which became car-free during the pandemic, has been at the center of strong debate over its planned return to vehicular traffic. As least now we know how one District 1 resident feels—and his \u003ca href=\"https://twitter.com/CommunitySpace_/status/1519042375565279232\" rel=\"noopener noreferrer\" target=\"_blank\">short, simple anthem\u003c/a> for all who want to keep JFK Drive car-free.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "This Juneteenth, Sculptures Honoring African Ancestors Arrive in Golden Gate Park",
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"content": "\u003cp>If everything goes as planned, come June 19, Oakland artist and \u003ca href=\"https://www.seeblackwomxn.com/\" rel=\"noopener noreferrer\" target=\"_blank\">See Black Womxn\u003c/a> co-founder \u003ca href=\"https://danakingart.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Dana King\u003c/a> will unveil a 350-piece art installation in Golden Gate Park’s Music Concourse. Sponsored by the Museum of the African Diaspora and the San Francisco African American Chamber of Commerce, \u003ci>\u003ca href=\"https://www.monumentalreckoning.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Monumental Reckoning\u003c/a>\u003c/i> will surround the site of the toppled Francis Scott Key statue, and remain in place for two years.\u003c/p>\n\u003cp>King is currently working to complete the installation for its Juneteenth unveiling, fashioning four-foot-tall sculptures from steel and vinyl that represent the 350 African ancestors who were abducted and forcibly taken to the United States as the country’s first enslaved people. \u003c/p>\n\u003cp>“I really see that people acknowledge the need for a piece that speaks truth to the story of African descendants and brings their memories out into the public,” King says.\u003c/p>\n\u003cp>[aside postID='news_11826151']The Key statue was removed from the park after \u003ca href=\"https://www.kqed.org/news/11826151/how-do-we-heal-toppling-the-myth-of-junipero-serra\" rel=\"noopener noreferrer\" target=\"_blank\">protesters pulled it down\u003c/a> last Juneteenth, along with statues of Father Junípero Serra and Ulysses S. Grant. In addition to penning the poem that became the national anthem, Key was a slaveholder who opposed abolition.\u003c/p>\n\u003cp>Along with King’s installation, the phrase “Lift Every Voice” will shine on top of the Spreckels Temple of Music. The phrase comes from James Weldon Johnson’s poem \u003cem>Lift Every Voice and Sing\u003c/em>, which has been known as “The Black National Anthem” for over a century. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ben Davis, CEO of the nonprofit organization Illuminate, says the decision to use this phrase fell into place because it directly opposes Key’s legacy as the author of “The Star-Spangled Banner.”\u003c/p>\n\u003cp>“We found it interesting that we could be celebrating the Black national anthem at one end of the music concourse, while there was this vacated monument to the national anthem at the other end,” Davis reflects.\u003c/p>\n\u003cp>https://vimeo.com/533256187\u003c/p>\n\u003cp>The \u003ci>Monumental Reckoning\u003c/i> project has received support from a number of Black women leaders, including Mayor London Breed and former Black Panther member, Fredrika Newton. \u003c/p>\n\u003cp>King has relied on neighbors and other artists to help finish the hundreds of sculptures by June. She says she has to complete around 80 sculptures a week to stay on schedule. Illuminate launched a \u003ca href=\"https://charity.gofundme.com/o/en/campaign/monumental-reckoning\">GoFundMe\u003c/a> on May 1 to help fund the installation, aiming to raise $350,000.[aside postID='arts_13889089'] \u003c/p>\n\u003cp>“I’m actually a little overwhelmed at the approval and the ease of this process,” King says. “It reinforces my faith in humankind because I do believe that we are much better than we are. It really is proof of a shift, of a reckoning.” \u003c/p>\n\u003cp>The project will still need to be approved by San Francisco’s planning commission and the historical preservation committee early next month. It’s expected to be exhibited through June of 2023.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Art is an integral answer to the struggle, because if one aspect is missing, then it’s not a hundred percent,” King emphasizes. “We all have to work in the arenas that we do and continue to fight for equity and justice.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If everything goes as planned, come June 19, Oakland artist and \u003ca href=\"https://www.seeblackwomxn.com/\" rel=\"noopener noreferrer\" target=\"_blank\">See Black Womxn\u003c/a> co-founder \u003ca href=\"https://danakingart.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Dana King\u003c/a> will unveil a 350-piece art installation in Golden Gate Park’s Music Concourse. Sponsored by the Museum of the African Diaspora and the San Francisco African American Chamber of Commerce, \u003ci>\u003ca href=\"https://www.monumentalreckoning.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Monumental Reckoning\u003c/a>\u003c/i> will surround the site of the toppled Francis Scott Key statue, and remain in place for two years.\u003c/p>\n\u003cp>King is currently working to complete the installation for its Juneteenth unveiling, fashioning four-foot-tall sculptures from steel and vinyl that represent the 350 African ancestors who were abducted and forcibly taken to the United States as the country’s first enslaved people. \u003c/p>\n\u003cp>“I really see that people acknowledge the need for a piece that speaks truth to the story of African descendants and brings their memories out into the public,” King says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Key statue was removed from the park after \u003ca href=\"https://www.kqed.org/news/11826151/how-do-we-heal-toppling-the-myth-of-junipero-serra\" rel=\"noopener noreferrer\" target=\"_blank\">protesters pulled it down\u003c/a> last Juneteenth, along with statues of Father Junípero Serra and Ulysses S. Grant. In addition to penning the poem that became the national anthem, Key was a slaveholder who opposed abolition.\u003c/p>\n\u003cp>Along with King’s installation, the phrase “Lift Every Voice” will shine on top of the Spreckels Temple of Music. The phrase comes from James Weldon Johnson’s poem \u003cem>Lift Every Voice and Sing\u003c/em>, which has been known as “The Black National Anthem” for over a century. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ben Davis, CEO of the nonprofit organization Illuminate, says the decision to use this phrase fell into place because it directly opposes Key’s legacy as the author of “The Star-Spangled Banner.”\u003c/p>\n\u003cp>“We found it interesting that we could be celebrating the Black national anthem at one end of the music concourse, while there was this vacated monument to the national anthem at the other end,” Davis reflects.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ci>Monumental Reckoning\u003c/i> project has received support from a number of Black women leaders, including Mayor London Breed and former Black Panther member, Fredrika Newton. \u003c/p>\n\u003cp>King has relied on neighbors and other artists to help finish the hundreds of sculptures by June. She says she has to complete around 80 sculptures a week to stay on schedule. Illuminate launched a \u003ca href=\"https://charity.gofundme.com/o/en/campaign/monumental-reckoning\">GoFundMe\u003c/a> on May 1 to help fund the installation, aiming to raise $350,000.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>“I’m actually a little overwhelmed at the approval and the ease of this process,” King says. “It reinforces my faith in humankind because I do believe that we are much better than we are. It really is proof of a shift, of a reckoning.” \u003c/p>\n\u003cp>The project will still need to be approved by San Francisco’s planning commission and the historical preservation committee early next month. It’s expected to be exhibited through June of 2023.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Art is an integral answer to the struggle, because if one aspect is missing, then it’s not a hundred percent,” King emphasizes. “We all have to work in the arenas that we do and continue to fight for equity and justice.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Happy 150th! A Brief History of Golden Gate Park in the Movies",
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"content": "\u003cp>Iconic San Francisco landscapes have long been used to enhance scenes on the silver screen. What would \u003cem>Bullitt\u003c/em> be without Steve McQueen careering \u003ca href=\"https://www.youtube.com/watch?v=FJZ-BHBKyos\" target=\"_blank\" rel=\"noopener noreferrer\">up and down the city’s distinctive hills\u003c/a> in his ’68 Mustang? Or \u003cem>Vertigo\u003c/em> without Kim Novak’s \u003ca href=\"https://www.youtube.com/watch?v=B8cWjLMuJgo\" target=\"_blank\" rel=\"noopener noreferrer\">dramatic plunge\u003c/a> into the Bay beneath the Golden Gate Bridge? And how could \u003cem>The Rock\u003c/em> exist without an \u003ca href=\"https://www.youtube.com/watch?v=aEt1ePZGHTY\" target=\"_blank\" rel=\"noopener noreferrer\">exploding Alcatraz\u003c/a>?\u003c/p>\n\u003cp>In its 150 years, Golden Gate Park has played host to its fair share of memorable cinematic moments, starting all the way back in 1915 with Charlie Chaplin’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0005571/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">A Jitney Elopement\u003c/a>\u003c/em>. The silent film gave us the first ever San Francisco movie car chase, and it happened directly in front of the Murphy Windmill that stands at the western edge of the park to this day. After an old-timey sideshow, Chaplin speeds off up a dirt road that would later become the Great Highway.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IiTaPSlFUdE\u003c/p>\n\u003cp>That same year, the 13-minute Roscoe “Fatty” Arbuckle caper \u003ca href=\"https://www.imdb.com/title/tt0006296/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Wished on Mabel\u003c/em>\u003c/a> took a tour of some of the most romantic locations in the park: the Conservatory of Flowers, Stow Lake Bridge, Strawberry Hill’s waterfall and, finally, the stone path around Stow Lake, where Fatty and Mabel share a smooch.\u003c/p>\n\u003cfigure id=\"attachment_13876023\" class=\"wp-caption aligncenter\" style=\"max-width: 424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876023\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n.jpg\" alt=\"Roscoe "Fatty" Arbuckle and Mabel Normand at Stow Lake in 'Wished on Mabel,' 1915; the stepping stone path today.\" width=\"424\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n.jpg 424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n-160x362.jpg 160w\" sizes=\"(max-width: 424px) 100vw, 424px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe “Fatty” Arbuckle and Mabel Normand at Stow Lake in ‘Wished on Mabel,’ 1915; the stepping stone path today. \u003ccite>(Screenshots and photo courtesy of Tim Welsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No movie has better utilized Golden Gate Park as a romantic prop though, than \u003ca href=\"https://www.imdb.com/title/tt0209475/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Wedding Planner\u003c/em>\u003c/a>. In it, Mary (Jennifer Lopez) and Steve (Matthew McConaughey) first fall for each other at a movie night at the park’s Music Concourse. (There’s a dance routine, a Ferris wheel and a rainstorm involved, naturally.) Later in the movie, when Steve attempts to comfort a crying Mary, he does so by saying, “D’you ever think about that night in the park? I do. All the time.” The couple return to the scene of their initial flirtations for the film’s finale.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 2001 rom-com also manages to include the single most popular movie location in all of Golden Gate Park—the Japanese Tea Gardens. In \u003cem>The Wedding Planner\u003c/em>, it’s where Steve breaks up with his fiancée after realizing that Mary is The One, but the picturesque spot in the park’s northeast corner has also found its way into \u003ca href=\"https://www.youtube.com/watch?v=MyzSuy1v6DM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Memoirs of a Geisha\u003c/em>\u003c/a> (2005), \u003ca href=\"https://www.youtube.com/watch?v=MS9Fe-ebUaA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Petulia\u003c/em>\u003c/a> (1968) and noir-thrillers, \u003ca href=\"https://www.youtube.com/watch?v=bG8xNHpstUA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Portrait in Black\u003c/em>\u003c/a> (1960) and \u003ca href=\"https://www.imdb.com/title/tt0113451/locations#filming_locations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jade\u003c/em>\u003c/a> (1995).\u003c/p>\n\u003cfigure id=\"attachment_13876038\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876038\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/tea-gardens-800x800.jpg\" alt=\"Scenes from Golden Gate Park's Japanese Tea Garden in (above) 'Portrait in Black' (1960) and (below) 'Memoirs of a Geisha' (2005).\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scenes from Golden Gate Park’s Japanese Tea Garden in (above) ‘Portrait in Black’ (1960) and (below) ‘Memoirs of a Geisha’ (2005). \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of noir, 1958’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0051866/?ref_=fn_al_tt_4\" target=\"_blank\" rel=\"noopener noreferrer\">The Lineup\u003c/a>\u003c/em>—about heroin smugglers trying to retrieve packages from unsuspecting tourists—features the park’s Steinhart Aquarium (inside the California Academy of Sciences) as a murky backdrop to one such encounter. It’s possible that director Don Siegel took a cue from Orson Welles’ brooding \u003ca href=\"https://www.imdb.com/title/tt0040525/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Lady From Shanghai\u003c/em>\u003c/a> (1947), in which Michael (played by Welles) uses the aquarium to meet his secret lover Elsa (Rita Hayworth). [aside postid='arts_13878883']\u003c/p>\n\u003cp>The scene is memorably foreboding, not just because Welles and Hayworth were on the verge of real-life divorce at the time, but also because they’re surrounded by ominous-looking sea creatures, enlarged and distorted in the tanks behind them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nSvY8KcES5E\u003c/p>\n\u003cp>In happier representations, Golden Gate Park is often the backdrop to new romance. Just as the Music Concourse marked the beginning of Steve and Mary’s relationship in \u003cem>The Wedding Planner\u003c/em>, it’s one of the first places we see Sasha (Ali Wong) and Marcus (Randall Park) as a couple in \u003ca href=\"https://www.netflix.com/title/80202874\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Always Be My Maybe\u003c/em>\u003c/a>. (They also visit the de Young.) Additionally, in 1972’s \u003ca href=\"https://www.imdb.com/title/tt0069097/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Play it Again, Sam\u003c/em>\u003c/a>, Allan (Woody Allen) and Linda (Diane Keaton) make dinner plans on the Music Concourse’s green benches, a date that transforms their relationship from platonic to passionate.\u003c/p>\n\u003cp>Woody Allen gravitated towards Golden Gate Park as a romantic location on more than one occasion. For his first movie, 1969’s \u003ca href=\"https://www.imdb.com/title/tt0065063/?ref_=ttfc_fc_tt\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Take The Money and Run\u003c/em>\u003c/a>, his character Virgil, a petty thief, favors the park as a location to \u003ca href=\"https://www.youtube.com/watch?v=XSKOGevWNqc\" target=\"_blank\" rel=\"noopener noreferrer\">steal women’s purses\u003c/a>. After he attempts to snatch a bag from Louise (Janet Margolin), romance blossoms. (This is a Woody Allen film, after all…)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sexnKfuSHcg\u003c/p>\n\u003cp>Not that Golden Gate Park is a stranger to action. In \u003cem>Dirty Harry\u003c/em>, Clint Eastwood takes down a deranged serial killer inside the park’s 10,000-seater \u003ca href=\"https://www.youtube.com/watch?v=-GvNc24yQZA\" target=\"_blank\" rel=\"noopener noreferrer\">Kezar Stadium\u003c/a>. And in 1952’s \u003cem>Scaramouche\u003c/em>, Andre Moreau (played by Stewart Granger) is seen riding around the park on horseback, as he seeks vengeance against the swordsman who killed his friend.\u003c/p>\n\u003cfigure id=\"attachment_13876027\" class=\"wp-caption aligncenter\" style=\"max-width: 627px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n.jpg\" alt=\"Stewart Granger under the Stow Lake bridge in 'Scaramouche' (1952), and the bridge today.\" width=\"627\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n-160x245.jpg 160w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Granger under the Stow Lake bridge in ‘Scaramouche’ (1952), and the bridge today. \u003ccite>(Screenshots and photo courtesy of Tim Welsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The park was used in several \u003cem>Scaramouche\u003c/em> scenes despite the film’s setting of 18th-century France. In \u003ci>Memoirs of a Geisha\u003c/i>, the Tea Garden stood in for a school in 1930s Japan. Conversely, not all movies purporting to be in Golden Gate Park are actually filmed there. In Mel Brooks’ 1972 spoof, \u003cem>High Anxiety\u003c/em>, his famous \u003ca href=\"https://www.youtube.com/watch?v=e5-HNt_kupk\" target=\"_blank\" rel=\"noopener noreferrer\">parody of \u003cem>The Birds\u003c/em>\u003c/a> occurs directly after he claims to be “in the Golden Gate Park… at the north by northwest corner.” Brooks was, in fact, \u003ca href=\"https://www.movie-locations.com/movies/h/High-Anxiety.php\" target=\"_blank\" rel=\"noopener noreferrer\">in Pasadena\u003c/a>.\u003c/p>\n\u003cp>Golden Gate Park is so expansive, and its environments so varied, that movies of nearly every genre have found their backdrops within it for over 100 years. And though we’ve yet to see a sci-fi flick filmed there, perhaps \u003cem>The Matrix 4\u003c/em> and \u003cem>Venom 2—\u003c/em>both recently spotted filming on location around the city—will change that. (After all, Netflix sci-fi series \u003cem>Sense8\u003c/em> has scenes in the Japanese Tea Garden and Music Concourse.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy 150th, Golden Gate Park! Here’s to another century of movie magic.\u003c/p>\n\n",
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"excerpt": "Charlie Chaplin car chases, Jennifer Lopez romances—these are the most iconic scenes filmed in Golden Gate Park.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Iconic San Francisco landscapes have long been used to enhance scenes on the silver screen. What would \u003cem>Bullitt\u003c/em> be without Steve McQueen careering \u003ca href=\"https://www.youtube.com/watch?v=FJZ-BHBKyos\" target=\"_blank\" rel=\"noopener noreferrer\">up and down the city’s distinctive hills\u003c/a> in his ’68 Mustang? Or \u003cem>Vertigo\u003c/em> without Kim Novak’s \u003ca href=\"https://www.youtube.com/watch?v=B8cWjLMuJgo\" target=\"_blank\" rel=\"noopener noreferrer\">dramatic plunge\u003c/a> into the Bay beneath the Golden Gate Bridge? And how could \u003cem>The Rock\u003c/em> exist without an \u003ca href=\"https://www.youtube.com/watch?v=aEt1ePZGHTY\" target=\"_blank\" rel=\"noopener noreferrer\">exploding Alcatraz\u003c/a>?\u003c/p>\n\u003cp>In its 150 years, Golden Gate Park has played host to its fair share of memorable cinematic moments, starting all the way back in 1915 with Charlie Chaplin’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0005571/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">A Jitney Elopement\u003c/a>\u003c/em>. The silent film gave us the first ever San Francisco movie car chase, and it happened directly in front of the Murphy Windmill that stands at the western edge of the park to this day. After an old-timey sideshow, Chaplin speeds off up a dirt road that would later become the Great Highway.\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/IiTaPSlFUdE'\n title='//www.youtube.com/embed/IiTaPSlFUdE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That same year, the 13-minute Roscoe “Fatty” Arbuckle caper \u003ca href=\"https://www.imdb.com/title/tt0006296/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Wished on Mabel\u003c/em>\u003c/a> took a tour of some of the most romantic locations in the park: the Conservatory of Flowers, Stow Lake Bridge, Strawberry Hill’s waterfall and, finally, the stone path around Stow Lake, where Fatty and Mabel share a smooch.\u003c/p>\n\u003cfigure id=\"attachment_13876023\" class=\"wp-caption aligncenter\" style=\"max-width: 424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876023\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n.jpg\" alt=\"Roscoe "Fatty" Arbuckle and Mabel Normand at Stow Lake in 'Wished on Mabel,' 1915; the stepping stone path today.\" width=\"424\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n.jpg 424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n-160x362.jpg 160w\" sizes=\"(max-width: 424px) 100vw, 424px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe “Fatty” Arbuckle and Mabel Normand at Stow Lake in ‘Wished on Mabel,’ 1915; the stepping stone path today. \u003ccite>(Screenshots and photo courtesy of Tim Welsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No movie has better utilized Golden Gate Park as a romantic prop though, than \u003ca href=\"https://www.imdb.com/title/tt0209475/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Wedding Planner\u003c/em>\u003c/a>. In it, Mary (Jennifer Lopez) and Steve (Matthew McConaughey) first fall for each other at a movie night at the park’s Music Concourse. (There’s a dance routine, a Ferris wheel and a rainstorm involved, naturally.) Later in the movie, when Steve attempts to comfort a crying Mary, he does so by saying, “D’you ever think about that night in the park? I do. All the time.” The couple return to the scene of their initial flirtations for the film’s finale.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 2001 rom-com also manages to include the single most popular movie location in all of Golden Gate Park—the Japanese Tea Gardens. In \u003cem>The Wedding Planner\u003c/em>, it’s where Steve breaks up with his fiancée after realizing that Mary is The One, but the picturesque spot in the park’s northeast corner has also found its way into \u003ca href=\"https://www.youtube.com/watch?v=MyzSuy1v6DM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Memoirs of a Geisha\u003c/em>\u003c/a> (2005), \u003ca href=\"https://www.youtube.com/watch?v=MS9Fe-ebUaA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Petulia\u003c/em>\u003c/a> (1968) and noir-thrillers, \u003ca href=\"https://www.youtube.com/watch?v=bG8xNHpstUA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Portrait in Black\u003c/em>\u003c/a> (1960) and \u003ca href=\"https://www.imdb.com/title/tt0113451/locations#filming_locations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jade\u003c/em>\u003c/a> (1995).\u003c/p>\n\u003cfigure id=\"attachment_13876038\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876038\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/tea-gardens-800x800.jpg\" alt=\"Scenes from Golden Gate Park's Japanese Tea Garden in (above) 'Portrait in Black' (1960) and (below) 'Memoirs of a Geisha' (2005).\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scenes from Golden Gate Park’s Japanese Tea Garden in (above) ‘Portrait in Black’ (1960) and (below) ‘Memoirs of a Geisha’ (2005). \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of noir, 1958’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0051866/?ref_=fn_al_tt_4\" target=\"_blank\" rel=\"noopener noreferrer\">The Lineup\u003c/a>\u003c/em>—about heroin smugglers trying to retrieve packages from unsuspecting tourists—features the park’s Steinhart Aquarium (inside the California Academy of Sciences) as a murky backdrop to one such encounter. It’s possible that director Don Siegel took a cue from Orson Welles’ brooding \u003ca href=\"https://www.imdb.com/title/tt0040525/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Lady From Shanghai\u003c/em>\u003c/a> (1947), in which Michael (played by Welles) uses the aquarium to meet his secret lover Elsa (Rita Hayworth). \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The scene is memorably foreboding, not just because Welles and Hayworth were on the verge of real-life divorce at the time, but also because they’re surrounded by ominous-looking sea creatures, enlarged and distorted in the tanks behind them.\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/nSvY8KcES5E'\n title='//www.youtube.com/embed/nSvY8KcES5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In happier representations, Golden Gate Park is often the backdrop to new romance. Just as the Music Concourse marked the beginning of Steve and Mary’s relationship in \u003cem>The Wedding Planner\u003c/em>, it’s one of the first places we see Sasha (Ali Wong) and Marcus (Randall Park) as a couple in \u003ca href=\"https://www.netflix.com/title/80202874\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Always Be My Maybe\u003c/em>\u003c/a>. (They also visit the de Young.) Additionally, in 1972’s \u003ca href=\"https://www.imdb.com/title/tt0069097/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Play it Again, Sam\u003c/em>\u003c/a>, Allan (Woody Allen) and Linda (Diane Keaton) make dinner plans on the Music Concourse’s green benches, a date that transforms their relationship from platonic to passionate.\u003c/p>\n\u003cp>Woody Allen gravitated towards Golden Gate Park as a romantic location on more than one occasion. For his first movie, 1969’s \u003ca href=\"https://www.imdb.com/title/tt0065063/?ref_=ttfc_fc_tt\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Take The Money and Run\u003c/em>\u003c/a>, his character Virgil, a petty thief, favors the park as a location to \u003ca href=\"https://www.youtube.com/watch?v=XSKOGevWNqc\" target=\"_blank\" rel=\"noopener noreferrer\">steal women’s purses\u003c/a>. After he attempts to snatch a bag from Louise (Janet Margolin), romance blossoms. (This is a Woody Allen film, after all…)\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/sexnKfuSHcg'\n title='//www.youtube.com/embed/sexnKfuSHcg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not that Golden Gate Park is a stranger to action. In \u003cem>Dirty Harry\u003c/em>, Clint Eastwood takes down a deranged serial killer inside the park’s 10,000-seater \u003ca href=\"https://www.youtube.com/watch?v=-GvNc24yQZA\" target=\"_blank\" rel=\"noopener noreferrer\">Kezar Stadium\u003c/a>. And in 1952’s \u003cem>Scaramouche\u003c/em>, Andre Moreau (played by Stewart Granger) is seen riding around the park on horseback, as he seeks vengeance against the swordsman who killed his friend.\u003c/p>\n\u003cfigure id=\"attachment_13876027\" class=\"wp-caption aligncenter\" style=\"max-width: 627px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n.jpg\" alt=\"Stewart Granger under the Stow Lake bridge in 'Scaramouche' (1952), and the bridge today.\" width=\"627\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n-160x245.jpg 160w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Granger under the Stow Lake bridge in ‘Scaramouche’ (1952), and the bridge today. \u003ccite>(Screenshots and photo courtesy of Tim Welsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The park was used in several \u003cem>Scaramouche\u003c/em> scenes despite the film’s setting of 18th-century France. In \u003ci>Memoirs of a Geisha\u003c/i>, the Tea Garden stood in for a school in 1930s Japan. Conversely, not all movies purporting to be in Golden Gate Park are actually filmed there. In Mel Brooks’ 1972 spoof, \u003cem>High Anxiety\u003c/em>, his famous \u003ca href=\"https://www.youtube.com/watch?v=e5-HNt_kupk\" target=\"_blank\" rel=\"noopener noreferrer\">parody of \u003cem>The Birds\u003c/em>\u003c/a> occurs directly after he claims to be “in the Golden Gate Park… at the north by northwest corner.” Brooks was, in fact, \u003ca href=\"https://www.movie-locations.com/movies/h/High-Anxiety.php\" target=\"_blank\" rel=\"noopener noreferrer\">in Pasadena\u003c/a>.\u003c/p>\n\u003cp>Golden Gate Park is so expansive, and its environments so varied, that movies of nearly every genre have found their backdrops within it for over 100 years. And though we’ve yet to see a sci-fi flick filmed there, perhaps \u003cem>The Matrix 4\u003c/em> and \u003cem>Venom 2—\u003c/em>both recently spotted filming on location around the city—will change that. (After all, Netflix sci-fi series \u003cem>Sense8\u003c/em> has scenes in the Japanese Tea Garden and Music Concourse.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy 150th, Golden Gate Park! Here’s to another century of movie magic.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Remember the grassy knolls and verdant gardens of Golden Gate Park? Strolls around the ponds? World-class museums? Hippie drum circles? Festivals like Outside Lands and Hardly Strictly Bluegrass?\u003c/p>\n\u003cp>With large gatherings off for the foreseeable future due to coronavirus (SFPD has made it \u003ca href=\"https://sanfrancisco.cbslocal.com/2020/04/15/coronavirus-san-francisco-420-police-chief-warns-travelers-cited-hippie-hill/\" target=\"_blank\" rel=\"noopener noreferrer\">very clear\u003c/a> that there will be no 4/20 celebrations there this year) Golden Gate Park is taking its \u003ca href=\"https://www.goldengatepark150.com/\" target=\"_blank\" rel=\"noopener noreferrer\">150th anniversary celebration\u003c/a> online with livestreamed concerts and other virtual activities. On April 18 at 9am, Joan Osborne’s 2019 Hardly Strictly performance will become available for viewing through April 25.\u003c/p>\n\u003cp>Soothing \u003ca href=\"https://www.goldengatepark150.com/explore\" target=\"_blank\" rel=\"noopener noreferrer\">videos\u003c/a> from the Japanese Tea Garden and live webcams of the penguins and sea creatures from the California Academy of Sciences are also available, as are \u003ca href=\"https://www.goldengatepark150.com/books\" target=\"_blank\" rel=\"noopener noreferrer\">resources\u003c/a> to learn about the park’s history, \u003ca href=\"https://www.goldengatepark150.com/kids\" target=\"_blank\" rel=\"noopener noreferrer\">coloring pages\u003c/a>, and a library of \u003ca href=\"https://www.goldengatepark150.com/podcasts\" target=\"_blank\" rel=\"noopener noreferrer\">podcast episodes\u003c/a> about this cornerstone of San Francisco culture.\u003c/p>\n\u003cp>More \u003ca href=\"https://www.goldengatepark150.com/concerts\" target=\"_blank\" rel=\"noopener noreferrer\">concerts\u003c/a> will be announced in the weeks to come.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember the grassy knolls and verdant gardens of Golden Gate Park? Strolls around the ponds? World-class museums? Hippie drum circles? Festivals like Outside Lands and Hardly Strictly Bluegrass?\u003c/p>\n\u003cp>With large gatherings off for the foreseeable future due to coronavirus (SFPD has made it \u003ca href=\"https://sanfrancisco.cbslocal.com/2020/04/15/coronavirus-san-francisco-420-police-chief-warns-travelers-cited-hippie-hill/\" target=\"_blank\" rel=\"noopener noreferrer\">very clear\u003c/a> that there will be no 4/20 celebrations there this year) Golden Gate Park is taking its \u003ca href=\"https://www.goldengatepark150.com/\" target=\"_blank\" rel=\"noopener noreferrer\">150th anniversary celebration\u003c/a> online with livestreamed concerts and other virtual activities. On April 18 at 9am, Joan Osborne’s 2019 Hardly Strictly performance will become available for viewing through April 25.\u003c/p>\n\u003cp>Soothing \u003ca href=\"https://www.goldengatepark150.com/explore\" target=\"_blank\" rel=\"noopener noreferrer\">videos\u003c/a> from the Japanese Tea Garden and live webcams of the penguins and sea creatures from the California Academy of Sciences are also available, as are \u003ca href=\"https://www.goldengatepark150.com/books\" target=\"_blank\" rel=\"noopener noreferrer\">resources\u003c/a> to learn about the park’s history, \u003ca href=\"https://www.goldengatepark150.com/kids\" target=\"_blank\" rel=\"noopener noreferrer\">coloring pages\u003c/a>, and a library of \u003ca href=\"https://www.goldengatepark150.com/podcasts\" target=\"_blank\" rel=\"noopener noreferrer\">podcast episodes\u003c/a> about this cornerstone of San Francisco culture.\u003c/p>\n\u003cp>More \u003ca href=\"https://www.goldengatepark150.com/concerts\" target=\"_blank\" rel=\"noopener noreferrer\">concerts\u003c/a> will be announced in the weeks to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How SF's Dirtybird Grew from Outsider Party to Beloved House Music Label",
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"content": "\u003cp>Claude VonStroke, a.k.a. Barclay Crenshaw, remembers the first party he threw in San Francisco’s Golden Gate Park in 2003. He’d only obtained a permit to host a picnic, not to bring a sound system, but that didn’t matter—only around 12 people showed up anyway, including the DJs. At the time, a smoother, more minimal sound reigned in San Francisco’s electronic music scene, and Crenshaw and his collaborators were seen as a band of outsiders.\u003c/p>\n\u003cp>Yet slowly, the crew’s DIY appeal caught on, along with the funky, danceable style of house music they championed—a sound heavy on low-end frequencies, with elastic \u003cem>boings \u003c/em>and propulsive grooves better suited for shaking your booty than nodding your head. The Golden Gate Park party started to become a word-of-mouth phenomenon, and in 2005, VonStroke and his cohorts established \u003ca href=\"https://dirtybirdrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dirtybird Records\u003c/a>.\u003c/p>\n\u003cp>Now, Dirtybird is one of the United States’ most popular house music labels. This year it celebrates 15 years in business with a new album from Crenshaw, \u003cem>Freaks & Beaks\u003c/em>, out Feb. 21.\u003c/p>\n\u003cp>Before Dirtybird acquired a cult following for touring house music barbecues and festivals, Crenshaw remembers, he and his collaborators Chris and Justin Martin weren’t always embraced in the Lower Haight dance scene. In fact, it took them blowing up in Europe after their third release, Crenshaw’s \u003cem>Deep Throat\u003c/em>, for the label’s hometown to catch on.\u003c/p>\n\u003cp>https://youtu.be/CzALJvtJWkE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In the Lower Haight, you’d really have to earn it. It was kind of too cool for school,” Crenshaw says. “It was hard for them to accept this gritty, bumpy, slightly aggressive, dirtier sound.”\u003c/p>\n\u003cp>Yet the initial lukewarm reception didn’t deter Crenshaw. An outsider approach has always been part of his hallmark: though originally from Detroit, the birthplace of techno, he was a hip-hop head growing up and didn’t attend his first rave until he was 25 years old. His route to becoming a house music producer was an unconventional one. While embarking on a career in film (he was a production assistant on 1997’s \u003cem>Batman & Robin\u003c/em> and \u003cem>Con Air\u003c/em>) he began an ambitious self-funded project: an exhaustive documentary on the history of electronic music, titled \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0415882/?ref_=ttfc_fc_tt\" target=\"_blank\" rel=\"noopener noreferrer\">Intellect\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>For \u003cem>Intellect\u003c/em>, Crenshaw interviewed over 50 DJs, including big names like Derrick May and Paul Van Dyk. While filming the project, he ran out of money—then borrowed money from friends, and ran out of that. (“Everyone hated me,” he says.) Because he didn’t have enough funds to license music from all the artists he interviewed in the film, he had to learn to figure out how to make the soundtrack himself, creating his own interpretations of the featured DJs’ styles.\u003c/p>\n\u003cp>“It was kind of like graduate school—I made my own grad school, basically,” he says.\u003c/p>\n\u003cp>As Crenshaw found his groove as a producer, a scene began to coalesce around Dirtybird in the late 2000s. Artists like J.Phlip, Worthy, Tim Green and Style of Eye joined the label, and Crenshaw began curating Dirtybird parties at the Mezzanine—one of the venue’s biggest draws from 2008 until it closed on New Year’s Eve last year.\u003c/p>\n\u003cp>https://youtu.be/uc8lkLQ3sO4\u003c/p>\n\u003cp>After Crenshaw relocated to Los Angeles (he regularly returns to San Francisco for Dirtybird events), business continued to pick up. In 2015, Crenshaw started the Dirtybird Campout, which takes place this year in Modesto. He’s intentionally kept the event small (at around 7,000 attendees) to retain its feeling of intimacy. Unlike at EDM mega-fests like Electric Daisy Carnival, DJs and fans alike participate in summer camp activities like archery and kayaking, and dance parties rage on until sunrise.\u003c/p>\n\u003cp>With the help of his wife, Aundy, who is the label’s chief operating and marketing officer, Crenshaw has grown Dirtybird in many different directions: live events on both coasts, the \u003ca href=\"https://claudevonstroke.com/birdhouse\" target=\"_blank\" rel=\"noopener noreferrer\">Birdhouse\u003c/a> Radio Show, merch, even an art book (also out Feb. 21) illustrated by San Francisco artist Jeremy Fish. Yet through it all, the label has remained independent and held on to its outsider appeal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have a vibe—it’s not a big barrier between the artists the fans at our shows,” Crenshaw says. “No one is untouchable.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Claude VonStroke, a.k.a. Barclay Crenshaw, remembers the first party he threw in San Francisco’s Golden Gate Park in 2003. He’d only obtained a permit to host a picnic, not to bring a sound system, but that didn’t matter—only around 12 people showed up anyway, including the DJs. At the time, a smoother, more minimal sound reigned in San Francisco’s electronic music scene, and Crenshaw and his collaborators were seen as a band of outsiders.\u003c/p>\n\u003cp>Yet slowly, the crew’s DIY appeal caught on, along with the funky, danceable style of house music they championed—a sound heavy on low-end frequencies, with elastic \u003cem>boings \u003c/em>and propulsive grooves better suited for shaking your booty than nodding your head. The Golden Gate Park party started to become a word-of-mouth phenomenon, and in 2005, VonStroke and his cohorts established \u003ca href=\"https://dirtybirdrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dirtybird Records\u003c/a>.\u003c/p>\n\u003cp>Now, Dirtybird is one of the United States’ most popular house music labels. This year it celebrates 15 years in business with a new album from Crenshaw, \u003cem>Freaks & Beaks\u003c/em>, out Feb. 21.\u003c/p>\n\u003cp>Before Dirtybird acquired a cult following for touring house music barbecues and festivals, Crenshaw remembers, he and his collaborators Chris and Justin Martin weren’t always embraced in the Lower Haight dance scene. In fact, it took them blowing up in Europe after their third release, Crenshaw’s \u003cem>Deep Throat\u003c/em>, for the label’s hometown to catch on.\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/CzALJvtJWkE'\n title='//www.youtube.com/embed/CzALJvtJWkE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In the Lower Haight, you’d really have to earn it. It was kind of too cool for school,” Crenshaw says. “It was hard for them to accept this gritty, bumpy, slightly aggressive, dirtier sound.”\u003c/p>\n\u003cp>Yet the initial lukewarm reception didn’t deter Crenshaw. An outsider approach has always been part of his hallmark: though originally from Detroit, the birthplace of techno, he was a hip-hop head growing up and didn’t attend his first rave until he was 25 years old. His route to becoming a house music producer was an unconventional one. While embarking on a career in film (he was a production assistant on 1997’s \u003cem>Batman & Robin\u003c/em> and \u003cem>Con Air\u003c/em>) he began an ambitious self-funded project: an exhaustive documentary on the history of electronic music, titled \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0415882/?ref_=ttfc_fc_tt\" target=\"_blank\" rel=\"noopener noreferrer\">Intellect\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>For \u003cem>Intellect\u003c/em>, Crenshaw interviewed over 50 DJs, including big names like Derrick May and Paul Van Dyk. While filming the project, he ran out of money—then borrowed money from friends, and ran out of that. (“Everyone hated me,” he says.) Because he didn’t have enough funds to license music from all the artists he interviewed in the film, he had to learn to figure out how to make the soundtrack himself, creating his own interpretations of the featured DJs’ styles.\u003c/p>\n\u003cp>“It was kind of like graduate school—I made my own grad school, basically,” he says.\u003c/p>\n\u003cp>As Crenshaw found his groove as a producer, a scene began to coalesce around Dirtybird in the late 2000s. Artists like J.Phlip, Worthy, Tim Green and Style of Eye joined the label, and Crenshaw began curating Dirtybird parties at the Mezzanine—one of the venue’s biggest draws from 2008 until it closed on New Year’s Eve last year.\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/uc8lkLQ3sO4'\n title='//www.youtube.com/embed/uc8lkLQ3sO4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After Crenshaw relocated to Los Angeles (he regularly returns to San Francisco for Dirtybird events), business continued to pick up. In 2015, Crenshaw started the Dirtybird Campout, which takes place this year in Modesto. He’s intentionally kept the event small (at around 7,000 attendees) to retain its feeling of intimacy. Unlike at EDM mega-fests like Electric Daisy Carnival, DJs and fans alike participate in summer camp activities like archery and kayaking, and dance parties rage on until sunrise.\u003c/p>\n\u003cp>With the help of his wife, Aundy, who is the label’s chief operating and marketing officer, Crenshaw has grown Dirtybird in many different directions: live events on both coasts, the \u003ca href=\"https://claudevonstroke.com/birdhouse\" target=\"_blank\" rel=\"noopener noreferrer\">Birdhouse\u003c/a> Radio Show, merch, even an art book (also out Feb. 21) illustrated by San Francisco artist Jeremy Fish. Yet through it all, the label has remained independent and held on to its outsider appeal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have a vibe—it’s not a big barrier between the artists the fans at our shows,” Crenshaw says. “No one is untouchable.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Headed to Outside Lands? Here's Everything You Need to Know",
"headTitle": "Headed to Outside Lands? Here’s Everything You Need to Know | KQED",
"content": "\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/news/11957290/outside-lands-2023-tickets-parking-public-transit-road-closures-bart-muni\">\u003cem>Please see KQED’s updated guide to Outside Lands 2023\u003c/em>\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>One of the Bay Area’s most popular festivals, Outside Lands, has grown into a celebration of music, comedy, art and gastronomy that draws tens of thousands of attendees every year. Here’s our handy guide to navigating the big weekend coming up at Golden Gate Park.\u003c/p>\n\u003cp>\u003cstrong>Who To See\u003c/strong>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfoutsidelands.com/lineup/\" target=\"_blank\" rel=\"noopener\">eclectic curation\u003c/a> at Outside Lands hits all the right notes, with nostalgic acts, reigning chart-toppers and buzzed-about new talent. This year’s lineup stars classic rock legend Paul Simon, Grammy-winning pop acts Twenty One Pilots and Childish Gambino, rap icon Lil Wayne, rising club music luminary Yaeji, raunchy up-and-coming rapper Cupcakke and local neo-soul band the Seshen. 2000s pop punk heroes Blink-182 also perform, as well as Berkeley ’90s alternative rockers Counting Crows.\u003c/p>\n\u003cp>Music is the centerpiece of the experience, but there’s a lot more to see and do. An underrated part of the fest is the \u003ca href=\"https://www.sfoutsidelands.com/experience/gastromagic/\" target=\"_blank\" rel=\"noopener\">Gastromagic\u003c/a> stage, where chefs get silly in the kitchen with comedians, drag stars and musicians. It’s an opportunity to see your faves in a more intimate setting, with plenty of crowd participation. This year, Cupcakke pairs up with chef and \u003cem>Bon Appetit\u003c/em> editor Andy Baraghani to make slurpable food and drinks (an homage to some of the dirtier acts the rapper describes in her lyrics). \u003cem>Drag Race\u003c/em> star Alyssa Edwards and Counting Crows’ Adam Duritz are also among the entertainers rolling their sleeves up at Gastromagic.\u003c/p>\n\u003cfigure id=\"attachment_13838860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838860\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8552-800x533.jpg\" alt=\"Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Getting There\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unless you want to waste gas driving around in circles for hours and then parking 20 blocks away, we strongly suggest leaving your car at home for Outside Lands. The festival has a \u003ca href=\"https://outsidelands.frontgatetickets.com/event/smenw2zlix4g6ffk\" target=\"_blank\" rel=\"noopener\">shuttle\u003c/a> from Bill Graham Civic Auditorium, just a stone’s throw from Civic Center BART, with passes going for $49.50 for all three days.\u003c/p>\n\u003cp>A little-known pro-tip for those who live in the East Bay, North Bay or South Bay? For a steeper price ($112 and up for a three-day pass, depending on where you’re coming from) you can take one of the \u003ca href=\"https://festdrive.busbank.com/outside-lands-festival/\" target=\"_blank\" rel=\"noopener\">regional shuttles\u003c/a> that pick up and drop off in Sacramento, Palo Alto, San Jose, Mill Valley or Oakland.\u003c/p>\n\u003cp>Uber and Lyft will likely have crazy surge pricing—plus, phone reception is spotty in the main festival zone. MUNI is a solid and much cheaper option for traveling within San Francisco, with \u003ca href=\"https://www.sfmta.com/muni\" target=\"_blank\" rel=\"noopener\">several lines\u003c/a> walking distance from festival gates. Another pro-tip: MUNI buses are going to be packed with festivalgoers by the end of the night, so ride a few stops in the outbound direction and get back on where it’s less crowded. And of course, you can always bike, or rent a scooter. The festival partners with JUMP bikes and SKIP scooters this year, and JUMP has a promo code (\u003cstrong>OSL19D\u003c/strong>) for a free ride.\u003c/p>\n\u003cfigure id=\"attachment_13838870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838870\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8586-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What to Wear\u003c/strong>\u003c/p>\n\u003cp>Racist fashion choices are to music festivals as plastic trash is to the ocean. The positive news is that Outside Lands banned appropriative Native American headdresses, so you won’t be seeing them paired with furry raver boots or bro tanks there (shudder). Otherwise, wear whatever you want—just make sure to bring layers. You might feel silly carrying a puffer jacket when it’s a warm 68 degrees in the afternoon, but once that Pacific wind and fog hit when it gets dark, you’ll thank yourself for planning ahead.\u003c/p>\n\u003cp>\u003cstrong>Bag Policy\u003c/strong>\u003c/p>\n\u003cp>Like many mass gatherings these days, Outside Lands requires backpacks and larger bags to be made out of clear plastic. Fortunately, you can find those at major retailers like Target and Amazon. H&M, Top Shop, Zara and other fast-fashion brands have a bunch of cute clear purses too.\u003c/p>\n\u003cp>Bags and fanny packs smaller than 6″ x 8″ x 3″ don’t have to be clear, and drawstring bags with only one openings (up to 13″ x 16″) are fine too.\u003c/p>\n\u003cfigure id=\"attachment_13838748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7615-800x533.jpg\" alt=\"Lizzo performs at the Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs at the Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What to Eat and Drink\u003c/strong>\u003c/p>\n\u003cp>San Francisco is all about fine dining, and Outside Lands has plenty of \u003ca href=\"https://www.sfoutsidelands.com/taste/\" target=\"_blank\" rel=\"noopener\">gourmet food trucks and vendors\u003c/a> lining the paths to most of the stages. But for those on a budget, it’s perfectly fine to bring your own food—or at least snacks to keep you fortified while you do laps around the festival grounds to catch all your favorite acts. You can save money on water too. Outside Lands allows you to bring two factory-sealed water bottles, or an empty container to get your H2O from one of their many free dispensers.\u003c/p>\n\u003cp>Beer and wine lovers will find some of Northern California’s best offerings at \u003ca href=\"https://www.sfoutsidelands.com/beer-lands/\" target=\"_blank\" rel=\"noopener\">Beer Lands\u003c/a> and \u003ca href=\"https://www.sfoutsidelands.com/wine-lands/\" target=\"_blank\" rel=\"noopener\">Wine Lands\u003c/a> (which is a hop and a skip away from Cheese Lands, who knew!) Those who like something boozier can find craft cocktails in the \u003ca href=\"https://www.sfoutsidelands.com/cocktail-magic/\" target=\"_blank\" rel=\"noopener\">Cocktail Magic\u003c/a> section in McLaren Pass, where you can catch magic shows and intimate performances between mixology demos.\u003c/p>\n\u003cfigure id=\"attachment_13805291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805291\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-800x533.jpg\" alt=\"Empire Of The Sun performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Empire Of The Sun performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When You Need a Break from Crowds\u003c/strong>\u003c/p>\n\u003cp>Though marijuana is legal in California, smoking isn’t permitted in Golden Gate Park. (However, that says nothing about edibles—which are technically food.) Cannabis enthusiasts can learn more about the local weed industry at \u003ca href=\"https://www.sfoutsidelands.com/experience/grass-lands/\" target=\"_blank\" rel=\"noopener\">Grass Lands\u003c/a>, an educational and multi-sensory showcase with lots to smell south of Polo Field.\u003c/p>\n\u003cp>The festival has a Sober Lands tent for those who are in substance recovery and want to attend a quick meeting to stay sane among all party people.\u003c/p>\n\u003cfigure id=\"attachment_13805242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4623-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 11, 2017.The crowd at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sfoutsidelands.com/experience/comedy-and-talks/\" target=\"_blank\" rel=\"noopener\">The Barbary\u003c/a> comedy and improv stage is definitely worth a visit when you get tired of jostling through crowds. (It’s indoors! And has ample seating and a bar!) Alyssa Edwards has a headlining comedy set there, and Tony Danza and \u003cem>Crazy Rich Asians\u003c/em> and \u003cem>Silicon Valley\u003c/em> star Jimmy O. Yang are slated to perform too.\u003c/p>\n\u003cp>\u003cstrong>Remember to Have Fun\u003c/strong>\u003c/p>\n\u003cp>With all there is to see and do, Outside Lands can be overwhelming. The festival’s official app is helpful for scheduling your days. But don’t plan too strict of an itinerary—leaving room to explore off the beaten path is what it’s all about.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/news/11957290/outside-lands-2023-tickets-parking-public-transit-road-closures-bart-muni\">\u003cem>Please see KQED’s updated guide to Outside Lands 2023\u003c/em>\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>One of the Bay Area’s most popular festivals, Outside Lands, has grown into a celebration of music, comedy, art and gastronomy that draws tens of thousands of attendees every year. Here’s our handy guide to navigating the big weekend coming up at Golden Gate Park.\u003c/p>\n\u003cp>\u003cstrong>Who To See\u003c/strong>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfoutsidelands.com/lineup/\" target=\"_blank\" rel=\"noopener\">eclectic curation\u003c/a> at Outside Lands hits all the right notes, with nostalgic acts, reigning chart-toppers and buzzed-about new talent. This year’s lineup stars classic rock legend Paul Simon, Grammy-winning pop acts Twenty One Pilots and Childish Gambino, rap icon Lil Wayne, rising club music luminary Yaeji, raunchy up-and-coming rapper Cupcakke and local neo-soul band the Seshen. 2000s pop punk heroes Blink-182 also perform, as well as Berkeley ’90s alternative rockers Counting Crows.\u003c/p>\n\u003cp>Music is the centerpiece of the experience, but there’s a lot more to see and do. An underrated part of the fest is the \u003ca href=\"https://www.sfoutsidelands.com/experience/gastromagic/\" target=\"_blank\" rel=\"noopener\">Gastromagic\u003c/a> stage, where chefs get silly in the kitchen with comedians, drag stars and musicians. It’s an opportunity to see your faves in a more intimate setting, with plenty of crowd participation. This year, Cupcakke pairs up with chef and \u003cem>Bon Appetit\u003c/em> editor Andy Baraghani to make slurpable food and drinks (an homage to some of the dirtier acts the rapper describes in her lyrics). \u003cem>Drag Race\u003c/em> star Alyssa Edwards and Counting Crows’ Adam Duritz are also among the entertainers rolling their sleeves up at Gastromagic.\u003c/p>\n\u003cfigure id=\"attachment_13838860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838860\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8552-800x533.jpg\" alt=\"Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8552-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Getting There\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unless you want to waste gas driving around in circles for hours and then parking 20 blocks away, we strongly suggest leaving your car at home for Outside Lands. The festival has a \u003ca href=\"https://outsidelands.frontgatetickets.com/event/smenw2zlix4g6ffk\" target=\"_blank\" rel=\"noopener\">shuttle\u003c/a> from Bill Graham Civic Auditorium, just a stone’s throw from Civic Center BART, with passes going for $49.50 for all three days.\u003c/p>\n\u003cp>A little-known pro-tip for those who live in the East Bay, North Bay or South Bay? For a steeper price ($112 and up for a three-day pass, depending on where you’re coming from) you can take one of the \u003ca href=\"https://festdrive.busbank.com/outside-lands-festival/\" target=\"_blank\" rel=\"noopener\">regional shuttles\u003c/a> that pick up and drop off in Sacramento, Palo Alto, San Jose, Mill Valley or Oakland.\u003c/p>\n\u003cp>Uber and Lyft will likely have crazy surge pricing—plus, phone reception is spotty in the main festival zone. MUNI is a solid and much cheaper option for traveling within San Francisco, with \u003ca href=\"https://www.sfmta.com/muni\" target=\"_blank\" rel=\"noopener\">several lines\u003c/a> walking distance from festival gates. Another pro-tip: MUNI buses are going to be packed with festivalgoers by the end of the night, so ride a few stops in the outbound direction and get back on where it’s less crowded. And of course, you can always bike, or rent a scooter. The festival partners with JUMP bikes and SKIP scooters this year, and JUMP has a promo code (\u003cstrong>OSL19D\u003c/strong>) for a free ride.\u003c/p>\n\u003cfigure id=\"attachment_13838870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838870\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8586-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8586-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What to Wear\u003c/strong>\u003c/p>\n\u003cp>Racist fashion choices are to music festivals as plastic trash is to the ocean. The positive news is that Outside Lands banned appropriative Native American headdresses, so you won’t be seeing them paired with furry raver boots or bro tanks there (shudder). Otherwise, wear whatever you want—just make sure to bring layers. You might feel silly carrying a puffer jacket when it’s a warm 68 degrees in the afternoon, but once that Pacific wind and fog hit when it gets dark, you’ll thank yourself for planning ahead.\u003c/p>\n\u003cp>\u003cstrong>Bag Policy\u003c/strong>\u003c/p>\n\u003cp>Like many mass gatherings these days, Outside Lands requires backpacks and larger bags to be made out of clear plastic. Fortunately, you can find those at major retailers like Target and Amazon. H&M, Top Shop, Zara and other fast-fashion brands have a bunch of cute clear purses too.\u003c/p>\n\u003cp>Bags and fanny packs smaller than 6″ x 8″ x 3″ don’t have to be clear, and drawstring bags with only one openings (up to 13″ x 16″) are fine too.\u003c/p>\n\u003cfigure id=\"attachment_13838748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7615-800x533.jpg\" alt=\"Lizzo performs at the Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs at the Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What to Eat and Drink\u003c/strong>\u003c/p>\n\u003cp>San Francisco is all about fine dining, and Outside Lands has plenty of \u003ca href=\"https://www.sfoutsidelands.com/taste/\" target=\"_blank\" rel=\"noopener\">gourmet food trucks and vendors\u003c/a> lining the paths to most of the stages. But for those on a budget, it’s perfectly fine to bring your own food—or at least snacks to keep you fortified while you do laps around the festival grounds to catch all your favorite acts. You can save money on water too. Outside Lands allows you to bring two factory-sealed water bottles, or an empty container to get your H2O from one of their many free dispensers.\u003c/p>\n\u003cp>Beer and wine lovers will find some of Northern California’s best offerings at \u003ca href=\"https://www.sfoutsidelands.com/beer-lands/\" target=\"_blank\" rel=\"noopener\">Beer Lands\u003c/a> and \u003ca href=\"https://www.sfoutsidelands.com/wine-lands/\" target=\"_blank\" rel=\"noopener\">Wine Lands\u003c/a> (which is a hop and a skip away from Cheese Lands, who knew!) Those who like something boozier can find craft cocktails in the \u003ca href=\"https://www.sfoutsidelands.com/cocktail-magic/\" target=\"_blank\" rel=\"noopener\">Cocktail Magic\u003c/a> section in McLaren Pass, where you can catch magic shows and intimate performances between mixology demos.\u003c/p>\n\u003cfigure id=\"attachment_13805291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805291\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-800x533.jpg\" alt=\"Empire Of The Sun performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Empire-Of-The-Sun-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Empire Of The Sun performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When You Need a Break from Crowds\u003c/strong>\u003c/p>\n\u003cp>Though marijuana is legal in California, smoking isn’t permitted in Golden Gate Park. (However, that says nothing about edibles—which are technically food.) Cannabis enthusiasts can learn more about the local weed industry at \u003ca href=\"https://www.sfoutsidelands.com/experience/grass-lands/\" target=\"_blank\" rel=\"noopener\">Grass Lands\u003c/a>, an educational and multi-sensory showcase with lots to smell south of Polo Field.\u003c/p>\n\u003cp>The festival has a Sober Lands tent for those who are in substance recovery and want to attend a quick meeting to stay sane among all party people.\u003c/p>\n\u003cfigure id=\"attachment_13805242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4623-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 11, 2017.The crowd at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4623-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sfoutsidelands.com/experience/comedy-and-talks/\" target=\"_blank\" rel=\"noopener\">The Barbary\u003c/a> comedy and improv stage is definitely worth a visit when you get tired of jostling through crowds. (It’s indoors! And has ample seating and a bar!) Alyssa Edwards has a headlining comedy set there, and Tony Danza and \u003cem>Crazy Rich Asians\u003c/em> and \u003cem>Silicon Valley\u003c/em> star Jimmy O. Yang are slated to perform too.\u003c/p>\n\u003cp>\u003cstrong>Remember to Have Fun\u003c/strong>\u003c/p>\n\u003cp>With all there is to see and do, Outside Lands can be overwhelming. The festival’s official app is helpful for scheduling your days. But don’t plan too strict of an itinerary—leaving room to explore off the beaten path is what it’s all about.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Leave a piano in a room, and more often than not, it’ll be ignored. But put one in the open air, and it’s suddenly the center of attention; even the shyest of passersby cannot resist tickling those keys.\u003c/p>\n\u003cp>That’s one of the qualities that makes \u003ca href=\"https://www.sfbg.org/flowerpiano\" target=\"_blank\" rel=\"noopener\">\u003cem>Flower Piano\u003c/em>\u003c/a>, an annual outdoor piano celebration held amid the bucolic trees, lawns and flowers of the San Francisco Botanical Garden in July, so special. Strewn across the garden’s 55 acres like postmodern sculptures, the event’s 12 pianos attract a diverse array of players.\u003c/p>\n\u003cp>At any given moment during opening hours, you might wander down a path and encounter an amateur pianist hammering out “Moonlight Sonata” or “Chopsticks” with faltering enthusiasm, or turn a corner and discover a professional musician setting a redwood grove alight with rippling strains of Rachmaninoff and Liszt.\u003c/p>\n\u003cp>While anyone who has a regular entrance ticket for the garden can play or listen to the live music, the celebration also includes some special curated performances featuring talented soloists, like Chuchito Valdés, Van-Anh Nguyen, Sarah Cahill, Jill Tracy, Tammy Hall and Rob Reich.\u003c/p>\n\u003cp>Dozens of local musical groups are also involved, including musicians from the San Francisco Conservatory of Music, the San Francisco Symphony, the Stanford University Ragtime Ensemble and the Awesöme Orchestra Collective, to name a few. There’s a new lunchtime concert program, the return of \u003cem>Flower Piano\u003c/em>’s romantic and artfully-lit evening series, and plenty of participatory and family happenings too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It might even inspire you to dust off the piano that’s been sitting ignored in the corner of your local bar or living room.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Flower Piano’ takes place at various locations throughout the San Francisco Botanical Garden in Golden Gate Park from Thursday, July 11 to Monday, July 22. \u003ca href=\"https://www.sfbg.org/flowerpiano\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leave a piano in a room, and more often than not, it’ll be ignored. But put one in the open air, and it’s suddenly the center of attention; even the shyest of passersby cannot resist tickling those keys.\u003c/p>\n\u003cp>That’s one of the qualities that makes \u003ca href=\"https://www.sfbg.org/flowerpiano\" target=\"_blank\" rel=\"noopener\">\u003cem>Flower Piano\u003c/em>\u003c/a>, an annual outdoor piano celebration held amid the bucolic trees, lawns and flowers of the San Francisco Botanical Garden in July, so special. Strewn across the garden’s 55 acres like postmodern sculptures, the event’s 12 pianos attract a diverse array of players.\u003c/p>\n\u003cp>At any given moment during opening hours, you might wander down a path and encounter an amateur pianist hammering out “Moonlight Sonata” or “Chopsticks” with faltering enthusiasm, or turn a corner and discover a professional musician setting a redwood grove alight with rippling strains of Rachmaninoff and Liszt.\u003c/p>\n\u003cp>While anyone who has a regular entrance ticket for the garden can play or listen to the live music, the celebration also includes some special curated performances featuring talented soloists, like Chuchito Valdés, Van-Anh Nguyen, Sarah Cahill, Jill Tracy, Tammy Hall and Rob Reich.\u003c/p>\n\u003cp>Dozens of local musical groups are also involved, including musicians from the San Francisco Conservatory of Music, the San Francisco Symphony, the Stanford University Ragtime Ensemble and the Awesöme Orchestra Collective, to name a few. There’s a new lunchtime concert program, the return of \u003cem>Flower Piano\u003c/em>’s romantic and artfully-lit evening series, and plenty of participatory and family happenings too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It might even inspire you to dust off the piano that’s been sitting ignored in the corner of your local bar or living room.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Flower Piano’ takes place at various locations throughout the San Francisco Botanical Garden in Golden Gate Park from Thursday, July 11 to Monday, July 22. \u003ca href=\"https://www.sfbg.org/flowerpiano\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>’ve lived in San Francisco long enough to see the city through the fog, at the slant where Market Street runs diagonal to the ocean and the clouds churn slowly over Dolores Park. At this axis the physical city gives way to a psychic city, where cramped Victorians and one-way streets reveal their hidden depths, thresholds to a parallel San Francisco whose vastness and potential cannot be contained by a seven-by-seven peninsula.\u003c/p>\n\u003cp>I’ve lived in San Francisco long enough to begin to lose sight of this parallel city, as its infinite promise is circumscribed by failures of imagination—\u003ca href=\"https://www.sacbee.com/news/state/california/article219467495.html\" target=\"_blank\" rel=\"noopener noreferrer\">needless solutions\u003c/a> to \u003ca href=\"https://www.usatoday.com/story/tech/news/2018/06/21/scooter-wars-2018-its-not-really-scooters/694274002/\" target=\"_blank\" rel=\"noopener noreferrer\">frivolous problems\u003c/a> and a pitiless \u003ca href=\"https://www.sfchronicle.com/bayarea/philmatier/article/SF-opponents-of-Embarcadero-Navigation-Center-13799216.php\" target=\"_blank\" rel=\"noopener noreferrer\">lack of answers\u003c/a> for \u003ca href=\"https://www.cnn.com/2018/12/27/health/drug-use-san-francisco-streets/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">daily crises\u003c/a>. The ethos of this parallel place, the Haight-Ashbury dream of leading a mindfully communal, fiercely independent life, has not been renewed since the ’60s. It’s a spirit that feels incompatible with tech’s cult of personality and iconography of progress—a tension made manifest through heartbreaking juxtapositions: glittering, empty skyscrapers rising from filthy, tent-ridden streets; impossible advances incapable of advancing anything at all.\u003c/p>\n\u003cfigure id=\"attachment_13856395\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13856395\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Path-in-to-Grove_1200.jpg\" alt=\"A path into the AIDS Memorial Grove.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Path-in-to-Grove_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Path-in-to-Grove_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Path-in-to-Grove_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Path-in-to-Grove_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Path-in-to-Grove_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A path into the AIDS Memorial Grove. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the past few years the \u003ca href=\"https://aidsmemorial.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National AIDS Memorial Grove\u003c/a> in Golden Gate Park has been my refuge from the noise and contradictions of the rest of the city. It is a 30-minute walk from my apartment, but feels worlds away; a parcel of land as insulated from the shouts of Koret playground and the fumes of Hippie Hill as it is from the ubiquity of AirPods and the looming Salesforce Tower. It provides a rare public space for personal epiphanies and private contemplation, and situates them in the midst of one of San Francisco’s greatest communal projects.\u003c/p>\n\u003cp>The Grove was first conceived at the height of the AIDS epidemic in the late ’80s, a time founding member Alice Russell-Shapiro remembers as “when people would lose everyone in their address books.” Spurred to action by crisis conditions and the inescapability of the reality of sickness, a small group of San Franciscans gathered to create a memorial that would raise awareness, honor the deceased and provide a location for the living to reflect upon what remained.\u003c/p>\n\u003cp>Like many queer spaces, the AIDS Memorial Grove imagined and actualized a context for itself where none had existed previously. Situated in the former de Laveaga Dell, a once-derelict corner of Golden Gate Park that formerly ranked among its most dangerous areas, the Grove is a revitalized place. In 1996, it was designated a National Memorial by Congress and President Bill Clinton; the Grove has raised a sizable endowment for its preservation. Since 1991, when the Grove first inaugurated its monthly workdays, volunteers have spent a quarter of a million hours refurbishing the site.\u003c/p>\n\u003cfigure id=\"attachment_13856393\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13856393\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Grove_1200.jpg\" alt=\"Inside the redwoods at the center of the Grove.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grove_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grove_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grove_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grove_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grove_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inside the redwoods at the center of the Grove. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The once-flooded meadow has been irrigated into a green pasture surrounded by slopes teeming with flowers; the only remaining evidence of overflow is the stream that snakes down the paths from a mouth at the Fern Grotto. The volunteers’ next project will be to restore the lavender slope, an herb valued as much for its soothing properties as for its pleasing shade of purple-blue. “The color palette that was designated in the original masterplan calls for no bright colors,” says the Grove’s executive director, John Cunningham. “Everything is supposed to be serene and contemplative.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I like that it’s something that you occupy and come upon, but almost at a parallel place to the rest of the park,” says Jason Oliveira, a San Francisco resident I met reading a book by the stream. “It feels like a memorial, not a monument.”\u003c/p>\n\u003cp>A conventional monument—a statue or plaque—would diffuse the sense of serenity that pervades the Grove by concentrating its energy upon a single focal point. Attempts at figuration would prove futile in themselves. No body could span the experience of resisting the virus, nor in rendering that resistance would you necessarily capture the warmth and vivacity of those afflicted by it.\u003c/p>\n\u003cfigure id=\"attachment_13856392\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13856392\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Forever-and-a-day_1200.jpg\" alt=\"One of the Grove's many memorial engravings in stones.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Forever-and-a-day_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Forever-and-a-day_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Forever-and-a-day_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Forever-and-a-day_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Forever-and-a-day_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">One of the Grove’s many memorial engravings in stones. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Grove acknowledges this with a 1996 poem by Thom Gunn inscribed in stone at the western Fern Grotto: “Walker within this circle / pause / although they all died of one cause / remember how their lives were dense with fine compacted difference.”\u003c/p>\n\u003cp>In their pursuit of fine compacted difference, the Grove offers a portrait of a community and the charm, wit and weirdness of the characters who populated it. Among the benches and boulders are tributes to the disco diva Sylvester and deceased members of the Sisters of Perpetual Indulgence. Beach Blanket Babylon, Lazy Bear and Chuck Holmes of the adult film studio Falcon are thanked for their support. A boulder in honor of Jody Bloomquist is framed by budding bluebells: “Bloom you did! / Beloved friend!” And the poetry of a dedication at Moonwalk Way never fails to take my breath away: “To Douglas Watson and Larry Silva / who met the day humans walked on the moon.”\u003c/p>\n\u003cp>But the Memorial is not wholly queer in character. An alcove carved out of the slope looking over the meadow is dedicated to the hemophilia community—from the late ’70s to the mid ’80s, 90 percent of the condition’s severe sufferers were infected with the virus by a contaminated blood supply. The breadth of the Memorial’s inclusiveness is as impressive as it is haunting.\u003c/p>\n\u003cfigure id=\"attachment_13856394\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13856394\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Hemophiliacs-Circle_1200.jpg\" alt=\"Names engraved in the Hemophilia Memorial. \" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Hemophiliacs-Circle_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Hemophiliacs-Circle_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Hemophiliacs-Circle_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Hemophiliacs-Circle_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Hemophiliacs-Circle_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Names engraved in the Hemophilia Memorial. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Grove is at its most powerful at the Circle of Friends. “Golden Gate Park is the heart of San Francisco, the Grove is the heart of Golden Gate Park, and the Circle of Friends is the heart of the AIDS Memorial Grove” intone several narrators in \u003ca href=\"https://youtu.be/e7r35GGq0EU\" target=\"_blank\" rel=\"noopener noreferrer\">a video about the memorial\u003c/a>. I agree. Sometimes in the cathedral silence, beneath the shadow of the redwoods that grow in a patch just beyond that flagstone circle, I swear that I can feel a spectral hand on my shoulder.\u003c/p>\n\u003cp>Being gay can feel like being the heir to an invisible kingdom, the dimensions of which become more illuminated and expansive upon learning its history. But my gut tightens every time I consider the Circle even at the remove of ignorance and youth. “You should be alive!” I want to scream, looking at the impossible sprawl of names. It curdles into anger when I recognize the names of those who are still alive—Tom Hanks, Sharon Stone, Elton John. Neither the Vietnam Veterans Memorial nor the September 11 Memorial mix the names of its community’s supporters with its fallen.\u003c/p>\n\u003cp>When I first noticed the living it threw into question the cultural integrity of what it means to be an ally, a pressing concern as corporations and interest groups wield proximity to queerness as a biscuit or a wedge to push their product or policy. But the aims of the Grove are undeniably pure, even if I personally find the inclusion of those names inappropriate. As Russell-Shapiro reminded me, these were the people who loved and cared for those with AIDS, who fulfilled the duties and intimacies birth families were unwilling or unable to take on, who advocated and fundraised and provided the basis for this space to exist.\u003c/p>\n\u003cp>More credit should be given to their sincere efforts; more scrutiny should be applied to monied groups supplanting action with wealth after the fact.\u003c/p>\n\u003cfigure id=\"attachment_13856391\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13856391\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Ferns_1200.jpg\" alt=\"The Fern Grotto at the west end of the Memorial.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Ferns_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Ferns_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Ferns_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Ferns_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Ferns_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Fern Grotto at the west end of the Memorial. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Tony Kushner’s 1991 play, \u003cem>Angels in America\u003c/em>, heaven is depicted as a San Francisco in ruins, irreparably shocked from the day God left the city, an occasion marked by the 1906 earthquake. Burdened by bureaucracy and shaken by tremors that persist in his absence, the angels dread progress in a directionless future for fear of worse things to come.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The AIDS Memorial Grove was created in the wake one of the worst things to have ever happened, a localized apocalypse that decimated whole worlds. In its example of calmness, distance and community, the Memorial Grove proposes a new perspective (or even spirituality) for how to view and experience the city, a means of shifting parallel lines so that they may meet once again.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>’ve lived in San Francisco long enough to see the city through the fog, at the slant where Market Street runs diagonal to the ocean and the clouds churn slowly over Dolores Park. At this axis the physical city gives way to a psychic city, where cramped Victorians and one-way streets reveal their hidden depths, thresholds to a parallel San Francisco whose vastness and potential cannot be contained by a seven-by-seven peninsula.\u003c/p>\n\u003cp>I’ve lived in San Francisco long enough to begin to lose sight of this parallel city, as its infinite promise is circumscribed by failures of imagination—\u003ca href=\"https://www.sacbee.com/news/state/california/article219467495.html\" target=\"_blank\" rel=\"noopener noreferrer\">needless solutions\u003c/a> to \u003ca href=\"https://www.usatoday.com/story/tech/news/2018/06/21/scooter-wars-2018-its-not-really-scooters/694274002/\" target=\"_blank\" rel=\"noopener noreferrer\">frivolous problems\u003c/a> and a pitiless \u003ca href=\"https://www.sfchronicle.com/bayarea/philmatier/article/SF-opponents-of-Embarcadero-Navigation-Center-13799216.php\" target=\"_blank\" rel=\"noopener noreferrer\">lack of answers\u003c/a> for \u003ca href=\"https://www.cnn.com/2018/12/27/health/drug-use-san-francisco-streets/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">daily crises\u003c/a>. The ethos of this parallel place, the Haight-Ashbury dream of leading a mindfully communal, fiercely independent life, has not been renewed since the ’60s. It’s a spirit that feels incompatible with tech’s cult of personality and iconography of progress—a tension made manifest through heartbreaking juxtapositions: glittering, empty skyscrapers rising from filthy, tent-ridden streets; impossible advances incapable of advancing anything at all.\u003c/p>\n\u003cfigure id=\"attachment_13856395\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13856395\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Path-in-to-Grove_1200.jpg\" alt=\"A path into the AIDS Memorial Grove.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Path-in-to-Grove_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Path-in-to-Grove_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Path-in-to-Grove_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Path-in-to-Grove_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Path-in-to-Grove_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A path into the AIDS Memorial Grove. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the past few years the \u003ca href=\"https://aidsmemorial.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National AIDS Memorial Grove\u003c/a> in Golden Gate Park has been my refuge from the noise and contradictions of the rest of the city. It is a 30-minute walk from my apartment, but feels worlds away; a parcel of land as insulated from the shouts of Koret playground and the fumes of Hippie Hill as it is from the ubiquity of AirPods and the looming Salesforce Tower. It provides a rare public space for personal epiphanies and private contemplation, and situates them in the midst of one of San Francisco’s greatest communal projects.\u003c/p>\n\u003cp>The Grove was first conceived at the height of the AIDS epidemic in the late ’80s, a time founding member Alice Russell-Shapiro remembers as “when people would lose everyone in their address books.” Spurred to action by crisis conditions and the inescapability of the reality of sickness, a small group of San Franciscans gathered to create a memorial that would raise awareness, honor the deceased and provide a location for the living to reflect upon what remained.\u003c/p>\n\u003cp>Like many queer spaces, the AIDS Memorial Grove imagined and actualized a context for itself where none had existed previously. Situated in the former de Laveaga Dell, a once-derelict corner of Golden Gate Park that formerly ranked among its most dangerous areas, the Grove is a revitalized place. In 1996, it was designated a National Memorial by Congress and President Bill Clinton; the Grove has raised a sizable endowment for its preservation. Since 1991, when the Grove first inaugurated its monthly workdays, volunteers have spent a quarter of a million hours refurbishing the site.\u003c/p>\n\u003cfigure id=\"attachment_13856393\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13856393\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Grove_1200.jpg\" alt=\"Inside the redwoods at the center of the Grove.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grove_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grove_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grove_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grove_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Grove_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inside the redwoods at the center of the Grove. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The once-flooded meadow has been irrigated into a green pasture surrounded by slopes teeming with flowers; the only remaining evidence of overflow is the stream that snakes down the paths from a mouth at the Fern Grotto. The volunteers’ next project will be to restore the lavender slope, an herb valued as much for its soothing properties as for its pleasing shade of purple-blue. “The color palette that was designated in the original masterplan calls for no bright colors,” says the Grove’s executive director, John Cunningham. “Everything is supposed to be serene and contemplative.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I like that it’s something that you occupy and come upon, but almost at a parallel place to the rest of the park,” says Jason Oliveira, a San Francisco resident I met reading a book by the stream. “It feels like a memorial, not a monument.”\u003c/p>\n\u003cp>A conventional monument—a statue or plaque—would diffuse the sense of serenity that pervades the Grove by concentrating its energy upon a single focal point. Attempts at figuration would prove futile in themselves. No body could span the experience of resisting the virus, nor in rendering that resistance would you necessarily capture the warmth and vivacity of those afflicted by it.\u003c/p>\n\u003cfigure id=\"attachment_13856392\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13856392\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Forever-and-a-day_1200.jpg\" alt=\"One of the Grove's many memorial engravings in stones.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Forever-and-a-day_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Forever-and-a-day_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Forever-and-a-day_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Forever-and-a-day_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Forever-and-a-day_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">One of the Grove’s many memorial engravings in stones. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Grove acknowledges this with a 1996 poem by Thom Gunn inscribed in stone at the western Fern Grotto: “Walker within this circle / pause / although they all died of one cause / remember how their lives were dense with fine compacted difference.”\u003c/p>\n\u003cp>In their pursuit of fine compacted difference, the Grove offers a portrait of a community and the charm, wit and weirdness of the characters who populated it. Among the benches and boulders are tributes to the disco diva Sylvester and deceased members of the Sisters of Perpetual Indulgence. Beach Blanket Babylon, Lazy Bear and Chuck Holmes of the adult film studio Falcon are thanked for their support. A boulder in honor of Jody Bloomquist is framed by budding bluebells: “Bloom you did! / Beloved friend!” And the poetry of a dedication at Moonwalk Way never fails to take my breath away: “To Douglas Watson and Larry Silva / who met the day humans walked on the moon.”\u003c/p>\n\u003cp>But the Memorial is not wholly queer in character. An alcove carved out of the slope looking over the meadow is dedicated to the hemophilia community—from the late ’70s to the mid ’80s, 90 percent of the condition’s severe sufferers were infected with the virus by a contaminated blood supply. The breadth of the Memorial’s inclusiveness is as impressive as it is haunting.\u003c/p>\n\u003cfigure id=\"attachment_13856394\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13856394\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Hemophiliacs-Circle_1200.jpg\" alt=\"Names engraved in the Hemophilia Memorial. \" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Hemophiliacs-Circle_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Hemophiliacs-Circle_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Hemophiliacs-Circle_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Hemophiliacs-Circle_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Hemophiliacs-Circle_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Names engraved in the Hemophilia Memorial. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Grove is at its most powerful at the Circle of Friends. “Golden Gate Park is the heart of San Francisco, the Grove is the heart of Golden Gate Park, and the Circle of Friends is the heart of the AIDS Memorial Grove” intone several narrators in \u003ca href=\"https://youtu.be/e7r35GGq0EU\" target=\"_blank\" rel=\"noopener noreferrer\">a video about the memorial\u003c/a>. I agree. Sometimes in the cathedral silence, beneath the shadow of the redwoods that grow in a patch just beyond that flagstone circle, I swear that I can feel a spectral hand on my shoulder.\u003c/p>\n\u003cp>Being gay can feel like being the heir to an invisible kingdom, the dimensions of which become more illuminated and expansive upon learning its history. But my gut tightens every time I consider the Circle even at the remove of ignorance and youth. “You should be alive!” I want to scream, looking at the impossible sprawl of names. It curdles into anger when I recognize the names of those who are still alive—Tom Hanks, Sharon Stone, Elton John. Neither the Vietnam Veterans Memorial nor the September 11 Memorial mix the names of its community’s supporters with its fallen.\u003c/p>\n\u003cp>When I first noticed the living it threw into question the cultural integrity of what it means to be an ally, a pressing concern as corporations and interest groups wield proximity to queerness as a biscuit or a wedge to push their product or policy. But the aims of the Grove are undeniably pure, even if I personally find the inclusion of those names inappropriate. As Russell-Shapiro reminded me, these were the people who loved and cared for those with AIDS, who fulfilled the duties and intimacies birth families were unwilling or unable to take on, who advocated and fundraised and provided the basis for this space to exist.\u003c/p>\n\u003cp>More credit should be given to their sincere efforts; more scrutiny should be applied to monied groups supplanting action with wealth after the fact.\u003c/p>\n\u003cfigure id=\"attachment_13856391\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13856391\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Ferns_1200.jpg\" alt=\"The Fern Grotto at the west end of the Memorial.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Ferns_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Ferns_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Ferns_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Ferns_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Ferns_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Fern Grotto at the west end of the Memorial. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Tony Kushner’s 1991 play, \u003cem>Angels in America\u003c/em>, heaven is depicted as a San Francisco in ruins, irreparably shocked from the day God left the city, an occasion marked by the 1906 earthquake. Burdened by bureaucracy and shaken by tremors that persist in his absence, the angels dread progress in a directionless future for fear of worse things to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The AIDS Memorial Grove was created in the wake one of the worst things to have ever happened, a localized apocalypse that decimated whole worlds. In its example of calmness, distance and community, the Memorial Grove proposes a new perspective (or even spirituality) for how to view and experience the city, a means of shifting parallel lines so that they may meet once again.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hail Caesar! Shakespearean Drama Meets Historical San Francisco in 'Caesar Maximus'",
"headTitle": "Hail Caesar! Shakespearean Drama Meets Historical San Francisco in ‘Caesar Maximus’ | KQED",
"content": "\u003cp>In these politically charged times, the impetus to draw parallels with similarly fraught occasions in history becomes an irresistible pastime. This month, it’s We Players’ turn, with a timely adaptation of Shakespeare’s \u003cem>Julius Caesar\u003c/em> that recalls the origins of Senate obfuscation and the long struggle to distinguish between political and personal ambition within the various seats of office and leadership.\u003c/p>\n\u003cp>Set at the music concourse in Golden Gate Park, with its grand bandshell, the gracious Rideout Fountain, and several pedestrian underpasses, the actors’ Gilded-Age top hats and waistcoats (designed by Brooke Jennings and Kathleen Qiu) lend a raffish, robber-baron aesthetic to the production, neatly fusing Old San Francisco to Old Rome.\u003c/p>\n\u003cfigure id=\"attachment_13839773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-800x520.jpg\" alt=\"\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-520x338.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cast of Caesar Maximus stroll through Golden Gate Park’s Music Concourse. \u003ccite>(Lauren Matley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frequent proponents of cross-casting, We Players has Libby Oberlin in the role of Caesar, which she plays to the hilt with brash swagger, clad in high boots and breeches and brandishing a riding crop. It is her stance as a woman in power that has turned her conspirators against her, We Players suggests, her self-assuredness mistaken for tyranny. As Caesar, Oberlin helps her conspirators set their case at certain moments—particularly when mocking a soothsayer (Emily Stone) come to warn her (not a good look, as one might say in today’s vernacular). But is such careless ego truly a mark of a tyrant? We Players forces us to consider the spectrum of self-absorption, neither excusing Caesar’s behavior nor explicitly condemning it.\u003c/p>\n\u003cp>More compact than certain past We Players productions, \u003cem>Caesar Maximus\u003c/em> (adapted by Nick Medina and director Ava Roy) practically zooms by in just a couple of hours. The action is limited to just a few locations, all within a brief stroll of each other. The cast, too, is streamlined, with most actors doubling their roles, and several characters serving as composites—such as Chris Steele’s impish Casca (who arrives to the Lupercalia on roller skates) speaking lines to woo Caesar to the Senate House originally intended by Shakespeare to be spoken by Decius Brutus. In effect, it plays like a greatest-hits reel of the play, the minutiae mostly not missed as the San Francisco fog settles in for the evening and blankets are passed out to the audience. (Pro tip: do not neglect to bring your layers.)\u003c/p>\n\u003cfigure id=\"attachment_13839772\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839772\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-800x475.jpg\" alt=\"\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-520x309.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alan Coyne, Hunter MacNair and Chris Steele as the conspirators in the plot to kill Caesar. \u003ccite>(Lauren Matley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The only really disconcerting jolt in the pacing is the swiftness with which Caesar is dispatched to her death. It happens early in the production, before it feels as if enough momentum or acrimony has gathered against her to justify the boldness of the deed. The death itself is curiously bloodless, built up with some neat, slow-motion fighting choreographed by Chris Steele, but leaving the actors in their frozen positions for much too long after. Only Antony’s mellifluous monologue, expertly delivered by Rotimi Agbabiaka, cements the moment with the appropriate solemnity. Agbabiaka anchors Caesar’s funeral scene as well, inciting a too-small mob in a too-large playing area to enact some too-staged violence, setting the stage, as it were, for the eventual downfall of Brutus (Joseph Schommer) and Cassius’ (Hunter Scott MacNair).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In every We Players show, there is a concentrated effort to mold the piece visually into its staging ground. For \u003cem>Ondine\u003c/em>, ocean spray crashing against the ruins of Sutro Baths provided an essential backdrop; for \u003cem>Hamlet\u003c/em> on Alcatraz, even the ferry boat on the way to “The Rock” was used for an introductory scene. Here at the music concourse, the actors playing the conspirators lounge against the towering pillars of the bandshell, the vaulted ceiling of which lends architectural gravitas, and high-spirited parades are led through the central promenade. Less immediately intuitive are moments when the audience is led from scene to scene as actors pose in the distance at street level with fluttering red scarves in hand, or the curious choice to eschew the conveniently located seating which already faces the bandshell stage, opting instead to arrange its audience on folding stools a few feet closer to the action.\u003c/p>\n\u003cfigure id=\"attachment_13839771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Timekeeper (Emily Stone) assists Brutus (Joseph Schommer) with his suicide, as the ghost of Caesar watches from the background. \u003ccite>(Mark Kitaoka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, the decision to end the play in the dark confines of a low tunnel arching over a pedestrian path at the far end of the concourse is an inspired one. By the beam of a single amber light—framed from behind by the bars of an iron gate, a diaphanous furl of fabric, and the unbowed ghost of Caesar—Cassius and Brutus face their final moments, assisted silently by the production’s audience guide and chief wrangler, the Timekeeper (Emily Stone).\u003c/p>\n\u003cp>Walking back into the light, flanked by overgrown foliage and a burst of pink amaryllis, feels like a triumph. For a moment, everything seems possible: the dispatching of would-be tyrants, the power of a well-turned oratorical phrase to inspire action, and the continual evolution of the “classics” in their ability to reveal modern concerns.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Caesar Maximus’ runs through Sept. 30 in Golden Gate Park. Details \u003ca href=\"http://www.weplayers.org\"> here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In these politically charged times, the impetus to draw parallels with similarly fraught occasions in history becomes an irresistible pastime. This month, it’s We Players’ turn, with a timely adaptation of Shakespeare’s \u003cem>Julius Caesar\u003c/em> that recalls the origins of Senate obfuscation and the long struggle to distinguish between political and personal ambition within the various seats of office and leadership.\u003c/p>\n\u003cp>Set at the music concourse in Golden Gate Park, with its grand bandshell, the gracious Rideout Fountain, and several pedestrian underpasses, the actors’ Gilded-Age top hats and waistcoats (designed by Brooke Jennings and Kathleen Qiu) lend a raffish, robber-baron aesthetic to the production, neatly fusing Old San Francisco to Old Rome.\u003c/p>\n\u003cfigure id=\"attachment_13839773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-800x520.jpg\" alt=\"\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-520x338.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cast of Caesar Maximus stroll through Golden Gate Park’s Music Concourse. \u003ccite>(Lauren Matley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frequent proponents of cross-casting, We Players has Libby Oberlin in the role of Caesar, which she plays to the hilt with brash swagger, clad in high boots and breeches and brandishing a riding crop. It is her stance as a woman in power that has turned her conspirators against her, We Players suggests, her self-assuredness mistaken for tyranny. As Caesar, Oberlin helps her conspirators set their case at certain moments—particularly when mocking a soothsayer (Emily Stone) come to warn her (not a good look, as one might say in today’s vernacular). But is such careless ego truly a mark of a tyrant? We Players forces us to consider the spectrum of self-absorption, neither excusing Caesar’s behavior nor explicitly condemning it.\u003c/p>\n\u003cp>More compact than certain past We Players productions, \u003cem>Caesar Maximus\u003c/em> (adapted by Nick Medina and director Ava Roy) practically zooms by in just a couple of hours. The action is limited to just a few locations, all within a brief stroll of each other. The cast, too, is streamlined, with most actors doubling their roles, and several characters serving as composites—such as Chris Steele’s impish Casca (who arrives to the Lupercalia on roller skates) speaking lines to woo Caesar to the Senate House originally intended by Shakespeare to be spoken by Decius Brutus. In effect, it plays like a greatest-hits reel of the play, the minutiae mostly not missed as the San Francisco fog settles in for the evening and blankets are passed out to the audience. (Pro tip: do not neglect to bring your layers.)\u003c/p>\n\u003cfigure id=\"attachment_13839772\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839772\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-800x475.jpg\" alt=\"\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-520x309.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alan Coyne, Hunter MacNair and Chris Steele as the conspirators in the plot to kill Caesar. \u003ccite>(Lauren Matley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The only really disconcerting jolt in the pacing is the swiftness with which Caesar is dispatched to her death. It happens early in the production, before it feels as if enough momentum or acrimony has gathered against her to justify the boldness of the deed. The death itself is curiously bloodless, built up with some neat, slow-motion fighting choreographed by Chris Steele, but leaving the actors in their frozen positions for much too long after. Only Antony’s mellifluous monologue, expertly delivered by Rotimi Agbabiaka, cements the moment with the appropriate solemnity. Agbabiaka anchors Caesar’s funeral scene as well, inciting a too-small mob in a too-large playing area to enact some too-staged violence, setting the stage, as it were, for the eventual downfall of Brutus (Joseph Schommer) and Cassius’ (Hunter Scott MacNair).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In every We Players show, there is a concentrated effort to mold the piece visually into its staging ground. For \u003cem>Ondine\u003c/em>, ocean spray crashing against the ruins of Sutro Baths provided an essential backdrop; for \u003cem>Hamlet\u003c/em> on Alcatraz, even the ferry boat on the way to “The Rock” was used for an introductory scene. Here at the music concourse, the actors playing the conspirators lounge against the towering pillars of the bandshell, the vaulted ceiling of which lends architectural gravitas, and high-spirited parades are led through the central promenade. Less immediately intuitive are moments when the audience is led from scene to scene as actors pose in the distance at street level with fluttering red scarves in hand, or the curious choice to eschew the conveniently located seating which already faces the bandshell stage, opting instead to arrange its audience on folding stools a few feet closer to the action.\u003c/p>\n\u003cfigure id=\"attachment_13839771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Timekeeper (Emily Stone) assists Brutus (Joseph Schommer) with his suicide, as the ghost of Caesar watches from the background. \u003ccite>(Mark Kitaoka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, the decision to end the play in the dark confines of a low tunnel arching over a pedestrian path at the far end of the concourse is an inspired one. By the beam of a single amber light—framed from behind by the bars of an iron gate, a diaphanous furl of fabric, and the unbowed ghost of Caesar—Cassius and Brutus face their final moments, assisted silently by the production’s audience guide and chief wrangler, the Timekeeper (Emily Stone).\u003c/p>\n\u003cp>Walking back into the light, flanked by overgrown foliage and a burst of pink amaryllis, feels like a triumph. For a moment, everything seems possible: the dispatching of would-be tyrants, the power of a well-turned oratorical phrase to inspire action, and the continual evolution of the “classics” in their ability to reveal modern concerns.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Caesar Maximus’ runs through Sept. 30 in Golden Gate Park. Details \u003ca href=\"http://www.weplayers.org\"> here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"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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"order": 12
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"onourwatch": {
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
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