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"content": "\u003cp>When Sophie Appel and Cole Solinger opened San Francisco’s \u003ca href=\"https://www.instagram.com/delaplanesf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Delaplane\u003c/a> gallery at 483 14th Street, they were unaware the narrow storefront was already a landmark of local art history. Theirs was a new enterprise, exhibiting young and emerging artists, many of them alums of the San Francisco Art Institute. But in the weeks and months that followed their October 2019 inaugural show, Appel and Solinger heard more and more stories from those who’d frequented the same spot in the early ’90s. They learned that Delaplane shared the address, a quarter-century removed, with a space called Kiki Gallery.\u003c/p>\n\u003cp>Despite a short existence, or perhaps because of it, Kiki is the stuff of legend. Founded in 1993 by artist and activist Rick Jacobsen, the gallery was only open for 18 months. During that time, Kiki hosted over 150 artists and performers, among them future international names and beloved Bay Area artists: Lutz Bacher, Nao Bustamante, Jerome Caja, Frances Stark, Chris Johanson, Nayland Blake, Catherine Opie, Rex Ray and \u003ca href=\"https://www.kqed.org/arts/13859939/remembering-kevin-killian-poet-playwright-and-artist-who-gave-us-courage\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Killian\u003c/a>. Arts writer Glen Helfand \u003ca href=\"https://static1.squarespace.com/static/573520facf80a15b05a67492/t/573c1a2ac6fc087da45a5ed2/1463556651523/Helfand+Art+AIDS+America+1st+text.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">remembers the space\u003c/a> as “somewhere between commercial gallery and clubhouse,” a reflection of “Jacobson’s wit, showmanship, and endearing cynicism.”\u003c/p>\n\u003cfigure id=\"attachment_13883067\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg\" alt=\"\" width=\"640\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640-160x232.jpg 160w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Delaplane, Colter Jacobson’s flag residency (left) and Lukaza Branfman-Verissimo, ‘Untitled.’ \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gallery came from Jacobsen’s desire to gather an arts community on his own, rather on behalf of an organization. Faced with his own AIDS diagnosis, he quit his job at a nonprofit and put all his money into the project. “If I couldn’t do anything firsthand about AIDS, I could be at least a motivating force in art—perhaps the next best thing,” he said in a \u003ca href=\"https://www.stretcher.org/features/kiki_exhibitions_bits/\" target=\"_blank\" rel=\"noopener noreferrer\">1994 interview\u003c/a>.\u003c/p>\n\u003cp>The city at the time was devastated by both the epidemic and an economic downturn, but Jacobsen created something vibrant, irreverent and (paradoxically) lasting. The titles of his shows speak volumes: the scatological \u003ci>Caca @ Kiki\u003c/i>; the gallows humor of \u003ci>Sick Joke: Bitterness, Sarcasm, and Irony in the Second AIDS Decade\u003c/i>; and the self-referential artiness of \u003ci>Piece: Nine Artists Consider Yoko Ono\u003c/i>, the gallery’s final exhibition in February 1995. Jacobsen died of AIDS-related lymphoma in 1997.\u003c/p>\n\u003cp>Decades later, in a very different San Francisco, the punny, carefully assembled \u003ci>Peace: Nine Artists Consider Kiki Gallery\u003c/i> honors the site-specific history of 483 14th Street, gathering artists with a direct relationship to Kiki alongside a younger generation now considering its legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show begins outside, where Lukaza Branfman-Verissimo’s window installation speaks directly to Kiki: “27 years / both born in 1993 / celebrating you / who / knew we would / be here in this / way / making a sa / fe space / for the bay / qu / eers.” With this overarching sentiment, \u003ci>Peace\u003c/i> becomes a passing of torches—not just from one group of artists to another, but back and forth, between members of a multigenerational community.\u003c/p>\n\u003cp>For those without firsthand experience of Kiki’s heyday, a booklet put together by Wayne Smith includes ephemera and pictures of individual artworks, installations and performances. (Smith encourages viewers to visit the James C. Hormel LGBTQIA Center at the San Francisco Public Library for more of the gallery’s \u003ca href=\"https://sfpl.bibliocommons.com/item/show/2108471093\" target=\"_blank\" rel=\"noopener noreferrer\">ephemera\u003c/a>.) Additional archival material comes in Delaplane’s back room, where a vitrine displays the spread-out contents of \u003ci>Kikibox\u003c/i>, a 1994 kit of editioned objects by gallery-affiliated artists.\u003c/p>\n\u003cfigure id=\"attachment_13883063\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Kikibox.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kikibox,’ 1994. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is not the first time an exhibition has been organized in memory of Kiki Gallery—Ratio 3 hosted \u003ci>\u003ca href=\"https://www.ratio3.org/exhibitions/kiki-the-proof-is-in-the-pudding/installation\" target=\"_blank\" rel=\"noopener noreferrer\">The Proof is in the Pudding\u003c/a>\u003c/i>, curated by Colter Jacobsen and Kevin Killian, in 2008. But it is the first time the honoring has happened on-site, and the shape of the space lends \u003ci>Peace\u003c/i> a special resonance.\u003c/p>\n\u003cp>The younger artists in the show respond as much to Kiki as they do the similar conditions of both galleries’ temporal surroundings: a pandemic, widespread unemployment, experiences of injustice, isolation and despair. In Kennedy Morgan’s very vertical panting (an homage to a Jim Winters screen print) \u003ci>After the Parakeet Attack\u003c/i>, a scratched and bleeding green hand draws back a curtain to reveal what looks to be a solid, impassable surface.\u003c/p>\n\u003cp>rel robinson (who has written for KQED Arts) contributes a textile piece dotted with some of the most indelible images of the last four months: the \u003ca href=\"https://www.nytimes.com/2020/03/14/technology/coronavirus-purell-wipes-amazon-sellers.html\" target=\"_blank\" rel=\"noopener noreferrer\">sanitizer stockpile\u003c/a>; the \u003ca href=\"https://www.dispatch.com/news/20200413/gop-lawmakers-protesters-call-on-dewine-to-begin-re-opening-ohio\" target=\"_blank\" rel=\"noopener noreferrer\">Ohio zombies\u003c/a>; \u003ca href=\"https://www.instagram.com/p/B9w3JvYjQ5S/\" target=\"_blank\" rel=\"noopener noreferrer\">penguins\u003c/a> freed from their aquarium bounds. The application of digital images onto tangible, domestic materials conjures a vision of a feed scrolled while propped up in bed—a new world experienced through one’s screen.\u003c/p>\n\u003cfigure id=\"attachment_13883062\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_install_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Peace’: Kennedy Morgan, ‘After the Parakeet Attack (left); Ocean Escalanti, ‘Hole in the Wall,’ 2020 (right); D-L Alvarez, ‘Scar,’ 2020 (above). \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite plenty of reasons for despair, some of the artists in \u003ci>Peace\u003c/i> do find—well, \u003ci>peace\u003c/i>. In Ocean Escalanti’s small acrylic painting \u003ci>Hole in the Wall\u003c/i>, lush greenery and peeping eyes surround a vignette of two heads close together, a perfect depiction of the safe space described by Branfman-Verissimo’s installation. And back outside, Delaplane’s “flag residency” hoists a charming banner by Colter Jacobsen that resembles a giant, almost empty roll of polka-dotted toilet paper. (\u003ci>Caca @ Kiki\u003c/i>, indeed.)\u003c/p>\n\u003cp>Representing the original members of the Kiki scene, D-L Alvarez, Cliff Hengst, Scott Hewicker and Jennifer Locke present works that reference both then and now. Alvarez’s delicate graphite-on-paper works, collectively titled \u003ci>Peanut\u003c/i>, carry weight without explaining themselves, personal scraps of memory and influence that sit comfortably above Smith’s booklet, itself a Kiki scrapbook.\u003c/p>\n\u003cp>Next on the wall, Hengst’s untitled painting, reading “IT IS HER,” references a voicemail Yoko Ono herself left at the gallery, on the occasion of Kiki’s final show. The slight pink tinge at the upper right corner of the canvas is a nice echo of Alvarez’s other contribution to \u003ci>Peace\u003c/i>, a dotted line of plaster and pigment that traces the shape of Kiki’s former loft at the back of the main gallery.\u003c/p>\n\u003cfigure id=\"attachment_13883166\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Locke_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13883166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Jennifer Locke, ‘Séance for R.J. (Candle, Rubber, Levitation, Blood),’ 2020. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a narrow hallway between the front and back spaces, a video by Locke fits snugly into an odd little corner, playing a short loop of repeated rituals—a seance for Jacobsen, but also an evocation of life under shelter in place. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Locke_1200.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">A scene\u003c/a> of a condom rolled over a dildo is nicely matched by Hewicker’s sex toy still life.)\u003c/p>\n\u003cp>The exhibition’s parting elements come from Sahar Khoury, in a stacked floor sculpture of boxes and a mixed media textile piece made out of an SFMOMA tote bag. “I like everything about you but you,” the modified canvas bag reads, a fitting comment on the museum’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" target=\"_blank\" rel=\"noopener noreferrer\">recent inability\u003c/a> to take a stance on racial justice.\u003c/p>\n\u003cp>There’s nothing monumental in \u003ci>Peace\u003c/i>. Most of the work is small-scale, provisional, made with materials that don’t fit many definitions of “high art.” And yet in these artworks, the principles for which Kiki stood, the ideas that compelled Jacobsen to open its doors in the first place, persist. \u003ci>Peace\u003c/i> underscores the importance of making art in difficult times—as a way of documenting, but also transcending. 483 14th Street is once again a space for the exchange of artistic ideas; in this case, a conversation that spans at least one participant’s entire lifetime. And until we can gather for events that might live up to Kiki’s legendary status, those exchanges will happen one viewer at a time, in half-hour increments.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Peace: Nine Artists Consider Kiki Gallery’ is on view though July 25 at Delaplane (483 14th Street, San Francisco). Open by appointment, \u003ca href=\"https://calendly.com/delaplane\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Sophie Appel and Cole Solinger opened San Francisco’s \u003ca href=\"https://www.instagram.com/delaplanesf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Delaplane\u003c/a> gallery at 483 14th Street, they were unaware the narrow storefront was already a landmark of local art history. Theirs was a new enterprise, exhibiting young and emerging artists, many of them alums of the San Francisco Art Institute. But in the weeks and months that followed their October 2019 inaugural show, Appel and Solinger heard more and more stories from those who’d frequented the same spot in the early ’90s. They learned that Delaplane shared the address, a quarter-century removed, with a space called Kiki Gallery.\u003c/p>\n\u003cp>Despite a short existence, or perhaps because of it, Kiki is the stuff of legend. Founded in 1993 by artist and activist Rick Jacobsen, the gallery was only open for 18 months. During that time, Kiki hosted over 150 artists and performers, among them future international names and beloved Bay Area artists: Lutz Bacher, Nao Bustamante, Jerome Caja, Frances Stark, Chris Johanson, Nayland Blake, Catherine Opie, Rex Ray and \u003ca href=\"https://www.kqed.org/arts/13859939/remembering-kevin-killian-poet-playwright-and-artist-who-gave-us-courage\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Killian\u003c/a>. Arts writer Glen Helfand \u003ca href=\"https://static1.squarespace.com/static/573520facf80a15b05a67492/t/573c1a2ac6fc087da45a5ed2/1463556651523/Helfand+Art+AIDS+America+1st+text.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">remembers the space\u003c/a> as “somewhere between commercial gallery and clubhouse,” a reflection of “Jacobson’s wit, showmanship, and endearing cynicism.”\u003c/p>\n\u003cfigure id=\"attachment_13883067\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg\" alt=\"\" width=\"640\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640-160x232.jpg 160w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Delaplane, Colter Jacobson’s flag residency (left) and Lukaza Branfman-Verissimo, ‘Untitled.’ \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gallery came from Jacobsen’s desire to gather an arts community on his own, rather on behalf of an organization. Faced with his own AIDS diagnosis, he quit his job at a nonprofit and put all his money into the project. “If I couldn’t do anything firsthand about AIDS, I could be at least a motivating force in art—perhaps the next best thing,” he said in a \u003ca href=\"https://www.stretcher.org/features/kiki_exhibitions_bits/\" target=\"_blank\" rel=\"noopener noreferrer\">1994 interview\u003c/a>.\u003c/p>\n\u003cp>The city at the time was devastated by both the epidemic and an economic downturn, but Jacobsen created something vibrant, irreverent and (paradoxically) lasting. The titles of his shows speak volumes: the scatological \u003ci>Caca @ Kiki\u003c/i>; the gallows humor of \u003ci>Sick Joke: Bitterness, Sarcasm, and Irony in the Second AIDS Decade\u003c/i>; and the self-referential artiness of \u003ci>Piece: Nine Artists Consider Yoko Ono\u003c/i>, the gallery’s final exhibition in February 1995. Jacobsen died of AIDS-related lymphoma in 1997.\u003c/p>\n\u003cp>Decades later, in a very different San Francisco, the punny, carefully assembled \u003ci>Peace: Nine Artists Consider Kiki Gallery\u003c/i> honors the site-specific history of 483 14th Street, gathering artists with a direct relationship to Kiki alongside a younger generation now considering its legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show begins outside, where Lukaza Branfman-Verissimo’s window installation speaks directly to Kiki: “27 years / both born in 1993 / celebrating you / who / knew we would / be here in this / way / making a sa / fe space / for the bay / qu / eers.” With this overarching sentiment, \u003ci>Peace\u003c/i> becomes a passing of torches—not just from one group of artists to another, but back and forth, between members of a multigenerational community.\u003c/p>\n\u003cp>For those without firsthand experience of Kiki’s heyday, a booklet put together by Wayne Smith includes ephemera and pictures of individual artworks, installations and performances. (Smith encourages viewers to visit the James C. Hormel LGBTQIA Center at the San Francisco Public Library for more of the gallery’s \u003ca href=\"https://sfpl.bibliocommons.com/item/show/2108471093\" target=\"_blank\" rel=\"noopener noreferrer\">ephemera\u003c/a>.) Additional archival material comes in Delaplane’s back room, where a vitrine displays the spread-out contents of \u003ci>Kikibox\u003c/i>, a 1994 kit of editioned objects by gallery-affiliated artists.\u003c/p>\n\u003cfigure id=\"attachment_13883063\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Kikibox.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kikibox,’ 1994. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is not the first time an exhibition has been organized in memory of Kiki Gallery—Ratio 3 hosted \u003ci>\u003ca href=\"https://www.ratio3.org/exhibitions/kiki-the-proof-is-in-the-pudding/installation\" target=\"_blank\" rel=\"noopener noreferrer\">The Proof is in the Pudding\u003c/a>\u003c/i>, curated by Colter Jacobsen and Kevin Killian, in 2008. But it is the first time the honoring has happened on-site, and the shape of the space lends \u003ci>Peace\u003c/i> a special resonance.\u003c/p>\n\u003cp>The younger artists in the show respond as much to Kiki as they do the similar conditions of both galleries’ temporal surroundings: a pandemic, widespread unemployment, experiences of injustice, isolation and despair. In Kennedy Morgan’s very vertical panting (an homage to a Jim Winters screen print) \u003ci>After the Parakeet Attack\u003c/i>, a scratched and bleeding green hand draws back a curtain to reveal what looks to be a solid, impassable surface.\u003c/p>\n\u003cp>rel robinson (who has written for KQED Arts) contributes a textile piece dotted with some of the most indelible images of the last four months: the \u003ca href=\"https://www.nytimes.com/2020/03/14/technology/coronavirus-purell-wipes-amazon-sellers.html\" target=\"_blank\" rel=\"noopener noreferrer\">sanitizer stockpile\u003c/a>; the \u003ca href=\"https://www.dispatch.com/news/20200413/gop-lawmakers-protesters-call-on-dewine-to-begin-re-opening-ohio\" target=\"_blank\" rel=\"noopener noreferrer\">Ohio zombies\u003c/a>; \u003ca href=\"https://www.instagram.com/p/B9w3JvYjQ5S/\" target=\"_blank\" rel=\"noopener noreferrer\">penguins\u003c/a> freed from their aquarium bounds. The application of digital images onto tangible, domestic materials conjures a vision of a feed scrolled while propped up in bed—a new world experienced through one’s screen.\u003c/p>\n\u003cfigure id=\"attachment_13883062\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_install_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Peace’: Kennedy Morgan, ‘After the Parakeet Attack (left); Ocean Escalanti, ‘Hole in the Wall,’ 2020 (right); D-L Alvarez, ‘Scar,’ 2020 (above). \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite plenty of reasons for despair, some of the artists in \u003ci>Peace\u003c/i> do find—well, \u003ci>peace\u003c/i>. In Ocean Escalanti’s small acrylic painting \u003ci>Hole in the Wall\u003c/i>, lush greenery and peeping eyes surround a vignette of two heads close together, a perfect depiction of the safe space described by Branfman-Verissimo’s installation. And back outside, Delaplane’s “flag residency” hoists a charming banner by Colter Jacobsen that resembles a giant, almost empty roll of polka-dotted toilet paper. (\u003ci>Caca @ Kiki\u003c/i>, indeed.)\u003c/p>\n\u003cp>Representing the original members of the Kiki scene, D-L Alvarez, Cliff Hengst, Scott Hewicker and Jennifer Locke present works that reference both then and now. Alvarez’s delicate graphite-on-paper works, collectively titled \u003ci>Peanut\u003c/i>, carry weight without explaining themselves, personal scraps of memory and influence that sit comfortably above Smith’s booklet, itself a Kiki scrapbook.\u003c/p>\n\u003cp>Next on the wall, Hengst’s untitled painting, reading “IT IS HER,” references a voicemail Yoko Ono herself left at the gallery, on the occasion of Kiki’s final show. The slight pink tinge at the upper right corner of the canvas is a nice echo of Alvarez’s other contribution to \u003ci>Peace\u003c/i>, a dotted line of plaster and pigment that traces the shape of Kiki’s former loft at the back of the main gallery.\u003c/p>\n\u003cfigure id=\"attachment_13883166\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Locke_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13883166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Jennifer Locke, ‘Séance for R.J. (Candle, Rubber, Levitation, Blood),’ 2020. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a narrow hallway between the front and back spaces, a video by Locke fits snugly into an odd little corner, playing a short loop of repeated rituals—a seance for Jacobsen, but also an evocation of life under shelter in place. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Locke_1200.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">A scene\u003c/a> of a condom rolled over a dildo is nicely matched by Hewicker’s sex toy still life.)\u003c/p>\n\u003cp>The exhibition’s parting elements come from Sahar Khoury, in a stacked floor sculpture of boxes and a mixed media textile piece made out of an SFMOMA tote bag. “I like everything about you but you,” the modified canvas bag reads, a fitting comment on the museum’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" target=\"_blank\" rel=\"noopener noreferrer\">recent inability\u003c/a> to take a stance on racial justice.\u003c/p>\n\u003cp>There’s nothing monumental in \u003ci>Peace\u003c/i>. Most of the work is small-scale, provisional, made with materials that don’t fit many definitions of “high art.” And yet in these artworks, the principles for which Kiki stood, the ideas that compelled Jacobsen to open its doors in the first place, persist. \u003ci>Peace\u003c/i> underscores the importance of making art in difficult times—as a way of documenting, but also transcending. 483 14th Street is once again a space for the exchange of artistic ideas; in this case, a conversation that spans at least one participant’s entire lifetime. And until we can gather for events that might live up to Kiki’s legendary status, those exchanges will happen one viewer at a time, in half-hour increments.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Peace: Nine Artists Consider Kiki Gallery’ is on view though July 25 at Delaplane (483 14th Street, San Francisco). Open by appointment, \u003ca href=\"https://calendly.com/delaplane\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mural Painting in SF’s Chinatown in Solidarity with Black Lives Matter",
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"content": "\u003cp>In solidarity with the Black Lives Matter movement, San Francisco’s \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a> has organized a day of painting in Portsmouth Square.\u003c/p>\n\u003cp>On Saturday, June 20, 11am–2pm, artists and volunteers, led by artist Vida Kuang, will paint messages in support of racial justice in the historic gathering place, continuing the square’s legacy as a site of actions, protests and resistance to white supremacy.\u003c/p>\n\u003cp>Members of the public are invited to join in the project, which will render messages in both English and Chinese. The CCC will provide painting supplies, gloves, hand-sanitizer and instructions. Volunteers are asked to bring “mess-friendly clothing” and open minds.\u003c/p>\n\u003cp>The event is timed to coincide with \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth\u003c/a> celebrations honoring Black freedom and resistance.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/1661384060682427/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In solidarity with the Black Lives Matter movement, San Francisco’s \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a> has organized a day of painting in Portsmouth Square.\u003c/p>\n\u003cp>On Saturday, June 20, 11am–2pm, artists and volunteers, led by artist Vida Kuang, will paint messages in support of racial justice in the historic gathering place, continuing the square’s legacy as a site of actions, protests and resistance to white supremacy.\u003c/p>\n\u003cp>Members of the public are invited to join in the project, which will render messages in both English and Chinese. The CCC will provide painting supplies, gloves, hand-sanitizer and instructions. Volunteers are asked to bring “mess-friendly clothing” and open minds.\u003c/p>\n\u003cp>The event is timed to coincide with \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth\u003c/a> celebrations honoring Black freedom and resistance.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/1661384060682427/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Haunted House on Lombard Street That Left a Trail of Tragedy",
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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\">P\u003c/span>at Montandon’s ordeal began at her own party. It was 1968 and the socialite had invited the glitterati of San Francisco to her home at 1000 Lombard Street. The theme was astrology; guests were paired up according to zodiac sign and offered psychic readings from a palmist, a crystal-ball gazer, an astrologer and a tarot reader. At the end of the night, buoyed by compliments from her guests, Montandon felt certain that the party had been a “brilliant success.” Two years later, she recognized it as the start of an unyielding nightmare.\u003c/p>\n\u003cp>Montandon, then 39, was a columnist for the \u003cem>Examiner\u003c/em>, a popular host on the local TV station KGO and the author of a book inspired by her legendary soirée-throwing skills, \u003ca href=\"https://www.goodreads.com/book/show/1638162.How_To_Be_A_Party_Girl\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>How To Be A Party Girl\u003c/em>\u003c/a>. She was vivacious, beautiful and her life was positively enviable … until all of a sudden, it wasn’t.\u003c/p>\n\u003cp>The night of the astrology party, the tarot reader flew into a rage after Montandon forgot to bring him a drink. In \u003ca href=\"https://www.goodreads.com/book/show/1075886.The_Intruders\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Intruders\u003c/em>\u003c/a>, her incredible 1975 book about the events that followed, she wrote:\u003c/p>\n\u003cblockquote>\u003cp>Quivering with rage, he directed a stream of abuse at me: He had never been treated so rudely, I was an insufferable, ungracious hostess, he was leaving, but not before he made certain I would never have any happy moments in that house again. He fixed me with a glare, his face puffed and distorted. ‘I lay a curse upon you and this house. I do not forget, and I do not forgive. Remember that!’\u003c/p>\u003c/blockquote>\n\u003cp>Within weeks, Montandon’s life was falling apart. At home, she was subjected to paranormal events so relentless, they quickly transformed her from a skeptic into a believer. She was plagued by locked doors and windows opening themselves, and freezing temperatures that persisted despite a thermostat turned up to 90 degrees. She was routinely awoken at two in the morning, and she heard strange footsteps and music—specifically a song called “\u003ca href=\"https://www.youtube.com/watch?v=g0OSRuaKKig\" target=\"_blank\" rel=\"noopener noreferrer\">Mockin’ Bird Hill\u003c/a>,” on repeat. [aside postid='arts_13892672']\u003c/p>\n\u003cp>Her home was broken into and ransacked. Her car was destroyed. When she tried to throw another party, a mysterious fire broke out. She was physically assaulted by a date who had to be forcibly removed from the house by police. She was threatened by her new neighbors, a gang of drug dealers. She was forced to give up her beloved Lhasa Apso who developed sores and became so fearful inside the house that he started pulling his own fur out. (The dog returned to full health as soon as he was re-homed.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While in the house, Montandon suffered bouts of dizziness, headaches and disorientation. One night, these symptoms became so severe, she almost overdosed on medication. Worst of all, within three years of the tarot reader’s curse, three of the women closest to her—all young and healthy, all of whom had resided in the house for short stints after the astrology party—were dead.\u003c/p>\n\u003cp>Two of them, Montandon’s cousin Carolyn and a young assistant named Vera Scott (both of whom had been terrified by the house while living there) died by suicide. The third woman, Montandon’s best friend and secretary Mary Lou Ward, died in the home under circumstances so mysterious, a cause of death has never been determined.\u003c/p>\n\u003cp>Here’s what happened. In May 1969, Montandon abandoned the house to live with her new husband, Alfred Wilsey, who moved the date of their wedding up in an effort to loose her from the building’s clutches even faster. Montandon was unable to get out of her lease, and the Lombard Street house sat empty for weeks until Ward asked if she might stay there—she was looking to give her own newlywed daughter and son-in-law some space to themselves in her home. Montandon agreed, but recalls saying: “You’re sure you’re not afraid? I wouldn’t go back on a bet.”\u003c/p>\n\u003cp>One week later, after flames were spotted by a neighbor, Ward was found face down on the bed in Montandon’s bedroom, severely burned. All of the windows and doors to the room were locked. At the inquest, it was determined that the 47-year-old had died before the fire started, but no one could figure out how or why.\u003c/p>\n\u003cp>Coroner Dr. Henry W. Turkel stated:\u003c/p>\n\u003cblockquote>\u003cp>I should explain to you … that we have examined Mary Louise Ward as carefully as we know how and at great length, and we cannot establish any reason for her death. We don’t know why she died.\u003c/p>\u003c/blockquote>\n\u003cp>George Lucas, an inspector from the SFFD who also worked on the case, was equally confounded about the fire’s origin, especially since it broke out \u003cem>after\u003c/em> Ward died and she was home alone. He later wrote to Montandon:\u003c/p>\n\u003cblockquote>\u003cp>I personally went back to that apartment on my own several times to try to solve the mystery there. In my 22 years as a member of the fire department, I have had lots of experiences of death by fire. There was something about this one that just wasn’t right.\u003c/p>\u003c/blockquote>\n\u003cp>Tortured by the fact that the investigation into Ward’s death created more questions than answers, Montandon went about doing her own detective work. Before her death, Ward had told Montandon she didn’t think the tarot reader’s curse was entirely to blame for the run of strange activity that followed. “I think it was already there,” she told Montandon. “Maybe his influence just called it out.”\u003c/p>\n\u003cp>Montandon’s investigation seemed to back up Ward’s theory. She discovered that former tenants of 1000 Lombard Street had uncommonly high rates of both divorce and alcohol dependency. One complained of developing a puzzling illness while living there that she never entirely got rid of, even years after leaving. [aside postid='pop_103040']\u003c/p>\n\u003cp>In addition, at least one woman had died by suicide in the house. Neighbors who knew the deceased later told Montandon that, before the former resident took her life, she listened to music at all hours of the day and night—specifically the song “Mockin’ Bird Hill.” Before her suicide, Montandon’s cousin Carolyn confessed she continued to hear the song even after she moved away from Lombard Street.\u003c/p>\n\u003cp>After Montandon’s ex-landlord sold the building in 1973, he told the writer: “That building surely was a voodoo for me. It had a hex on it. I had more trouble there than I’ve ever had in my life. It was hard to unload.” And in a later letter, he wrote, “I was glad when I finally sold it in 1973.” He got $150,000 for the property.\u003c/p>\n\u003cp>In 2019, 1000 Lombard Street sold for the first time since. And though initially listed for $7,850,000, it ended up selling for \u003ca href=\"https://www.realtor.com/realestateandhomes-detail/1000-Lombard-St_San-Francisco_CA_94109_M10037-31155\" target=\"_blank\" rel=\"noopener noreferrer\">$5,100,000\u003c/a>. Which, for a 12-room, 3-story home with breathtaking views of the Bay and a prime position at the bottom of the Lombard Street wiggle, seems fairly cheap by San Francisco standards. (There are currently 5-bedroom homes in the neighborhood on the market \u003ca href=\"https://www.redfin.com/neighborhood/2352/CA/San-Francisco/Russian-Hill/filter/viewport=37.80419:37.79803:-122.41312:-122.42467?\" target=\"_blank\" rel=\"noopener noreferrer\">for more\u003c/a>.)\u003c/p>\n\u003cp>Pat Montandon sent two psychics to investigate 1000 Lombard Street in 1973. They emerged with strange photographs that seemed to change over time, and an ominous analysis of the spiritual state of the home. Though efforts were made to shield Montandon from the things she had experienced there, the paranormal experts were unable to clear the house of the unusual activity that plagued it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One of the investigators, Frank R. Nocerino, wrote a summary for Montandon afterwards. “You are and will be protected from anything in the house by an exorcism that my group and I have done from a distance, and from symbols left behind in the house itself,” he told her. “I can only again suggest that you do not go there if at all possible. In particular, never go alone.”\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\">P\u003c/span>at Montandon’s ordeal began at her own party. It was 1968 and the socialite had invited the glitterati of San Francisco to her home at 1000 Lombard Street. The theme was astrology; guests were paired up according to zodiac sign and offered psychic readings from a palmist, a crystal-ball gazer, an astrologer and a tarot reader. At the end of the night, buoyed by compliments from her guests, Montandon felt certain that the party had been a “brilliant success.” Two years later, she recognized it as the start of an unyielding nightmare.\u003c/p>\n\u003cp>Montandon, then 39, was a columnist for the \u003cem>Examiner\u003c/em>, a popular host on the local TV station KGO and the author of a book inspired by her legendary soirée-throwing skills, \u003ca href=\"https://www.goodreads.com/book/show/1638162.How_To_Be_A_Party_Girl\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>How To Be A Party Girl\u003c/em>\u003c/a>. She was vivacious, beautiful and her life was positively enviable … until all of a sudden, it wasn’t.\u003c/p>\n\u003cp>The night of the astrology party, the tarot reader flew into a rage after Montandon forgot to bring him a drink. In \u003ca href=\"https://www.goodreads.com/book/show/1075886.The_Intruders\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Intruders\u003c/em>\u003c/a>, her incredible 1975 book about the events that followed, she wrote:\u003c/p>\n\u003cblockquote>\u003cp>Quivering with rage, he directed a stream of abuse at me: He had never been treated so rudely, I was an insufferable, ungracious hostess, he was leaving, but not before he made certain I would never have any happy moments in that house again. He fixed me with a glare, his face puffed and distorted. ‘I lay a curse upon you and this house. I do not forget, and I do not forgive. Remember that!’\u003c/p>\u003c/blockquote>\n\u003cp>Within weeks, Montandon’s life was falling apart. At home, she was subjected to paranormal events so relentless, they quickly transformed her from a skeptic into a believer. She was plagued by locked doors and windows opening themselves, and freezing temperatures that persisted despite a thermostat turned up to 90 degrees. She was routinely awoken at two in the morning, and she heard strange footsteps and music—specifically a song called “\u003ca href=\"https://www.youtube.com/watch?v=g0OSRuaKKig\" target=\"_blank\" rel=\"noopener noreferrer\">Mockin’ Bird Hill\u003c/a>,” on repeat. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her home was broken into and ransacked. Her car was destroyed. When she tried to throw another party, a mysterious fire broke out. She was physically assaulted by a date who had to be forcibly removed from the house by police. She was threatened by her new neighbors, a gang of drug dealers. She was forced to give up her beloved Lhasa Apso who developed sores and became so fearful inside the house that he started pulling his own fur out. (The dog returned to full health as soon as he was re-homed.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While in the house, Montandon suffered bouts of dizziness, headaches and disorientation. One night, these symptoms became so severe, she almost overdosed on medication. Worst of all, within three years of the tarot reader’s curse, three of the women closest to her—all young and healthy, all of whom had resided in the house for short stints after the astrology party—were dead.\u003c/p>\n\u003cp>Two of them, Montandon’s cousin Carolyn and a young assistant named Vera Scott (both of whom had been terrified by the house while living there) died by suicide. The third woman, Montandon’s best friend and secretary Mary Lou Ward, died in the home under circumstances so mysterious, a cause of death has never been determined.\u003c/p>\n\u003cp>Here’s what happened. In May 1969, Montandon abandoned the house to live with her new husband, Alfred Wilsey, who moved the date of their wedding up in an effort to loose her from the building’s clutches even faster. Montandon was unable to get out of her lease, and the Lombard Street house sat empty for weeks until Ward asked if she might stay there—she was looking to give her own newlywed daughter and son-in-law some space to themselves in her home. Montandon agreed, but recalls saying: “You’re sure you’re not afraid? I wouldn’t go back on a bet.”\u003c/p>\n\u003cp>One week later, after flames were spotted by a neighbor, Ward was found face down on the bed in Montandon’s bedroom, severely burned. All of the windows and doors to the room were locked. At the inquest, it was determined that the 47-year-old had died before the fire started, but no one could figure out how or why.\u003c/p>\n\u003cp>Coroner Dr. Henry W. Turkel stated:\u003c/p>\n\u003cblockquote>\u003cp>I should explain to you … that we have examined Mary Louise Ward as carefully as we know how and at great length, and we cannot establish any reason for her death. We don’t know why she died.\u003c/p>\u003c/blockquote>\n\u003cp>George Lucas, an inspector from the SFFD who also worked on the case, was equally confounded about the fire’s origin, especially since it broke out \u003cem>after\u003c/em> Ward died and she was home alone. He later wrote to Montandon:\u003c/p>\n\u003cblockquote>\u003cp>I personally went back to that apartment on my own several times to try to solve the mystery there. In my 22 years as a member of the fire department, I have had lots of experiences of death by fire. There was something about this one that just wasn’t right.\u003c/p>\u003c/blockquote>\n\u003cp>Tortured by the fact that the investigation into Ward’s death created more questions than answers, Montandon went about doing her own detective work. Before her death, Ward had told Montandon she didn’t think the tarot reader’s curse was entirely to blame for the run of strange activity that followed. “I think it was already there,” she told Montandon. “Maybe his influence just called it out.”\u003c/p>\n\u003cp>Montandon’s investigation seemed to back up Ward’s theory. She discovered that former tenants of 1000 Lombard Street had uncommonly high rates of both divorce and alcohol dependency. One complained of developing a puzzling illness while living there that she never entirely got rid of, even years after leaving. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition, at least one woman had died by suicide in the house. Neighbors who knew the deceased later told Montandon that, before the former resident took her life, she listened to music at all hours of the day and night—specifically the song “Mockin’ Bird Hill.” Before her suicide, Montandon’s cousin Carolyn confessed she continued to hear the song even after she moved away from Lombard Street.\u003c/p>\n\u003cp>After Montandon’s ex-landlord sold the building in 1973, he told the writer: “That building surely was a voodoo for me. It had a hex on it. I had more trouble there than I’ve ever had in my life. It was hard to unload.” And in a later letter, he wrote, “I was glad when I finally sold it in 1973.” He got $150,000 for the property.\u003c/p>\n\u003cp>In 2019, 1000 Lombard Street sold for the first time since. And though initially listed for $7,850,000, it ended up selling for \u003ca href=\"https://www.realtor.com/realestateandhomes-detail/1000-Lombard-St_San-Francisco_CA_94109_M10037-31155\" target=\"_blank\" rel=\"noopener noreferrer\">$5,100,000\u003c/a>. Which, for a 12-room, 3-story home with breathtaking views of the Bay and a prime position at the bottom of the Lombard Street wiggle, seems fairly cheap by San Francisco standards. (There are currently 5-bedroom homes in the neighborhood on the market \u003ca href=\"https://www.redfin.com/neighborhood/2352/CA/San-Francisco/Russian-Hill/filter/viewport=37.80419:37.79803:-122.41312:-122.42467?\" target=\"_blank\" rel=\"noopener noreferrer\">for more\u003c/a>.)\u003c/p>\n\u003cp>Pat Montandon sent two psychics to investigate 1000 Lombard Street in 1973. They emerged with strange photographs that seemed to change over time, and an ominous analysis of the spiritual state of the home. Though efforts were made to shield Montandon from the things she had experienced there, the paranormal experts were unable to clear the house of the unusual activity that plagued it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003cstrong>UPDATE, 1:30pm\u003c/strong>: The sound is intentional. See below.\u003c/em>\u003c/p>\n\u003cp>If you are anywhere in the vicinity of the Golden Gate Bridge right now, you are probably asking yourself: What in the world is that sound? A long, loud hum from a deep sea creature? Alien frequencies from outer space? An enormous sigh from San Francisco’s greatest landmark, finally registering its dismay at the state of the world?\u003c/p>\n\u003cp>Nope—the eerie sound you’re hearing from the Golden Gate Bridge is in fact the result of \u003ca href=\"https://twitter.com/SF311/status/1269143762225238016\" target=\"_blank\" rel=\"noopener noreferrer\">new sidewalk railing slats\u003c/a>, just installed, meant to better handle the wind. Funny thing about wind: when it passes through certain open spaces, it creates a hum. This is how all reed instruments work, and because it spans a very windy gap across the Bay, the Golden Gate Bridge is now effectively a giant orange wheezing kazoo.\u003c/p>\n\u003cp>https://twitter.com/chilibrianno/status/1269136076196601856\u003c/p>\n\u003cp>It’s something that the engineers of said sidewalk panels \u003cdel datetime=\"2020-06-06T20:24:44+00:00\">\u003ca href=\"https://twitter.com/SF311/status/1269143762225238016\" target=\"_blank\" rel=\"noopener noreferrer\">apparently forgot\u003c/a> to take into consideration\u003c/del>. \u003cstrong>UPDATE: The sound is intentional\u003c/strong>. Or, at least, known about in advance.\u003c/p>\n\u003cp>According to a statement Saturday morning by Paolo Cosulich-Schwartz of the Bridge District, “The Golden Gate Bridge has started to sing. The new musical tones coming from the bridge are a known and inevitable phenomenon that stem from our wind retrofit during very high winds.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosulich-Schwartz adds: “As part of the design process, the District did extensive studies on the impacts of the project, including wind tunnel testing of a scale model of the Golden Gate Bridge under high winds.” Those tests, \u003ca href=\"https://youtu.be/PYS6Z3pbmsA\" target=\"_blank\" rel=\"noopener noreferrer\">seen in a video here\u003c/a>, showed that the bridge “would begin to hum” when air passed through it more freely.\u003c/p>\n\u003cp>And it looks like the strange sound is here to stay. The aerodynamic retrofit, on the western, bike-lane side of the bridge, is “necessary to ensure the safety and structural integrity of the bridge for generations to come,” Cosulich-Schwartz says.\u003c/p>\n\u003cp>Which means: goodbye fog horns, hello \u003cem>HOOOOOOOOOWWWWWWWWWWHHHHHHHHHHOOOOOOOOOMMMMMMMMMMAAAAAUUUUHH\u003c/em>.\u003c/p>\n\u003cp>https://twitter.com/RaemondBW/status/1269110206161547265\u003c/p>\n\u003cp>This is… going to drive everyone crazy?\u003c/p>\n\u003cp>https://youtu.be/IfsZ585gTnE\u003c/p>\n\u003cp>And, since the sound can be heard from miles away, the city is now one big David Lynch movie.\u003c/p>\n\u003cp>https://twitter.com/Shirin_Jnk/status/1269143410268467200\u003c/p>\n\u003cp>Hooray for us, San Francisco! We’ve managed to add one more completely bonkers thing to the year 2020.\u003c/p>\n\u003cp>https://twitter.com/gmeline/status/1269316331716833282\u003c/p>\n\u003cp>(Want to tell the city that, like, you dig Brian Eno and everything, but you don’t really need to hear ambient drones day and night? \u003ca href=\"https://twitter.com/SF311/status/1269170943257202691\" target=\"_blank\" rel=\"noopener noreferrer\">Here’s how to get in touch with the right people\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>UPDATE, 1:30pm\u003c/strong>: The sound is intentional. See below.\u003c/em>\u003c/p>\n\u003cp>If you are anywhere in the vicinity of the Golden Gate Bridge right now, you are probably asking yourself: What in the world is that sound? A long, loud hum from a deep sea creature? Alien frequencies from outer space? An enormous sigh from San Francisco’s greatest landmark, finally registering its dismay at the state of the world?\u003c/p>\n\u003cp>Nope—the eerie sound you’re hearing from the Golden Gate Bridge is in fact the result of \u003ca href=\"https://twitter.com/SF311/status/1269143762225238016\" target=\"_blank\" rel=\"noopener noreferrer\">new sidewalk railing slats\u003c/a>, just installed, meant to better handle the wind. Funny thing about wind: when it passes through certain open spaces, it creates a hum. This is how all reed instruments work, and because it spans a very windy gap across the Bay, the Golden Gate Bridge is now effectively a giant orange wheezing kazoo.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cosulich-Schwartz adds: “As part of the design process, the District did extensive studies on the impacts of the project, including wind tunnel testing of a scale model of the Golden Gate Bridge under high winds.” Those tests, \u003ca href=\"https://youtu.be/PYS6Z3pbmsA\" target=\"_blank\" rel=\"noopener noreferrer\">seen in a video here\u003c/a>, showed that the bridge “would begin to hum” when air passed through it more freely.\u003c/p>\n\u003cp>And it looks like the strange sound is here to stay. The aerodynamic retrofit, on the western, bike-lane side of the bridge, is “necessary to ensure the safety and structural integrity of the bridge for generations to come,” Cosulich-Schwartz says.\u003c/p>\n\u003cp>Which means: goodbye fog horns, hello \u003cem>HOOOOOOOOOWWWWWWWWWWHHHHHHHHHHOOOOOOOOOMMMMMMMMMMAAAAAUUUUHH\u003c/em>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This is… going to drive everyone crazy?\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/IfsZ585gTnE'\n title='//www.youtube.com/embed/IfsZ585gTnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And, since the sound can be heard from miles away, the city is now one big David Lynch movie.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Hooray for us, San Francisco! We’ve managed to add one more completely bonkers thing to the year 2020.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>(Want to tell the city that, like, you dig Brian Eno and everything, but you don’t really need to hear ambient drones day and night? \u003ca href=\"https://twitter.com/SF311/status/1269170943257202691\" target=\"_blank\" rel=\"noopener noreferrer\">Here’s how to get in touch with the right people\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Editor’s note: KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. New episodes premiere every two weeks.\u003c/em>\u003c/p>\n\u003cp>In the heart of the Mission, the pulsing beat of the neighborhood’s dense and vibrant mix of Latinx cultures comes from the clicking heels and toes of tap shoes.\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"https://vanessasanchez.net/lamezcla/\" target=\"_blank\" rel=\"noopener noreferrer\">La Mezcla dance company\u003c/a>, founded and led by Vanessa Sanchez, uses dance and song to tell stories of Chicana history, culture and resistance. Blending tap dance and zapateado (rhythmic footwork from Mexico), Sanchez describes La Mezcla’s unique dance style as “zapatap.”\u003c/p>\n\u003cfigure id=\"attachment_13880685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880685\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/ICCD_304_20200301_FS70143.MXF_.10_00_35_20.Still001-2-800x450.jpg\" alt=\"Vanessa Sanchez of La Mezcla.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCD_304_20200301_FS70143.MXF_.10_00_35_20.Still001-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCD_304_20200301_FS70143.MXF_.10_00_35_20.Still001-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCD_304_20200301_FS70143.MXF_.10_00_35_20.Still001-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCD_304_20200301_FS70143.MXF_.10_00_35_20.Still001-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCD_304_20200301_FS70143.MXF_.10_00_35_20.Still001-2.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Sanchez of La Mezcla (Photo by Elie Khadra)\u003c/figcaption>\u003c/figure>\n\u003cp>“Tap was one of those styles that just made sense to me,” Sanchez explains. “I was always a bit of an outsider and this speaks to why I do what I do now, because a lot of dance training and dance schools don’t necessarily fit dancers of color who are coming into the space.”\u003c/p>\n\u003cp>Zapatap draws on the history of tap as a form of African American resistance; on the Afro-Mexican dance and music tradition of son jarocho; and, in La Mezcla’s most recent show, \u003ca href=\"https://vanessasanchez.net/pachuquismo-2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Pachuquísmo\u003c/i>\u003c/a>, on the story of zoot-suited Chicanas in 1940s Los Angeles.\u003c/p>\n\u003cp>Tap dance originated in the United States in the early 19th century, at the crossroads of African and Irish-American dance forms. When slave owners took away traditional African drums, enslaved people took to percussive dancing to express themselves and maintain their cultural identities. Metal taps hit the market in 1910, and the dance form quickly became a mainstay of Broadway. (Fun fact: May 25 marks National Tap Day, the birthday of early tap dance star Bill “Bojangles” Robinson.)\u003c/p>\n\u003cp>Son jarocho was born a world away from tap, but also has its roots in a time of oppression and resistance. Developed in Veracruz, Mexico, its sounds are a blend of African, indigenous and Spanish influences, owing to the city’s history as a colonial port and a hub of the transatlantic slave trade. Musician Andres Huesca brought son jarocho to Los Angeles in the 1940s; in wider American pop culture, the most recognizable variation is likely Richie Valens’ 1958 hit “La Bamba.” Central to the musical form is the fandango, a gathering where dancers trade off center stage on the tarima (a wooden platform), to contribute the beat to long-form jams called sones.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/0X8QRcLD3os9CorvGLHHoe\" width=\"100%\" height=\"400\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Sanchez absorbed this style of dance while living in Veracruz in the early 2010s, trading tap moves for zapateado rhythms. And when it came time to choreograph La Mezcla’s 2019 show about Chicana women who stood up to the racist attacks of the 1943 Zoot Suit Riots, this hybrid style—neither fully Mexican nor fully American—made perfect sense.\u003c/p>\n\u003cp>“I just feel like throughout history there’s these women that rise up and fight,” Sanchez says. “They fight for what is right, and fight against oppression, systemic racism and white supremacy. But their stories are often not told in the same way as their male counterparts.”\u003c/p>\n\u003cp>For her and other dancers in the group, embodying the spirit of those women is exhilarating. “When I put on the zoot suit, it’s like—I’m getting chills just talking about it,” Sandy Vazquez says. “It’s a really emotional experience for me continuing the legacy of resistance and survival that these women had to overcome, and then being able to put that on a stage.” Dressed in roomy trousers, their hair piled high on their heads, the women of La Mezcla claim the streets and the stage, proving tap isn’t reserved for Broadway shows.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Tap Dance How-To for Beginners | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/jtiD3lC1X88?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The percussive dance of zapatap is fierce; it demands attention in the moment and recognition for the people who informed its making. As they witness the Latinx residents of the Mission struggle with displacement and gentrification, La Mezcla uses zapatap as a way to claim not just the physical space they dance upon, but everywhere within earshot of their clicking, stomping feet.\u003c/p>\n\u003cp>Watch Vanessa Sanchez, Sandy Vazquez, Emmeline Gonzalez-Beban, and Kirsten Millan tour us along Calle 24, the Mission’s cultural corridor, and dance before some of the neighborhood’s most recognizable sights: atop Bernal Hill; in front of the Carnaval mural over the House of Brakes; and at Casa Bandido, musician Richard Segovia’s house covered in paintings by \u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Precita Eyes Muralists\u003c/a> depicting the birth and evolution of Latin Rock in the Mission. — \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Explore our virtual story map and learn more about the murals and locations featured in this episode of \u003cem>If Cities Could Dance\u003c/em>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-san-francisco/index.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. New episodes premiere every two weeks.\u003c/em>\u003c/p>\n\u003cp>In the heart of the Mission, the pulsing beat of the neighborhood’s dense and vibrant mix of Latinx cultures comes from the clicking heels and toes of tap shoes.\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"https://vanessasanchez.net/lamezcla/\" target=\"_blank\" rel=\"noopener noreferrer\">La Mezcla dance company\u003c/a>, founded and led by Vanessa Sanchez, uses dance and song to tell stories of Chicana history, culture and resistance. Blending tap dance and zapateado (rhythmic footwork from Mexico), Sanchez describes La Mezcla’s unique dance style as “zapatap.”\u003c/p>\n\u003cfigure id=\"attachment_13880685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880685\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/ICCD_304_20200301_FS70143.MXF_.10_00_35_20.Still001-2-800x450.jpg\" alt=\"Vanessa Sanchez of La Mezcla.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCD_304_20200301_FS70143.MXF_.10_00_35_20.Still001-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCD_304_20200301_FS70143.MXF_.10_00_35_20.Still001-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCD_304_20200301_FS70143.MXF_.10_00_35_20.Still001-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCD_304_20200301_FS70143.MXF_.10_00_35_20.Still001-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ICCD_304_20200301_FS70143.MXF_.10_00_35_20.Still001-2.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Sanchez of La Mezcla (Photo by Elie Khadra)\u003c/figcaption>\u003c/figure>\n\u003cp>“Tap was one of those styles that just made sense to me,” Sanchez explains. “I was always a bit of an outsider and this speaks to why I do what I do now, because a lot of dance training and dance schools don’t necessarily fit dancers of color who are coming into the space.”\u003c/p>\n\u003cp>Zapatap draws on the history of tap as a form of African American resistance; on the Afro-Mexican dance and music tradition of son jarocho; and, in La Mezcla’s most recent show, \u003ca href=\"https://vanessasanchez.net/pachuquismo-2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Pachuquísmo\u003c/i>\u003c/a>, on the story of zoot-suited Chicanas in 1940s Los Angeles.\u003c/p>\n\u003cp>Tap dance originated in the United States in the early 19th century, at the crossroads of African and Irish-American dance forms. 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Musician Andres Huesca brought son jarocho to Los Angeles in the 1940s; in wider American pop culture, the most recognizable variation is likely Richie Valens’ 1958 hit “La Bamba.” Central to the musical form is the fandango, a gathering where dancers trade off center stage on the tarima (a wooden platform), to contribute the beat to long-form jams called sones.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/0X8QRcLD3os9CorvGLHHoe\" width=\"100%\" height=\"400\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Sanchez absorbed this style of dance while living in Veracruz in the early 2010s, trading tap moves for zapateado rhythms. And when it came time to choreograph La Mezcla’s 2019 show about Chicana women who stood up to the racist attacks of the 1943 Zoot Suit Riots, this hybrid style—neither fully Mexican nor fully American—made perfect sense.\u003c/p>\n\u003cp>“I just feel like throughout history there’s these women that rise up and fight,” Sanchez says. “They fight for what is right, and fight against oppression, systemic racism and white supremacy. 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"content": "\u003cp>As we slowly trudge, un-showered and in sweatpants, towards the end of the first month of lockdown, mood swings are almost inevitable. Oscillating wildly between resignation, frustration and good old-fashioned anxiety has become the new normal.\u003c/p>\n\u003cp>It’s probably the perfect time, then, to point out that not only has the Bay Area been through epidemics before, it definitely handled things much, much worse the last time. And the time before that. Repeatedly. Especially in San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.influenzaarchive.org/cities/city-sanfrancisco.html#\" target=\"_blank\" rel=\"noopener noreferrer\">last time a health-related lockdown\u003c/a> began in the city, it was Friday, Oct. 18, 1918, when the San Francisco Board of Health voted to close all schools and “places of public amusement” in an effort to stem the spread of the dreaded influenza. This was followed one week later by an order that required everyone in the city to don face masks in public.\u003c/p>\n\u003cp>Which all would have been smart and appropriate and proper if only city residents hadn’t been such stubborn jerks about cooperating with the orders. So many folks continued leaving their faces uncovered, the city had to start charging people with disturbing the peace, and punishing them with either $5-10 fines or county jail time.\u003c/p>\n\u003cp>https://twitter.com/coolgrey/status/1234018471702384641\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then, once restrictions on venues were lifted after a 28-day lockdown, people rushed straight out to socialize, fearlessly packing dance halls and theaters with their germs. Apparently leading by example, this included \u003ca href=\"https://www.influenzaarchive.org/cities/city-sanfrancisco.html\" target=\"_blank\" rel=\"noopener noreferrer\">Mayor James Rolph\u003c/a>, who attended a boxing match between Fred Fulton and Willie Meehan at the Civic Auditorium on Nov. 16, and was caught flouting his own mask rule so flagrantly that the police chief fined him $50.\u003c/p>\n\u003cp>Five days later, on Nov. 21 at noon, a city-wide whistle blast signaled that it was “safe” to take masks off. But people simply tossed them in the air, ignoring health officials’ pleas to save the gauze for later. The \u003cem>San Francisco Chronicle\u003c/em> reported the following day that “sidewalks and runnels were strewn with the relics of a torturous month.”\u003c/p>\n\u003cp>Unsurprisingly, flu numbers flared up again after this premature move, and the city responded by sending out as much mixed messaging as humanly possible. Mayor Rolph told San Franciscans on Dec. 7 to put their masks back on, but an official ordinance from the Board of Supervisors didn’t come until Jan. 17, 1919.\u003c/p>\n\u003cp>To make matters worse, the fact that public places were still open and operating was apparently not enough to appease freewheeling San Franciscans. We know this because over 2,000 residents banded together in January to attend a rally organized by some geniuses calling themselves the \u003ca href=\"https://www.sfchronicle.com/bayarea/article/A-city-of-masks-When-the-flu-tore-through-San-6499265.php\" target=\"_blank\" rel=\"noopener noreferrer\">Anti-Mask League\u003c/a>. Mandatory mask use was lifted once again on Feb. 1 as the city grew tired of dealing with loudmouthed rebels flouting the law.\u003c/p>\n\u003cp>All told, the flu epidemic infected 45,000 San Franciscans, and killed 3,000 in the city, due to a deadly combination of mixed messaging from authorities and public resistance to restrictions.\u003c/p>\n\u003cfigure id=\"attachment_13878373\" class=\"wp-caption alignnone\" style=\"max-width: 512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878373\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/AP18006852068959.jpg\" alt=\"Red Cross volunteer nurses tend to flu patients at the Oakland Municipal Auditorium in 1918. It was used as a temporary hospital during the epidemic.\" width=\"512\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AP18006852068959.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AP18006852068959-160x124.jpg 160w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003cfigcaption class=\"wp-caption-text\">Red Cross volunteer nurses tend to flu patients at the Oakland Municipal Auditorium in 1918. It was used as a temporary hospital during the epidemic. \u003ccite>(Edward A. \"Doc\" Rogers/Library of Congress via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco’s uneven response to health crises wasn’t limited to the 1918 flu epidemic. In 1888, a \u003ca href=\"https://books.google.com/books?id=oB4LAAAAIAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Biennial Report\u003c/em>\u003c/a> by the California Department of Public Health reported that the entire Bay Area was, at that time, dealing with cases of smallpox, scarlet fever, typhoid, consumption, diphtheria and cholera.\u003c/p>\n\u003cp>Amazingly, \u003ca href=\"https://books.google.com/books?id=HwwPAAAAYAAJ&printsec=frontcover&dq=The+Cholera+Epidemic+of+1873+in+the+United+States&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwi_l_b_9tvoAhUrGDQIHR7sD6AQ6AEwAHoECAMQAg#v=onepage&q=The%20Cholera%20Epidemic%20of%201873%20in%20the%20United%20States&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cholera Epidemic of 1873 in the United States\u003c/em>\u003c/a>, written by the U.S. Surgeon General’s Office in 1875, reports that cholera first landed in San Francisco as early as September 1850. This was due to the arrival of the S.S. Carolina—a steamer ship that had \u003ca href=\"https://www.maritimeheritage.org/passengers/SS-Carolina-7October1850.html\" target=\"_blank\" rel=\"noopener noreferrer\">lost 13 passengers\u003c/a> to the disease before it even docked—and exacerbated by an attitude to\u003ca href=\"http://www.sf-info.org/history/d4/gold-rush\" target=\"_blank\" rel=\"noopener noreferrer\"> sanitation\u003c/a> that can most kindly be described as \u003cem>laissez faire\u003c/em>.\u003c/p>\n\u003cp>The following description is from 1854’s \u003ca href=\"https://books.google.com/books?id=RKJFAQAAMAAJ&pg=PA419&dq=san+francisco+cholera&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwio-vKP9tvoAhXwHjQIHRUaBRAQ6AEwBXoECAIQAg#v=onepage&q=san%20francisco%20cholera&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Annals of San Francisco\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The streets were thickly covered with black rotten mud. These were the proper dunghills of the town and were made a general depot for all kinds of rubbish and household sweepings, offal and filth. Sometimes the rains came and scattered the abominable stuffs, carrying part of them into the bay. Rats—huge, fat, lazy things—prowled about at pleasure… Sickening stenches invaded every quarter.\u003c/p>\u003c/blockquote>\n\u003cp>Outbreaks of cholera in San Jose, Carson Valley and Sacramento \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=DAC18651009.2.4&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">quickly followed\u003c/a>—said to be made worse by the spread of the illness via “overland emigrants.” By the end of the 1850 cholera outbreak, over 1,000 residents had died in Sacramento alone, out of a population of 8,000.\u003c/p>\n\u003cp>It’s true that infrastructure, including plumbing, had a hard time catching up to the population boom born of the Gold Rush, but it’s also true that San Francisco, for the longest time, cared not what was docking in its Bay. Having failed to learn its lesson after the 1850 cholera outbreak, another infested ship (the \u003ca href=\"https://books.google.com/books?id=9DKe_xdeFpYC&pg=PA14&lpg=PA14&dq=san+francisco+cholera+1855+SS+Sam&source=bl&ots=FFTLixEywm&sig=ACfU3U2wt41EiQGLwc45cDcT1TVq5gK5Mw&hl=en&sa=X&ved=2ahUKEwjD-dbyjNvoAhWXGDQIHVoQCHkQ6AEwDHoECA0QKg#v=onepage&q=san%20francisco%20cholera%201855%20SS%20Sam&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">S.S. Sam\u003c/a> this time) was permitted to enter the city just five years later which—you guessed it—caused another deadly cholera outbreak.\u003c/p>\n\u003cp>This time, the disease’s spread was assisted by both crappy sanitation \u003cem>and\u003c/em> makeshift living quarters. \u003ca href=\"https://www.sfgate.com/sfhistory/article/San-Francisco-1855-1856-incorporation-Gold-Rush-12958094.php\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Historical Museum\u003c/a> has since described the city of the period thusly:\u003c/p>\n\u003cblockquote>\u003cp>What a strange town was that, the San Francisco of 1856, its 30,000 people in speedy transition from a city of tents and shacks to one of brick and stone buildings, architecturally on a par with those of Atlantic seaboard cities, and its flimsy wooden and more pretentious sheet iron buildings filling in the spaces in between.\u003c/p>\u003c/blockquote>\n\u003cp>Remarkably, an 1883 copy of the \u003ca href=\"https://books.google.com/books?id=cy4gAQAAIAAJ&pg=PA327&dq=san+francisco+cholera&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwio-vKP9tvoAhXwHjQIHRUaBRAQ6AEwAXoECAEQAg#v=onepage&q=san%20francisco%20cholera&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Western Lancet\u003c/em>\u003c/a> medical journal suggests that, despite these outbreaks and dangerous habitations, sanitation in San Francisco remained in an abysmal state, even three decades later.\u003c/p>\n\u003cblockquote>\u003cp>The sewer on Fifth Street, having no bottom, continually filling with shifting sand, causes the sewage to collect and foul gasses to generate. One man recently met his death there because of the foul condition of the sewer… Just consider for a moment the condition of a municipal government which will allow a cesspool five miles long to exist in the heart of its jurisdiction. It is a criminal neglect of duty.\u003c/p>\u003c/blockquote>\n\u003cp>No surprise, then, that San Francisco was treated to an \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_plague_of_1900%E2%80%931904\" target=\"_blank\" rel=\"noopener noreferrer\">outbreak of plague\u003c/a> (actual Bubonic Plague!) as late as 1900. The neighborhood affected most was Chinatown, but California’s Governor at the time, Henry Gage, denied the outbreak was happening for two full years. By the time George Pardee replaced Gage in 1902 and started prioritizing people over commerce, the disease had such a foothold that it took another two years to quash.\u003c/p>\n\u003cp>Compared to these moments in the city’s history, we’re blessed in 2020 to have leadership willing to make decisive calls for the sake of public safety. Let’s not forget that San Francisco was the \u003ca href=\"https://www.cnn.com/2020/03/17/us/us-coronavirus-san-francisco-lockdown/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">first American city\u003c/a> to issue a stay-at-home order in this coronavirus crisis, and had zero qualms about \u003ca href=\"https://813dcad3-2b07-4f3f-a25e-23c48c566922.filesusr.com/ugd/84606e_8b76957fcc4b4bab8d6876f7c2793d18.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">extending its stay-at-home order\u003c/a> until at least May 3.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One \u003ca href=\"https://www.history.com/news/spanish-flu-pandemic-response-cities\" target=\"_blank\" rel=\"noopener noreferrer\">2007 analysis\u003c/a> of the 1918 flu epidemic claimed that if lockdown measures had stayed in place in San Francisco until Spring 1919, 90% of deaths in the region could have been prevented. The lessons from history are clear: Stay inside, be grateful for good plumbing and, most importantly of all, don’t be a rebellious jerk.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we slowly trudge, un-showered and in sweatpants, towards the end of the first month of lockdown, mood swings are almost inevitable. Oscillating wildly between resignation, frustration and good old-fashioned anxiety has become the new normal.\u003c/p>\n\u003cp>It’s probably the perfect time, then, to point out that not only has the Bay Area been through epidemics before, it definitely handled things much, much worse the last time. And the time before that. Repeatedly. Especially in San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.influenzaarchive.org/cities/city-sanfrancisco.html#\" target=\"_blank\" rel=\"noopener noreferrer\">last time a health-related lockdown\u003c/a> began in the city, it was Friday, Oct. 18, 1918, when the San Francisco Board of Health voted to close all schools and “places of public amusement” in an effort to stem the spread of the dreaded influenza. This was followed one week later by an order that required everyone in the city to don face masks in public.\u003c/p>\n\u003cp>Which all would have been smart and appropriate and proper if only city residents hadn’t been such stubborn jerks about cooperating with the orders. So many folks continued leaving their faces uncovered, the city had to start charging people with disturbing the peace, and punishing them with either $5-10 fines or county jail time.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then, once restrictions on venues were lifted after a 28-day lockdown, people rushed straight out to socialize, fearlessly packing dance halls and theaters with their germs. Apparently leading by example, this included \u003ca href=\"https://www.influenzaarchive.org/cities/city-sanfrancisco.html\" target=\"_blank\" rel=\"noopener noreferrer\">Mayor James Rolph\u003c/a>, who attended a boxing match between Fred Fulton and Willie Meehan at the Civic Auditorium on Nov. 16, and was caught flouting his own mask rule so flagrantly that the police chief fined him $50.\u003c/p>\n\u003cp>Five days later, on Nov. 21 at noon, a city-wide whistle blast signaled that it was “safe” to take masks off. But people simply tossed them in the air, ignoring health officials’ pleas to save the gauze for later. The \u003cem>San Francisco Chronicle\u003c/em> reported the following day that “sidewalks and runnels were strewn with the relics of a torturous month.”\u003c/p>\n\u003cp>Unsurprisingly, flu numbers flared up again after this premature move, and the city responded by sending out as much mixed messaging as humanly possible. Mayor Rolph told San Franciscans on Dec. 7 to put their masks back on, but an official ordinance from the Board of Supervisors didn’t come until Jan. 17, 1919.\u003c/p>\n\u003cp>To make matters worse, the fact that public places were still open and operating was apparently not enough to appease freewheeling San Franciscans. We know this because over 2,000 residents banded together in January to attend a rally organized by some geniuses calling themselves the \u003ca href=\"https://www.sfchronicle.com/bayarea/article/A-city-of-masks-When-the-flu-tore-through-San-6499265.php\" target=\"_blank\" rel=\"noopener noreferrer\">Anti-Mask League\u003c/a>. Mandatory mask use was lifted once again on Feb. 1 as the city grew tired of dealing with loudmouthed rebels flouting the law.\u003c/p>\n\u003cp>All told, the flu epidemic infected 45,000 San Franciscans, and killed 3,000 in the city, due to a deadly combination of mixed messaging from authorities and public resistance to restrictions.\u003c/p>\n\u003cfigure id=\"attachment_13878373\" class=\"wp-caption alignnone\" style=\"max-width: 512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878373\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/AP18006852068959.jpg\" alt=\"Red Cross volunteer nurses tend to flu patients at the Oakland Municipal Auditorium in 1918. It was used as a temporary hospital during the epidemic.\" width=\"512\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AP18006852068959.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AP18006852068959-160x124.jpg 160w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003cfigcaption class=\"wp-caption-text\">Red Cross volunteer nurses tend to flu patients at the Oakland Municipal Auditorium in 1918. It was used as a temporary hospital during the epidemic. \u003ccite>(Edward A. \"Doc\" Rogers/Library of Congress via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco’s uneven response to health crises wasn’t limited to the 1918 flu epidemic. In 1888, a \u003ca href=\"https://books.google.com/books?id=oB4LAAAAIAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Biennial Report\u003c/em>\u003c/a> by the California Department of Public Health reported that the entire Bay Area was, at that time, dealing with cases of smallpox, scarlet fever, typhoid, consumption, diphtheria and cholera.\u003c/p>\n\u003cp>Amazingly, \u003ca href=\"https://books.google.com/books?id=HwwPAAAAYAAJ&printsec=frontcover&dq=The+Cholera+Epidemic+of+1873+in+the+United+States&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwi_l_b_9tvoAhUrGDQIHR7sD6AQ6AEwAHoECAMQAg#v=onepage&q=The%20Cholera%20Epidemic%20of%201873%20in%20the%20United%20States&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cholera Epidemic of 1873 in the United States\u003c/em>\u003c/a>, written by the U.S. Surgeon General’s Office in 1875, reports that cholera first landed in San Francisco as early as September 1850. This was due to the arrival of the S.S. Carolina—a steamer ship that had \u003ca href=\"https://www.maritimeheritage.org/passengers/SS-Carolina-7October1850.html\" target=\"_blank\" rel=\"noopener noreferrer\">lost 13 passengers\u003c/a> to the disease before it even docked—and exacerbated by an attitude to\u003ca href=\"http://www.sf-info.org/history/d4/gold-rush\" target=\"_blank\" rel=\"noopener noreferrer\"> sanitation\u003c/a> that can most kindly be described as \u003cem>laissez faire\u003c/em>.\u003c/p>\n\u003cp>The following description is from 1854’s \u003ca href=\"https://books.google.com/books?id=RKJFAQAAMAAJ&pg=PA419&dq=san+francisco+cholera&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwio-vKP9tvoAhXwHjQIHRUaBRAQ6AEwBXoECAIQAg#v=onepage&q=san%20francisco%20cholera&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Annals of San Francisco\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The streets were thickly covered with black rotten mud. These were the proper dunghills of the town and were made a general depot for all kinds of rubbish and household sweepings, offal and filth. Sometimes the rains came and scattered the abominable stuffs, carrying part of them into the bay. Rats—huge, fat, lazy things—prowled about at pleasure… Sickening stenches invaded every quarter.\u003c/p>\u003c/blockquote>\n\u003cp>Outbreaks of cholera in San Jose, Carson Valley and Sacramento \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=DAC18651009.2.4&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">quickly followed\u003c/a>—said to be made worse by the spread of the illness via “overland emigrants.” By the end of the 1850 cholera outbreak, over 1,000 residents had died in Sacramento alone, out of a population of 8,000.\u003c/p>\n\u003cp>It’s true that infrastructure, including plumbing, had a hard time catching up to the population boom born of the Gold Rush, but it’s also true that San Francisco, for the longest time, cared not what was docking in its Bay. Having failed to learn its lesson after the 1850 cholera outbreak, another infested ship (the \u003ca href=\"https://books.google.com/books?id=9DKe_xdeFpYC&pg=PA14&lpg=PA14&dq=san+francisco+cholera+1855+SS+Sam&source=bl&ots=FFTLixEywm&sig=ACfU3U2wt41EiQGLwc45cDcT1TVq5gK5Mw&hl=en&sa=X&ved=2ahUKEwjD-dbyjNvoAhWXGDQIHVoQCHkQ6AEwDHoECA0QKg#v=onepage&q=san%20francisco%20cholera%201855%20SS%20Sam&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">S.S. Sam\u003c/a> this time) was permitted to enter the city just five years later which—you guessed it—caused another deadly cholera outbreak.\u003c/p>\n\u003cp>This time, the disease’s spread was assisted by both crappy sanitation \u003cem>and\u003c/em> makeshift living quarters. \u003ca href=\"https://www.sfgate.com/sfhistory/article/San-Francisco-1855-1856-incorporation-Gold-Rush-12958094.php\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Historical Museum\u003c/a> has since described the city of the period thusly:\u003c/p>\n\u003cblockquote>\u003cp>What a strange town was that, the San Francisco of 1856, its 30,000 people in speedy transition from a city of tents and shacks to one of brick and stone buildings, architecturally on a par with those of Atlantic seaboard cities, and its flimsy wooden and more pretentious sheet iron buildings filling in the spaces in between.\u003c/p>\u003c/blockquote>\n\u003cp>Remarkably, an 1883 copy of the \u003ca href=\"https://books.google.com/books?id=cy4gAQAAIAAJ&pg=PA327&dq=san+francisco+cholera&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwio-vKP9tvoAhXwHjQIHRUaBRAQ6AEwAXoECAEQAg#v=onepage&q=san%20francisco%20cholera&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Western Lancet\u003c/em>\u003c/a> medical journal suggests that, despite these outbreaks and dangerous habitations, sanitation in San Francisco remained in an abysmal state, even three decades later.\u003c/p>\n\u003cblockquote>\u003cp>The sewer on Fifth Street, having no bottom, continually filling with shifting sand, causes the sewage to collect and foul gasses to generate. One man recently met his death there because of the foul condition of the sewer… Just consider for a moment the condition of a municipal government which will allow a cesspool five miles long to exist in the heart of its jurisdiction. It is a criminal neglect of duty.\u003c/p>\u003c/blockquote>\n\u003cp>No surprise, then, that San Francisco was treated to an \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_plague_of_1900%E2%80%931904\" target=\"_blank\" rel=\"noopener noreferrer\">outbreak of plague\u003c/a> (actual Bubonic Plague!) as late as 1900. The neighborhood affected most was Chinatown, but California’s Governor at the time, Henry Gage, denied the outbreak was happening for two full years. By the time George Pardee replaced Gage in 1902 and started prioritizing people over commerce, the disease had such a foothold that it took another two years to quash.\u003c/p>\n\u003cp>Compared to these moments in the city’s history, we’re blessed in 2020 to have leadership willing to make decisive calls for the sake of public safety. Let’s not forget that San Francisco was the \u003ca href=\"https://www.cnn.com/2020/03/17/us/us-coronavirus-san-francisco-lockdown/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">first American city\u003c/a> to issue a stay-at-home order in this coronavirus crisis, and had zero qualms about \u003ca href=\"https://813dcad3-2b07-4f3f-a25e-23c48c566922.filesusr.com/ugd/84606e_8b76957fcc4b4bab8d6876f7c2793d18.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">extending its stay-at-home order\u003c/a> until at least May 3.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One \u003ca href=\"https://www.history.com/news/spanish-flu-pandemic-response-cities\" target=\"_blank\" rel=\"noopener noreferrer\">2007 analysis\u003c/a> of the 1918 flu epidemic claimed that if lockdown measures had stayed in place in San Francisco until Spring 1919, 90% of deaths in the region could have been prevented. The lessons from history are clear: Stay inside, be grateful for good plumbing and, most importantly of all, don’t be a rebellious jerk.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sydney Cain uses her art to connect with her community, as well her ancestors.\u003c/p>\n\u003cp>By using a process of reduction, slowly moving her hands in a circular motion to move dust-sized pieces of elements, such as cobalt and graphite, around the surface of a canvas, she reveals lines, shapes and figures that tell a story of what used to be… and maybe still is in another realm.\u003c/p>\n\u003cp>Sydney, who also goes by \u003ca href=\"https://www.instagram.com/sagestargate/\">Sage Stargate\u003c/a>, is a third generation San Franciscan. She grew up in the Fillmore, and remembers it from before gentrification when it was a largely African American community.\u003c/p>\n\u003cp>https://www.instagram.com/p/BqdvclFBdp3/\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The images that appear in her artwork often harken back to that time, or to even earlier eras in her family’s history, like the Jim Crow South.\u003c/p>\n\u003cp>Sydney, who is one of the Museum of African Diaspora’s \u003ca href=\"https://www.moadsf.org/exhibition/moad-emerging-artists-presents-sydney-cain-refutations/\">Emerging Artists\u003c/a> this year, says her work has revealed images that look like ancestors she’s never met, but older family members see the figures and instantly recognize them. It’s almost like they’re still here– both the people, and the community.\u003c/p>\n\u003cp>Many would call Sydney’s work “art,” but it toes the line of what one might call a spiritual practice.\u003c/p>\n\u003cp>https://www.instagram.com/p/B7WyxGcBfjO/\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The images that appear in her artwork often harken back to that time, or to even earlier eras in her family’s history, like the Jim Crow South.\u003c/p>\n\u003cp>Sydney, who is one of the Museum of African Diaspora’s \u003ca href=\"https://www.moadsf.org/exhibition/moad-emerging-artists-presents-sydney-cain-refutations/\">Emerging Artists\u003c/a> this year, says her work has revealed images that look like ancestors she’s never met, but older family members see the figures and instantly recognize them. It’s almost like they’re still here– both the people, and the community.\u003c/p>\n\u003cp>Many would call Sydney’s work “art,” but it toes the line of what one might call a spiritual practice.\u003c/p>\u003c/p>\u003c/div>",
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"title": "Despite Early Closing, 'Toni Stone' Hits a Home Run at A.C.T., Moves Online",
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"content": "\u003cp>Attending opening night of A.C.T.’s production of \u003cem>Toni Stone\u003c/em> on March 11 was a singular experience. Following an announcement from Mayor London Breed limiting gatherings to under 1,000 people, the theater was far from capacity, and, like a half-empty sports arena, the atmosphere was subdued, though expectant.\u003c/p>\n\u003cp>Written by Lydia R. Diamond and directed by A.C.T.’s Artistic Director Pam MacKinnon, \u003cem>Toni Stone\u003c/em> was meant to be a crowning jewel in a season themed the “rules of play.” But through no fault of its own, its opening night was overshadowed by an unfolding public health crisis—which eventually resulted in a shelter-in-place order with firm restrictions on public gatherings, including at theaters.\u003c/p>\n\u003cp>Under these unenviable circumstances, the show did go on. And the next morning, it closed.\u003c/p>\n\u003cp>\u003cem>Toni Stone\u003c/em> is now being made \u003ca href=\"http://www.act-sf.org\" target=\"_blank\" rel=\"noopener noreferrer\">available to watch online\u003c/a>, filmed on stage at the Geary Theater, in a unique arrangement \u003ca href=\"http://<a%20href=\" target=\"_blank\" rel=\"noopener noreferrer\">also undertaken\u003c/a> by a handful of other theaters during the coronavirus shutdown. Tickets for the recorded performance are on a pay-what-you-will system. If you’re stuck at home, I recommend giving it a shot.\u003c/p>\n\u003cp>That’s because despite the external pressures on opening night, the cast and artistic team of \u003cem>Toni Stone\u003c/em> knocked it out of the park. Chronicling the high point of the career of the first professional woman baseball player in the Negro Leagues, \u003cem>Toni Stone\u003c/em> inhabits an episodic realm halfway between biopic and dramatic monologue, told through the perspective of its charismatic titular character, and supported by a strong team of eight additional players. Although a player for a short time with the San Francisco Sea Lions, \u003cem>Toni Stone\u003c/em> is set during her later stint with the Indianapolis Clowns, the team with which she commanded the most attention.\u003c/p>\n\u003cfigure id=\"attachment_13876840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876840\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Ursula as Toni Stone at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Without preamble, Dawn Ursula as Toni Stone walks onstage to address the audience directly. Confident, solid, the embodiment of a consummate athlete, describing the weight of the ball as feeling like “what your hand, my hand, wanted all along.” As she describes herself and her preoccupation with the logistics of the game, her teammates enter the stage one by one, posing seriously with their bats. She introduces them with warm camaraderie—a litany of mostly forgotten, real-life players such as Spec (Daniel J. Bryant), King Tut (JaBen Early), and Elzie (Rodney Earl Jackson Jr.)—and the game begins in earnest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As they “play,” the team’s exemplary choreography (Camille A. Brown with movement coach Danyon Davis) fills the stage with something akin to the energy of a live game while the character of Toni delves into the specifics of it. Balls are tossed, bats swung, bases rounded, banter flies. With all of the measurements of the game divisible by three, they reference the holy trinity, declaring the playing field a church. Like angels, the players glide across the floorboards, slightly above the gritty fray.\u003c/p>\n\u003cfigure id=\"attachment_13876838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876838\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Ursula and JaBen Early on the off-season in ‘Toni Stone’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the idealized world of the theatrical, the raw sharp edges of life on the road are somewhat smoothed, addressing the many hardships faced by the team without forcing the actors to reenact each in too-excruciating detail. Forced to run from a crowd of racists during an exhibition game, the audience can feel reasonably certain that they’ll make it back to their van unscathed. Forced to ride through the night in search of a place to lay their heads, we know the bus will make it in one piece. Forced to sleep in a brothel in lieu of a hotel, Toni even makes a friend, the enigmatic Millie (Kenn E. Head), who offers some welcome comfort and sage advice.\u003c/p>\n\u003cp>But smoothed out certainly doesn’t mean edge-free, and the harsher realities of barnstorming in the League never stray far from the spotlight. A particularly agonizing sequence shows the players participating in the humiliating tradition of fifth-inning “clowning” during which their consummate athleticism becomes a framework for a minstrel-style show of synchronized soft-shoe and barely suppressed rage; pointedly implicating the watching audience. Toni must face and push back on the rampant sexism she encounters on and off the field, from threats of sexual violence to “helpful” suggestions that she wear a skirt as her uniform. Her teammates chafe and strain at their straightened circumstances, as over in New York, Jackie Robinson is breaking the color line in the majors, but not wide enough for them to join him.\u003c/p>\n\u003cfigure id=\"attachment_13876841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876841\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-800x1202.jpg\" alt=\"\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne.jpg 1597w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marquis D. Gibson and Dawn Ursula in ‘Toni Stone’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Worldly yet guileless, self-sufficient but doggedly literal, Toni remains true to her own ambitions, no matter how many well-meaning voices try to talk her into desiring something else. A life of the creature comforts those voices promise is not the life she craves. It’s the dirt under her fingernails and the extra stretch in her arm as she reaches for an approaching ball, eager to feel the weight of it. Dawn Ursula deftly captures each shifting mood of her expressive character, while her talented teammates field the many bit roles: worried parents, overbearing bosses, bored bartenders, tender couples dancing in the dim half-light of memory. It feels a little strange that the play omits the overlap between Toni’s short tenure with the Indianapolis Clowns with those of their subsequent hires—Mamie “Peanut” Johnson and Connie Morgan—but as it already clocks in at close to two-and-a-half hours, it’s hard to say where they would fit in.\u003c/p>\n\u003cp>In what feels almost like an outrageously improbable doomsday scenario, both theater productions \u003cem>and\u003c/em> major sporting events are effectively canceled for now, making the truncated run of this particular sports-themed show feel like a double whammy. But at least the show’s online stream ensures that the many years of work that went into this one production won’t be completely lost to posterity.\u003c/p>\n\u003cp>It took this many years for the Bay Area to give Toni Stone her due. And it’s good to see she’s not going down without a fight.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Toni Stone \u003c/em>live performances have been canceled in San Francisco due to COVID-19 concerns. Find more details about watching the play online \u003ca href=\"http://www.act-sf.org\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "This remarkable play about a pioneering female baseball player deserves to be seen—even if only online.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Attending opening night of A.C.T.’s production of \u003cem>Toni Stone\u003c/em> on March 11 was a singular experience. Following an announcement from Mayor London Breed limiting gatherings to under 1,000 people, the theater was far from capacity, and, like a half-empty sports arena, the atmosphere was subdued, though expectant.\u003c/p>\n\u003cp>Written by Lydia R. Diamond and directed by A.C.T.’s Artistic Director Pam MacKinnon, \u003cem>Toni Stone\u003c/em> was meant to be a crowning jewel in a season themed the “rules of play.” But through no fault of its own, its opening night was overshadowed by an unfolding public health crisis—which eventually resulted in a shelter-in-place order with firm restrictions on public gatherings, including at theaters.\u003c/p>\n\u003cp>Under these unenviable circumstances, the show did go on. And the next morning, it closed.\u003c/p>\n\u003cp>\u003cem>Toni Stone\u003c/em> is now being made \u003ca href=\"http://www.act-sf.org\" target=\"_blank\" rel=\"noopener noreferrer\">available to watch online\u003c/a>, filmed on stage at the Geary Theater, in a unique arrangement \u003ca href=\"http://<a%20href=\" target=\"_blank\" rel=\"noopener noreferrer\">also undertaken\u003c/a> by a handful of other theaters during the coronavirus shutdown. Tickets for the recorded performance are on a pay-what-you-will system. If you’re stuck at home, I recommend giving it a shot.\u003c/p>\n\u003cp>That’s because despite the external pressures on opening night, the cast and artistic team of \u003cem>Toni Stone\u003c/em> knocked it out of the park. Chronicling the high point of the career of the first professional woman baseball player in the Negro Leagues, \u003cem>Toni Stone\u003c/em> inhabits an episodic realm halfway between biopic and dramatic monologue, told through the perspective of its charismatic titular character, and supported by a strong team of eight additional players. Although a player for a short time with the San Francisco Sea Lions, \u003cem>Toni Stone\u003c/em> is set during her later stint with the Indianapolis Clowns, the team with which she commanded the most attention.\u003c/p>\n\u003cfigure id=\"attachment_13876840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876840\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Ursula as Toni Stone at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Without preamble, Dawn Ursula as Toni Stone walks onstage to address the audience directly. Confident, solid, the embodiment of a consummate athlete, describing the weight of the ball as feeling like “what your hand, my hand, wanted all along.” As she describes herself and her preoccupation with the logistics of the game, her teammates enter the stage one by one, posing seriously with their bats. She introduces them with warm camaraderie—a litany of mostly forgotten, real-life players such as Spec (Daniel J. Bryant), King Tut (JaBen Early), and Elzie (Rodney Earl Jackson Jr.)—and the game begins in earnest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As they “play,” the team’s exemplary choreography (Camille A. Brown with movement coach Danyon Davis) fills the stage with something akin to the energy of a live game while the character of Toni delves into the specifics of it. Balls are tossed, bats swung, bases rounded, banter flies. With all of the measurements of the game divisible by three, they reference the holy trinity, declaring the playing field a church. Like angels, the players glide across the floorboards, slightly above the gritty fray.\u003c/p>\n\u003cfigure id=\"attachment_13876838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876838\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Ursula and JaBen Early on the off-season in ‘Toni Stone’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the idealized world of the theatrical, the raw sharp edges of life on the road are somewhat smoothed, addressing the many hardships faced by the team without forcing the actors to reenact each in too-excruciating detail. Forced to run from a crowd of racists during an exhibition game, the audience can feel reasonably certain that they’ll make it back to their van unscathed. Forced to ride through the night in search of a place to lay their heads, we know the bus will make it in one piece. Forced to sleep in a brothel in lieu of a hotel, Toni even makes a friend, the enigmatic Millie (Kenn E. Head), who offers some welcome comfort and sage advice.\u003c/p>\n\u003cp>But smoothed out certainly doesn’t mean edge-free, and the harsher realities of barnstorming in the League never stray far from the spotlight. A particularly agonizing sequence shows the players participating in the humiliating tradition of fifth-inning “clowning” during which their consummate athleticism becomes a framework for a minstrel-style show of synchronized soft-shoe and barely suppressed rage; pointedly implicating the watching audience. Toni must face and push back on the rampant sexism she encounters on and off the field, from threats of sexual violence to “helpful” suggestions that she wear a skirt as her uniform. Her teammates chafe and strain at their straightened circumstances, as over in New York, Jackie Robinson is breaking the color line in the majors, but not wide enough for them to join him.\u003c/p>\n\u003cfigure id=\"attachment_13876841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876841\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-800x1202.jpg\" alt=\"\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne.jpg 1597w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marquis D. Gibson and Dawn Ursula in ‘Toni Stone’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Worldly yet guileless, self-sufficient but doggedly literal, Toni remains true to her own ambitions, no matter how many well-meaning voices try to talk her into desiring something else. A life of the creature comforts those voices promise is not the life she craves. It’s the dirt under her fingernails and the extra stretch in her arm as she reaches for an approaching ball, eager to feel the weight of it. Dawn Ursula deftly captures each shifting mood of her expressive character, while her talented teammates field the many bit roles: worried parents, overbearing bosses, bored bartenders, tender couples dancing in the dim half-light of memory. It feels a little strange that the play omits the overlap between Toni’s short tenure with the Indianapolis Clowns with those of their subsequent hires—Mamie “Peanut” Johnson and Connie Morgan—but as it already clocks in at close to two-and-a-half hours, it’s hard to say where they would fit in.\u003c/p>\n\u003cp>In what feels almost like an outrageously improbable doomsday scenario, both theater productions \u003cem>and\u003c/em> major sporting events are effectively canceled for now, making the truncated run of this particular sports-themed show feel like a double whammy. But at least the show’s online stream ensures that the many years of work that went into this one production won’t be completely lost to posterity.\u003c/p>\n\u003cp>It took this many years for the Bay Area to give Toni Stone her due. And it’s good to see she’s not going down without a fight.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Toni Stone \u003c/em>live performances have been canceled in San Francisco due to COVID-19 concerns. Find more details about watching the play online \u003ca href=\"http://www.act-sf.org\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "beautiful-but-oh-so-cold-devs-delivers-arty-take-on-silicon-valley-dystopia",
"title": "Beautiful But Oh So Cold: 'Devs' Delivers Arty Take on Silicon Valley Dystopia",
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"headTitle": "Beautiful But Oh So Cold: ‘Devs’ Delivers Arty Take on Silicon Valley Dystopia | KQED",
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"content": "\u003cp>Regardless of whether you like anything else about the FX sci fi thriller \u003ca href=\"https://www.fxnetworks.com/shows/devs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Devs\u003c/em>\u003c/a>, its cold, ethereal, luminous vision of the San Francisco Bay Area in the near future captures the look and feel of our lives right now. From a strictly visual perspective, \u003cem>Devs\u003c/em> is a work of art.\u003c/p>\n\u003cp>Writer/director \u003ca href=\"https://en.wikipedia.org/wiki/Alex_Garland\" target=\"_blank\" rel=\"noopener noreferrer\">Alex Garland\u003c/a> (\u003cem>Ex Machina\u003c/em>, \u003cem>Annihilation\u003c/em>) has a degree in art history, and with this TV series, he reconstituted a team with a history of producing visually striking work: production designer \u003ca href=\"https://gersh.com/production/clients/mark-digby/\" target=\"_blank\" rel=\"noopener noreferrer\">Mark Digby\u003c/a>, set decorator \u003ca href=\"http://www.michelle-day.com\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Day\u003c/a>, cinematographer \u003ca href=\"https://luxartists.net/rob-hardy/\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Hardy\u003c/a> and visual effects supervisor \u003ca href=\"http://www.andrew-whitehurst.net\" target=\"_blank\" rel=\"noopener noreferrer\">Andrew Whitehurst\u003c/a>. Together, they’ve created an ever so slightly fictional take on Silicon Valley, one drenched in light, color and contrast.\u003c/p>\n\u003cp>Naturally, there are establishing shots of San Francisco: foggy, silver, washed out, when it’s not glowing like a silicon chip at night. The series begins in the white, washed out apartment of software engineer \u003ca href=\"https://www.instagram.com/p/B9DGqaVH7jJ/\" target=\"_blank\" rel=\"noopener noreferrer\">Lily\u003c/a> (Sonoya Mizuno) and her boyfriend Sergei (Karl Glusman). Both live in the city and ride a company shuttle to work far, far away in some unnamed suburb to the south.\u003c/p>\n\u003cp>Amaya, the cultish tech company where they work, is set on a campus tucked inside a grove of redwoods — in real life \u003ca href=\"https://www.thecinemaholic.com/devs-filming-locations/\" target=\"_blank\" rel=\"noopener noreferrer\">shot at UC Santa Cruz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13876669\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876669\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg\" alt=\"The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz \u003ccite>(Courtesy of Raymond Liu/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why UC Santa Cruz? For a start, it was available. “\u003cb>\u003c/b>We would never be able to use the real [tech campuses], because they’re always in use by the companies. We needed somewhere that we were going to be for several months, shooting in and out, coming back,” said Digby, who admits the \u003cem>Devs\u003c/em> team was initially looking for a modern campus full of glass and steel, more akin to what you see in downtown San Francisco today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But as with any visual production team, they adjusted to account for practical constraints and on-site inspiration. “I\u003cb>\u003c/b>t was a little bit out of left field,” Digby said of the slightly older, Brutalist buildings that dominate the UC Santa Cruz campus. Their characteristically massive, monolithic appearance, though, won the team over. “The minute we stepped foot in the area, we fell in love.”\u003c/p>\n\u003cp>So it was McHenry Library, Quarry Plaza and Science Hill provided the exteriors for Amaya’s public-facing office complex in \u003cem>Devs\u003c/em>. And from the inside, you could be looking at any Silicon Valley open floor office plan, featuring floor-to-ceiling glass and sweetly nerdy Millenials tapping away intently at their computer stations.\u003c/p>\n\u003cp>In this case, they look out on those bucolic, green redwoods. “\u003cb>\u003c/b>The redwoods embed you in California and the Bay Area,” Digby said.\u003c/p>\n\u003cp>Add a monumental, pop art statue of a little girl incongruously towering over the campus in a manner not unlike Robert Arneson’s \u003cem>Eggheads\u003c/em> at \u003ca href=\"https://www.kqed.org/arts/12413395/the-10-shocking-toilets-that-helped-put-uc-davis-on-the-art-world-map\" target=\"_blank\" rel=\"noopener noreferrer\">UC Davis\u003c/a>, and you have \u003cem>foreshadowing\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13876668\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DEVS_SET_033.jpg\" alt=\"The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March.\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-1020x680.jpg 1020w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March. \u003ccite>(Courtesy of Mia Mizuno/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What’s Inside the Box\u003c/h2>\n\u003cp>Because, of course, all is not well in this Garden of Eden. The company is running a secret operation that the world and most of its employees know nothing about.\u003c/p>\n\u003cp>Set off from the other buildings in a nearby meadow, there sits a computer-generated, concrete ziggurat that looks like a bunker or utility building from the World War II era. “It’s supposed to detract from any interest,” said Digby, “but it’s supposed to have scale. Also, from the outside, it’s supposed to juxtapose with what’s inside. W\u003cb>\u003c/b>hat’s inside is supposed to take your breath away.”\u003c/p>\n\u003cp>Inside sits a shimmering, gold jewel box of an office that is the heart of \u003cem>Devs\u003c/em>. Constructed and shot in a U.K. sound studio, it’s also an unabashed temple to technology as it might be in the near future. At the center of the cube, encased in glass, floats the innards of a quantum supercomputer that looks a lot like, for example, IBM’s Q System One.\u003c/p>\n\u003cfigure id=\"attachment_13876667\" class=\"wp-caption aligncenter\" style=\"max-width: 1919px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg\" alt=\"The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM's Q System One.\" width=\"1919\" height=\"2027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg 1919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-160x169.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-800x845.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-768x811.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-1020x1077.jpeg 1020w\" sizes=\"(max-width: 1919px) 100vw, 1919px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM’s Q System One. \u003ccite>(Courtesy of David Becker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which was the idea.\u003c/p>\n\u003cp>“They are amazing pieces of art. Once they’re taken out of their shields, they are these gold and glass and aluminum and silver masterpieces. You know, the machines that we use, the insides of computers, are absolutely beautiful. It can be Awesome!-inspiring. It’s a character in itself,” Digby said.\u003c/p>\n\u003cp>The supercomputer is also at the center of the \u003cem>Devs\u003c/em> story. Much as my first impression of the space was of the lobby of a boutique hotel, or a futuristic, black, gold and glass inversion of an Apple store, Digby explained that science inspired the visual look of the supercomputer’s home.\u003c/p>\n\u003cp>Sound waves, light waves, electromagnetic waves — nothing will be able to penetrate this bunker encased in concrete and lined with lead and gold. Or gold leaf: the team applied hundreds of squares of gold leaf to the walls, using a recurring fractal pattern called a \u003ca href=\"https://en.wikipedia.org/wiki/Menger_sponge\" target=\"_blank\" rel=\"noopener noreferrer\">Menger sponge\u003c/a>, a visual representation of the idea of boxes within boxes within boxes.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=Fp9LMsI6uJ8]It’s a gilded, airless, isolated space that also looks and feels quasi-religious. The story circles around a metaphysical topic obsessed about in classic, \u003ca href=\"https://www.kqed.org/arts/13876008/devs-explores-modern-tech-driven-cultural-alienation-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">over-heated\u003c/a> sci fi fashion by Amaya’s multibillionaire founder, Forest (Nick Offerman).\u003c/p>\n\u003cp>Does knowing the future allows us to change it to something more akin to our liking? Or are we compelled to act out the future laid before us in the magic mirror by artificial intelligence we built? It’s the old free will versus determinism debate some of you will remember from university philosophy classes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moody, self-doubting, passively trapped in a gilded box of our own making: sounds like Silicon Valley in 2020. Looks like it, too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Regardless of whether you like anything else about the FX sci fi thriller \u003ca href=\"https://www.fxnetworks.com/shows/devs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Devs\u003c/em>\u003c/a>, its cold, ethereal, luminous vision of the San Francisco Bay Area in the near future captures the look and feel of our lives right now. From a strictly visual perspective, \u003cem>Devs\u003c/em> is a work of art.\u003c/p>\n\u003cp>Writer/director \u003ca href=\"https://en.wikipedia.org/wiki/Alex_Garland\" target=\"_blank\" rel=\"noopener noreferrer\">Alex Garland\u003c/a> (\u003cem>Ex Machina\u003c/em>, \u003cem>Annihilation\u003c/em>) has a degree in art history, and with this TV series, he reconstituted a team with a history of producing visually striking work: production designer \u003ca href=\"https://gersh.com/production/clients/mark-digby/\" target=\"_blank\" rel=\"noopener noreferrer\">Mark Digby\u003c/a>, set decorator \u003ca href=\"http://www.michelle-day.com\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Day\u003c/a>, cinematographer \u003ca href=\"https://luxartists.net/rob-hardy/\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Hardy\u003c/a> and visual effects supervisor \u003ca href=\"http://www.andrew-whitehurst.net\" target=\"_blank\" rel=\"noopener noreferrer\">Andrew Whitehurst\u003c/a>. Together, they’ve created an ever so slightly fictional take on Silicon Valley, one drenched in light, color and contrast.\u003c/p>\n\u003cp>Naturally, there are establishing shots of San Francisco: foggy, silver, washed out, when it’s not glowing like a silicon chip at night. The series begins in the white, washed out apartment of software engineer \u003ca href=\"https://www.instagram.com/p/B9DGqaVH7jJ/\" target=\"_blank\" rel=\"noopener noreferrer\">Lily\u003c/a> (Sonoya Mizuno) and her boyfriend Sergei (Karl Glusman). Both live in the city and ride a company shuttle to work far, far away in some unnamed suburb to the south.\u003c/p>\n\u003cp>Amaya, the cultish tech company where they work, is set on a campus tucked inside a grove of redwoods — in real life \u003ca href=\"https://www.thecinemaholic.com/devs-filming-locations/\" target=\"_blank\" rel=\"noopener noreferrer\">shot at UC Santa Cruz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13876669\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876669\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg\" alt=\"The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz \u003ccite>(Courtesy of Raymond Liu/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why UC Santa Cruz? For a start, it was available. “\u003cb>\u003c/b>We would never be able to use the real [tech campuses], because they’re always in use by the companies. We needed somewhere that we were going to be for several months, shooting in and out, coming back,” said Digby, who admits the \u003cem>Devs\u003c/em> team was initially looking for a modern campus full of glass and steel, more akin to what you see in downtown San Francisco today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as with any visual production team, they adjusted to account for practical constraints and on-site inspiration. “I\u003cb>\u003c/b>t was a little bit out of left field,” Digby said of the slightly older, Brutalist buildings that dominate the UC Santa Cruz campus. Their characteristically massive, monolithic appearance, though, won the team over. “The minute we stepped foot in the area, we fell in love.”\u003c/p>\n\u003cp>So it was McHenry Library, Quarry Plaza and Science Hill provided the exteriors for Amaya’s public-facing office complex in \u003cem>Devs\u003c/em>. And from the inside, you could be looking at any Silicon Valley open floor office plan, featuring floor-to-ceiling glass and sweetly nerdy Millenials tapping away intently at their computer stations.\u003c/p>\n\u003cp>In this case, they look out on those bucolic, green redwoods. “\u003cb>\u003c/b>The redwoods embed you in California and the Bay Area,” Digby said.\u003c/p>\n\u003cp>Add a monumental, pop art statue of a little girl incongruously towering over the campus in a manner not unlike Robert Arneson’s \u003cem>Eggheads\u003c/em> at \u003ca href=\"https://www.kqed.org/arts/12413395/the-10-shocking-toilets-that-helped-put-uc-davis-on-the-art-world-map\" target=\"_blank\" rel=\"noopener noreferrer\">UC Davis\u003c/a>, and you have \u003cem>foreshadowing\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13876668\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DEVS_SET_033.jpg\" alt=\"The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March.\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-1020x680.jpg 1020w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March. \u003ccite>(Courtesy of Mia Mizuno/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What’s Inside the Box\u003c/h2>\n\u003cp>Because, of course, all is not well in this Garden of Eden. The company is running a secret operation that the world and most of its employees know nothing about.\u003c/p>\n\u003cp>Set off from the other buildings in a nearby meadow, there sits a computer-generated, concrete ziggurat that looks like a bunker or utility building from the World War II era. “It’s supposed to detract from any interest,” said Digby, “but it’s supposed to have scale. Also, from the outside, it’s supposed to juxtapose with what’s inside. W\u003cb>\u003c/b>hat’s inside is supposed to take your breath away.”\u003c/p>\n\u003cp>Inside sits a shimmering, gold jewel box of an office that is the heart of \u003cem>Devs\u003c/em>. Constructed and shot in a U.K. sound studio, it’s also an unabashed temple to technology as it might be in the near future. At the center of the cube, encased in glass, floats the innards of a quantum supercomputer that looks a lot like, for example, IBM’s Q System One.\u003c/p>\n\u003cfigure id=\"attachment_13876667\" class=\"wp-caption aligncenter\" style=\"max-width: 1919px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg\" alt=\"The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM's Q System One.\" width=\"1919\" height=\"2027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg 1919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-160x169.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-800x845.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-768x811.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-1020x1077.jpeg 1020w\" sizes=\"(max-width: 1919px) 100vw, 1919px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM’s Q System One. \u003ccite>(Courtesy of David Becker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which was the idea.\u003c/p>\n\u003cp>“They are amazing pieces of art. Once they’re taken out of their shields, they are these gold and glass and aluminum and silver masterpieces. You know, the machines that we use, the insides of computers, are absolutely beautiful. It can be Awesome!-inspiring. It’s a character in itself,” Digby said.\u003c/p>\n\u003cp>The supercomputer is also at the center of the \u003cem>Devs\u003c/em> story. Much as my first impression of the space was of the lobby of a boutique hotel, or a futuristic, black, gold and glass inversion of an Apple store, Digby explained that science inspired the visual look of the supercomputer’s home.\u003c/p>\n\u003cp>Sound waves, light waves, electromagnetic waves — nothing will be able to penetrate this bunker encased in concrete and lined with lead and gold. Or gold leaf: the team applied hundreds of squares of gold leaf to the walls, using a recurring fractal pattern called a \u003ca href=\"https://en.wikipedia.org/wiki/Menger_sponge\" target=\"_blank\" rel=\"noopener noreferrer\">Menger sponge\u003c/a>, a visual representation of the idea of boxes within boxes within boxes.\u003c/p>\n\u003cp>\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/Fp9LMsI6uJ8'\n title='//www.youtube.com/embed/Fp9LMsI6uJ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>It’s a gilded, airless, isolated space that also looks and feels quasi-religious. The story circles around a metaphysical topic obsessed about in classic, \u003ca href=\"https://www.kqed.org/arts/13876008/devs-explores-modern-tech-driven-cultural-alienation-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">over-heated\u003c/a> sci fi fashion by Amaya’s multibillionaire founder, Forest (Nick Offerman).\u003c/p>\n\u003cp>Does knowing the future allows us to change it to something more akin to our liking? Or are we compelled to act out the future laid before us in the magic mirror by artificial intelligence we built? It’s the old free will versus determinism debate some of you will remember from university philosophy classes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moody, self-doubting, passively trapped in a gilded box of our own making: sounds like Silicon Valley in 2020. Looks like it, too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>UPDATE, March 31\u003c/strong>: The current tour of ‘Hamilton’ has now closed for good in San Francisco. It had been scheduled to play through May 31, 2020. ‘The Last Ship’ and others are now \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">canceled as well\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> has gone dark.\u003c/p>\n\u003cp>The hit Broadway musical currently at the Orpheum in San Francisco has been \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">temporarily canceled\u003c/a> due to coronavirus concerns. Additionally, \u003cem>The Last Ship\u003c/em>, starring Sting at the Golden Gate Theatre, has been put on hiatus as well.\u003c/p>\n\u003cp>Starting tonight, all performances of \u003cem>Hamilton\u003c/em> and \u003cem>The Last Ship\u003c/em> will be canceled through Tuesday, March 31. \u003c/p>\n\u003cp>Those who purchased official tickets for one of the canceled shows through \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">BroadwaySF\u003c/a>, the show’s presenter, will get a refund. (Tickets sold on a second-hand site are subject to that site’s terms and conditions.)\u003c/p>\n\u003cp>The statement from the show’s organizers follows: \u003c/p>\n\u003cp>\u003cem>At the direction of the City of San Francisco’s mandate to ban events larger than 1,000 people across the city, all BroadwaySF productions at the Orpheum and Golden Gate Theatres will be canceled beginning this evening (tonight’s performances of HAMILTON at 7pm and THE LAST SHIP at 7:30pm) through \u003cdel datetime=\"2020-03-12T20:58:28+00:00\">Wednesday March 25\u003c/del> Tuesday, March 31.\u003c/em>\u003c/p>\n\u003cp>\u003cem>If you have purchased tickets to a performance of HAMILTON or THE LAST SHIP during this time period, you will receive a refund. Tickets purchased through Goldstar, Vivid Seats, TodayTix and any other sources that are not BroadwaySF related should consult their place of purchase for a refund.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We take the health and safety of our patrons, staff and community seriously and urge everyone to continue to follow the guidelines set forth by public health officials.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We will continue to monitor the situation closely and provide updates as we receive them.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>UPDATE, March 31\u003c/strong>: The current tour of ‘Hamilton’ has now closed for good in San Francisco. It had been scheduled to play through May 31, 2020. ‘The Last Ship’ and others are now \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">canceled as well\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> has gone dark.\u003c/p>\n\u003cp>The hit Broadway musical currently at the Orpheum in San Francisco has been \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">temporarily canceled\u003c/a> due to coronavirus concerns. Additionally, \u003cem>The Last Ship\u003c/em>, starring Sting at the Golden Gate Theatre, has been put on hiatus as well.\u003c/p>\n\u003cp>Starting tonight, all performances of \u003cem>Hamilton\u003c/em> and \u003cem>The Last Ship\u003c/em> will be canceled through Tuesday, March 31. \u003c/p>\n\u003cp>Those who purchased official tickets for one of the canceled shows through \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">BroadwaySF\u003c/a>, the show’s presenter, will get a refund. (Tickets sold on a second-hand site are subject to that site’s terms and conditions.)\u003c/p>\n\u003cp>The statement from the show’s organizers follows: \u003c/p>\n\u003cp>\u003cem>At the direction of the City of San Francisco’s mandate to ban events larger than 1,000 people across the city, all BroadwaySF productions at the Orpheum and Golden Gate Theatres will be canceled beginning this evening (tonight’s performances of HAMILTON at 7pm and THE LAST SHIP at 7:30pm) through \u003cdel datetime=\"2020-03-12T20:58:28+00:00\">Wednesday March 25\u003c/del> Tuesday, March 31.\u003c/em>\u003c/p>\n\u003cp>\u003cem>If you have purchased tickets to a performance of HAMILTON or THE LAST SHIP during this time period, you will receive a refund. Tickets purchased through Goldstar, Vivid Seats, TodayTix and any other sources that are not BroadwaySF related should consult their place of purchase for a refund.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We take the health and safety of our patrons, staff and community seriously and urge everyone to continue to follow the guidelines set forth by public health officials.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We will continue to monitor the situation closely and provide updates as we receive them.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "An All-Day Celebration of Fellini at the Castro",
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"content": "\u003cp>The film director Frederico Fellini is often thought of as heady, art-film neorealist auteur, dealing in heavy themes. So imagine my surprise when, a Sunday morning a few years ago, my six-year-old daughter noticed my DVD copy of Fellni’s film \u003cem>La Strada\u003c/em>, asked me about the people on the cover, then sat down and watched it with me—and \u003cem>loved\u003c/em> it.\u003c/p>\n\u003cp>The truth is that for all his seriousness, Fellini was frequently funny and childlike in his directing style. Now, to celebrate the centennial of the director’s birth, the Castro Theater hosts \u003ca href=\"http://www.cinemaitaliasf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Fellini 100\u003c/a>, an all-day celebration with four Fellini films: \u003cem>La Strada, Juliet of the Spirits, Amarcord, and I Vitelloni\u003c/em>. I may be biased, but if you’re a newcomer to Fellini’s work, start with \u003cem>La Strada\u003c/em>—a charming, slightly dark movie about a brutish traveling strongman and his partner, with brilliant star roles for Anthony Quinn and Guilietta Masina. Fellini 100 gets underway on Saturday, March 7, at the Castro Theater in San Francisco. \u003ca href=\"http://www.cinemaitaliasf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The film director Frederico Fellini is often thought of as heady, art-film neorealist auteur, dealing in heavy themes. So imagine my surprise when, a Sunday morning a few years ago, my six-year-old daughter noticed my DVD copy of Fellni’s film \u003cem>La Strada\u003c/em>, asked me about the people on the cover, then sat down and watched it with me—and \u003cem>loved\u003c/em> it.\u003c/p>\n\u003cp>The truth is that for all his seriousness, Fellini was frequently funny and childlike in his directing style. Now, to celebrate the centennial of the director’s birth, the Castro Theater hosts \u003ca href=\"http://www.cinemaitaliasf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Fellini 100\u003c/a>, an all-day celebration with four Fellini films: \u003cem>La Strada, Juliet of the Spirits, Amarcord, and I Vitelloni\u003c/em>. I may be biased, but if you’re a newcomer to Fellini’s work, start with \u003cem>La Strada\u003c/em>—a charming, slightly dark movie about a brutish traveling strongman and his partner, with brilliant star roles for Anthony Quinn and Guilietta Masina. Fellini 100 gets underway on Saturday, March 7, at the Castro Theater in San Francisco. \u003ca href=\"http://www.cinemaitaliasf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Rest in peace, Schmelly. Knuckle-head, you’re in parakeet paradise. And aloha, Woody—you were one great weiner dog.\u003c/p>\n\u003cp>A detour under a highway might not sound like an appealing destination. But next time you take a walk along San Francisco’s Presidio Promenade, consider making a stop at the pet cemetery, reopened in the last year after temporarily shuttering for the reconstruction of Doyle Drive.\u003c/p>\n\u003cp>The cemetery dates back to 1952, when it served as a final resting place for pets of the military families that lived in the Presidio. It was originally cared for by local Boy Scouts, who would bury pets and make grave markers for a small fee. The cemetery was almost full in 1963, and by the mid ’70s, it closed to new burials and began to fall into decline.\u003c/p>\n\u003cp>In 1978, an article in the \u003ca href=\"https://p.widencdn.net/y1bked/1978.03.31.pet.cemetery\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Star Presidian\u003c/em>\u003c/a> newsletter revealed that a retired member of the Navy named Ken had taken up caring for the pet cemetery. While requesting to remain anonymous, the mysterious good Samaritan described using his retirement pay to buy new paint and lumber to replace rotting markers. Michael Lamb, historic landscape architect at the Presidio Trust, has a hunch as to how to identify signs refurbished by Ken. One that reads “The Love These Animals Gave Will Never Be Forgotten” is in suspiciously good condition considering its age.\u003c/p>\n\u003cfigure id=\"attachment_13875698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/parakeet-800x450.jpg\" alt=\"Knuckle Head the parakeet's gravestone in the Presidio pet cemetary.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parakeet-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parakeet-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parakeet-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parakeet-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parakeet.jpg 1034w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Knuckle Head the parakeet’s gravestone in the Presidio pet cemetary. \u003ccite>(Jasmine Garnett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cemetery has been under stewardship of the Presidio Trust since 1998. Over the last 20 years, it’s relied on volunteers and veterans for minor maintenance and upkeep. They reinforced the old, failing fence a couple of times and cut back an invading ice plant, and there were one or two community work days to clean up the site. Other than that, not much else has been done. But as Lamb explains, “With the established trees and the seasonal grasses from the winter rains, the site took on a rough appearance that actually contributed to its charm.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Recently, the Presidio Trust and a private donor funded even more improvements—among them, a new picket fence, trees, signs and ornamental plants. For two Saturdays in October, volunteers painted the fence white.\u003c/p>\n\u003cp>Two of the volunteers were veteran Phil Gioia and his daughter—who, fittingly, is a Girl Scout. He remembers the pet cemetery as “one of the most unique things about the Presidio” from when he was stationed there in 1975. Back when it was an active military post, he says, the cemetery was right across the street from the veterinarian, who took care of working animals and pets alike. (Many military families had exotic pets, which is how the cemetery ended up with pigeons and bats next to cats and dogs.)\u003c/p>\n\u003cp>As Gioia remembers, the generals commanding the Presidio were aware of the cemetery and its significance to the people who lived there. “One of them, back in the 1950s, was really emphatic that this place be taken care of and families have the opportunity to bury their pets there,” Gioia says.“We buried a cat there years ago, and he’s in there with all the other little critters, among all his buddies, I’m sure, playing a harp in the little critter orchestra there.”\u003c/p>\n\u003cfigure id=\"attachment_13875699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/woody-800x456.jpg\" alt=\"Woody the wiener dog's grave site in the Presidio pet cemetery.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/woody-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/woody-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/woody-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/woody-1020x581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/woody.jpg 1022w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Woody the wiener dog’s grave site in the Presidio pet cemetery. \u003ccite>(Jasmine Garnett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sam Bibbens lives at the Veterans Academy, a supportive housing site for veterans less than two miles away from the pet cemetery in the Presidio. He’s also volunteered at the cemetery several times, digging and cleaning to make the space beautiful. Explaining what drew him to the project, he says, “As a veteran, I’m just a concerned citizen who saw something that may have been a valuable historical resource at the time and wanted to stop it from disappearing.”\u003c/p>\n\u003cp>Bibbens knows that most people probably find the whole thing a bit unusual. Not all of them, though. “Some of them love animals more than they love people,” he says.\u003c/p>\n\u003cp>A banner at the entrance of the reopened cemetery reads, “While not considered historic, the Presidio Trust recognizes that the Pet Cemetery is a unique and treasured spot in San Francisco and is working on its rehabilitation.” The only scheduled closure will take place in the summer for some soil grading; periodic volunteer events promise to keep the cemetery in tip-top shape.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Throughout its nearly 70-year history, whenever the cemetery starts getting a little run down, someone steps up to fix it. Maybe it’s a connection to the past, or the bond between people and their pets, but the Presidio Pet Cemetery shows that sometimes love is a painstakingly repainted grave marker that says “Cindy Pooper.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rest in peace, Schmelly. Knuckle-head, you’re in parakeet paradise. And aloha, Woody—you were one great weiner dog.\u003c/p>\n\u003cp>A detour under a highway might not sound like an appealing destination. But next time you take a walk along San Francisco’s Presidio Promenade, consider making a stop at the pet cemetery, reopened in the last year after temporarily shuttering for the reconstruction of Doyle Drive.\u003c/p>\n\u003cp>The cemetery dates back to 1952, when it served as a final resting place for pets of the military families that lived in the Presidio. It was originally cared for by local Boy Scouts, who would bury pets and make grave markers for a small fee. The cemetery was almost full in 1963, and by the mid ’70s, it closed to new burials and began to fall into decline.\u003c/p>\n\u003cp>In 1978, an article in the \u003ca href=\"https://p.widencdn.net/y1bked/1978.03.31.pet.cemetery\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Star Presidian\u003c/em>\u003c/a> newsletter revealed that a retired member of the Navy named Ken had taken up caring for the pet cemetery. While requesting to remain anonymous, the mysterious good Samaritan described using his retirement pay to buy new paint and lumber to replace rotting markers. Michael Lamb, historic landscape architect at the Presidio Trust, has a hunch as to how to identify signs refurbished by Ken. One that reads “The Love These Animals Gave Will Never Be Forgotten” is in suspiciously good condition considering its age.\u003c/p>\n\u003cfigure id=\"attachment_13875698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/parakeet-800x450.jpg\" alt=\"Knuckle Head the parakeet's gravestone in the Presidio pet cemetary.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parakeet-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parakeet-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parakeet-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parakeet-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parakeet.jpg 1034w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Knuckle Head the parakeet’s gravestone in the Presidio pet cemetary. \u003ccite>(Jasmine Garnett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cemetery has been under stewardship of the Presidio Trust since 1998. Over the last 20 years, it’s relied on volunteers and veterans for minor maintenance and upkeep. They reinforced the old, failing fence a couple of times and cut back an invading ice plant, and there were one or two community work days to clean up the site. Other than that, not much else has been done. But as Lamb explains, “With the established trees and the seasonal grasses from the winter rains, the site took on a rough appearance that actually contributed to its charm.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Recently, the Presidio Trust and a private donor funded even more improvements—among them, a new picket fence, trees, signs and ornamental plants. For two Saturdays in October, volunteers painted the fence white.\u003c/p>\n\u003cp>Two of the volunteers were veteran Phil Gioia and his daughter—who, fittingly, is a Girl Scout. He remembers the pet cemetery as “one of the most unique things about the Presidio” from when he was stationed there in 1975. Back when it was an active military post, he says, the cemetery was right across the street from the veterinarian, who took care of working animals and pets alike. (Many military families had exotic pets, which is how the cemetery ended up with pigeons and bats next to cats and dogs.)\u003c/p>\n\u003cp>As Gioia remembers, the generals commanding the Presidio were aware of the cemetery and its significance to the people who lived there. “One of them, back in the 1950s, was really emphatic that this place be taken care of and families have the opportunity to bury their pets there,” Gioia says.“We buried a cat there years ago, and he’s in there with all the other little critters, among all his buddies, I’m sure, playing a harp in the little critter orchestra there.”\u003c/p>\n\u003cfigure id=\"attachment_13875699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/woody-800x456.jpg\" alt=\"Woody the wiener dog's grave site in the Presidio pet cemetery.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/woody-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/woody-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/woody-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/woody-1020x581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/woody.jpg 1022w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Woody the wiener dog’s grave site in the Presidio pet cemetery. \u003ccite>(Jasmine Garnett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sam Bibbens lives at the Veterans Academy, a supportive housing site for veterans less than two miles away from the pet cemetery in the Presidio. He’s also volunteered at the cemetery several times, digging and cleaning to make the space beautiful. Explaining what drew him to the project, he says, “As a veteran, I’m just a concerned citizen who saw something that may have been a valuable historical resource at the time and wanted to stop it from disappearing.”\u003c/p>\n\u003cp>Bibbens knows that most people probably find the whole thing a bit unusual. Not all of them, though. “Some of them love animals more than they love people,” he says.\u003c/p>\n\u003cp>A banner at the entrance of the reopened cemetery reads, “While not considered historic, the Presidio Trust recognizes that the Pet Cemetery is a unique and treasured spot in San Francisco and is working on its rehabilitation.” The only scheduled closure will take place in the summer for some soil grading; periodic volunteer events promise to keep the cemetery in tip-top shape.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Throughout its nearly 70-year history, whenever the cemetery starts getting a little run down, someone steps up to fix it. Maybe it’s a connection to the past, or the bond between people and their pets, but the Presidio Pet Cemetery shows that sometimes love is a painstakingly repainted grave marker that says “Cindy Pooper.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
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