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Eisen-Martin’s suggestion for writers out there is to get involved in the community, whether that’s passing out flyers or organizing a mutual aid program. “\u003cspan style=\"font-weight: 400\">That experience is what you synthesize good revolutionary poetry from.”\u003c/span>\u003c/p>\n\u003cp>As a lifelong San Franciscan, Eisen-Martin has developed a unique perspective on how racism manifests in a liberal bastion like the Bay Area. 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But they are all silly,” \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Police chief sowing a mouth onto a mouth\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Police chief looking straight through the poet\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Flesh market both sides of the levy\u003cbr>\nChange of plans both sides of the nonviolence\u003c/em>\u003c/strong>\u003c/p>\n\u003cp class=\"p1\" style=\"text-align: left\">\u003cstrong>\u003cem> On no earth\u003cbr>\nJust an earth character \u003c/em>\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>\u003cem>His subordinate says, “Awkward basketball moves look good on you, sir… Yes, we are everywhere, sir… yes, unfortunately for now, white people only have Black History … we will slide the wallpaper right into their cereal bowls, sir … Surveil the shuffle.” \u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>\u003cem>I am a beggar and all of this day is too easy \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>I want to see all of the phases of a wall \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Every age it goes through\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem> Its humanity \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem> Its environmental racism \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>We call this the ordeal blues \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Now crawl to the piano seat and make a blanket for your cell \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Paint scenes of a child dancing up to the court appearance\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>And leaving a man,\u003cbr>\n\u003c/em>\u003c/strong>\u003cstrong>\u003cem> but not for home\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Atlantic ocean charts mixed in with parole papers \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Mainstream funding (the ruling class’s only pacifism) \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Ruling class printing judges (fiat kangaroos) \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Making judges hand over fist \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Rapture cop packs and opposition whites all above a thorny stem \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Caste plans picked out like vans for the murder show anglo‐saints addicting you to a power structure \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>you want me to raise a little slave, don’t you? \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>bash his little brain in \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>and send him to your civil rights \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>No pain \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Just a white pain \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Delicate bullets in a box next to a stack of monolith scriptures \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem> (makes these bullets look relevant, don’t it?)\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>I remember you\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Everywhere you lay your hat is the capital of the south \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>The posture you introduced to that fence \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>The fence you introduced to political theory\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>If you shred my dreams, son \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>I will tack you to gun smoke\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>The suburbs are finally offended\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>this will be a meditation too\u003c/em>\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with poet Tongo Eisen-Martin: \u003c/strong>\u003c/p>\n\u003cp>TONGO\u003cspan style=\"font-weight: 400\">: I feel like the primary generator of reality in the United States is military reality. It’s the organizations of violence or the monopolies of violence especially, wielded by the state. And a state wielded by a ruling class. Prison is evidence of this principle. \u003c/span>\u003cspan style=\"font-weight: 400\">To be clear, you are living in a reality of organized violence. Along with the blood comes the culture of just, confined, compartmentalized living. \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t see how any of us walk around having normal days when the kids are still in cages. When you think about the individual adventure you’re on. How lovingly can I pat myself on the back when there’s some severe injustice going on.\u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN\u003c/em>\u003cspan style=\"font-weight: 400\">: What can you do about that injustice as a poet?\u003c/span>\u003c/p>\n\u003cp>TONGO\u003cspan style=\"font-weight: 400\">: The poet needs to just come on down to the trenches, come on down to whatever political efforts are already going on. Do not be sad if nobody wants to hear a poem down there, ya know. \u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN\u003c/em>\u003cspan style=\"font-weight: 400\">: [laughs]\u003c/span>\u003c/p>\n\u003cp>TONGO\u003cspan style=\"font-weight: 400\">: That’s primary. That experience is what you synthesize good revolutionary poetry from. \u003c/span>\u003c/p>\n\u003cp>\u003cem>This is the first in a series of shorter shows we’re doing this year, called “Pocket Poems Podcasts.” All of these Rightnowish episodes feature poets performing their work. Enjoy!\u003c/em>\u003c/p>\n\u003cp>Catch up on our music series with this Spotify playlist:\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/6ok3fmGwvwmuyGvuWxlv3Q\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\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\">\u003c/p>\n\u003cp>\u003cstrong>\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 and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "San Francisco's Poet Laureate, Tongo Eisen-Martin, has a call to action for poets out there: \r\nGet Active! ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9241183697&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/_tongogara_/\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a>, San Francisco’s eighth poet laureate, says it’s not enough to simply be a poet.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The poet needs to just come on down to the trenches\u003c/span>,” he says. Eisen-Martin’s suggestion for writers out there is to get involved in the community, whether that’s passing out flyers or organizing a mutual aid program. “\u003cspan style=\"font-weight: 400\">That experience is what you synthesize good revolutionary poetry from.”\u003c/span>\u003c/p>\n\u003cp>As a lifelong San Franciscan, Eisen-Martin has developed a unique perspective on how racism manifests in a liberal bastion like the Bay Area. In this episode, he addresses American militarism, state-sanctioned violence, and mass incarceration– as well as what can be done about these issues.\u003c/p>\n\u003cp>Eisen-Martin joined me for a brief but powerful interview that includes a performance of his poem, “A Sketch of Genocide.” The piece was included in his book, \u003cspan id=\"productTitle\" class=\"a-size-extra-large\">\u003cem>Heaven Is All Goodbyes\u003c/em>, which won a 2018 American Book Award. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3 class=\"p1\">A Sketch about Genocide\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>A police chief says, “Yes, you poets make points. But they are all silly,” \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Police chief sowing a mouth onto a mouth\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Police chief looking straight through the poet\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Flesh market both sides of the levy\u003cbr>\nChange of plans both sides of the nonviolence\u003c/em>\u003c/strong>\u003c/p>\n\u003cp class=\"p1\" style=\"text-align: left\">\u003cstrong>\u003cem> On no earth\u003cbr>\nJust an earth character \u003c/em>\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>\u003cem>His subordinate says, “Awkward basketball moves look good on you, sir… Yes, we are everywhere, sir… yes, unfortunately for now, white people only have Black History … we will slide the wallpaper right into their cereal bowls, sir … Surveil the shuffle.” \u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>\u003cem>I am a beggar and all of this day is too easy \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>I want to see all of the phases of a wall \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Every age it goes through\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem> Its humanity \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem> Its environmental racism \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>We call this the ordeal blues \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Now crawl to the piano seat and make a blanket for your cell \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Paint scenes of a child dancing up to the court appearance\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>And leaving a man,\u003cbr>\n\u003c/em>\u003c/strong>\u003cstrong>\u003cem> but not for home\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Atlantic ocean charts mixed in with parole papers \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Mainstream funding (the ruling class’s only pacifism) \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Ruling class printing judges (fiat kangaroos) \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Making judges hand over fist \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Rapture cop packs and opposition whites all above a thorny stem \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Caste plans picked out like vans for the murder show anglo‐saints addicting you to a power structure \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>you want me to raise a little slave, don’t you? \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>bash his little brain in \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>and send him to your civil rights \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>No pain \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Just a white pain \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Delicate bullets in a box next to a stack of monolith scriptures \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem> (makes these bullets look relevant, don’t it?)\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>I remember you\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Everywhere you lay your hat is the capital of the south \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>The posture you introduced to that fence \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>The fence you introduced to political theory\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>If you shred my dreams, son \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>I will tack you to gun smoke\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>The suburbs are finally offended\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>this will be a meditation too\u003c/em>\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with poet Tongo Eisen-Martin: \u003c/strong>\u003c/p>\n\u003cp>TONGO\u003cspan style=\"font-weight: 400\">: I feel like the primary generator of reality in the United States is military reality. It’s the organizations of violence or the monopolies of violence especially, wielded by the state. And a state wielded by a ruling class. Prison is evidence of this principle. \u003c/span>\u003cspan style=\"font-weight: 400\">To be clear, you are living in a reality of organized violence. Along with the blood comes the culture of just, confined, compartmentalized living. \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t see how any of us walk around having normal days when the kids are still in cages. When you think about the individual adventure you’re on. How lovingly can I pat myself on the back when there’s some severe injustice going on.\u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN\u003c/em>\u003cspan style=\"font-weight: 400\">: What can you do about that injustice as a poet?\u003c/span>\u003c/p>\n\u003cp>TONGO\u003cspan style=\"font-weight: 400\">: The poet needs to just come on down to the trenches, come on down to whatever political efforts are already going on. Do not be sad if nobody wants to hear a poem down there, ya know. \u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN\u003c/em>\u003cspan style=\"font-weight: 400\">: [laughs]\u003c/span>\u003c/p>\n\u003cp>TONGO\u003cspan style=\"font-weight: 400\">: That’s primary. That experience is what you synthesize good revolutionary poetry from. \u003c/span>\u003c/p>\n\u003cp>\u003cem>This is the first in a series of shorter shows we’re doing this year, called “Pocket Poems Podcasts.” All of these Rightnowish episodes feature poets performing their work. Enjoy!\u003c/em>\u003c/p>\n\u003cp>Catch up on our music series with this Spotify playlist:\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/6ok3fmGwvwmuyGvuWxlv3Q\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\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\">\u003c/p>\n\u003cp>\u003cstrong>\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 and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "PHOTOS: Lawrence Ferlinghetti Sidewalk Memorial at City Lights Books",
"headTitle": "PHOTOS: Lawrence Ferlinghetti Sidewalk Memorial at City Lights Books | KQED",
"content": "\u003cp>On Tuesday, Feb. 23, a group of about 50 people gathered outside City Lights Books in San Francisco at an impromptu memorial for Lawrence Ferlinghetti, who \u003ca href=\"https://www.kqed.org/arts/13893125/lawrence-ferlinghetti-beat-poet-and-small-press-publisher-dies-at-101\" rel=\"noopener noreferrer\" target=\"_blank\">died on Monday\u003c/a> at age 101. \u003c/p>\n\u003cp>The crowd ranged from those close to Ferlinghetti—like Jack Hirschman, one of the famed poet and publisher’s oldest friends—to readers touched by his work. But all shared the impulse to gather and pay tribute to the City Lights founder in Jack Kerouac Alley—outside the bookstore where Ferlinghetti made his home, in the neighborhood and city that he loved.\u003c/p>\n\u003cp>While readings, anecdotes and testimonials to Ferlinghetti’s \u003ca href=\"https://www.kqed.org/news/10447892/at-95-lawrence-ferlinghetti-recounts-more-than-six-decades-of-life-in-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">indomitable spirit\u003c/a> filled the sidewalk and alley, KQED photographer Beth LaBerge captured the scene in photos.\u003c/p>\n\u003cfigure id=\"attachment_13893247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Agneta Falk reads a poem while Jack Hirschman listens during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Agneta Falk reads a poem during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Bobby Coleman speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1465w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Coleman speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A woman lights a candle at a memorial for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman lights a candle at a memorial for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A crowd of people listen to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of people listen to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Patrick Monk speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Monk speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A vigil and poetry reading is held outside of City Lights Books in San Francisco for its founder Lawrence Ferlinghetti on Tuesday Feb. 23, 2021, who died on Monday at the age of 101. Friends and fellow poets shared remembrances, read his work and raised their glasses.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A vigil and poetry reading is held outside of City Lights Books in San Francisco for its founder Lawrence Ferlinghetti on Tuesday Feb. 23, 2021, who died on Monday at the age of 101. Friends and fellow poets shared remembrances, read his work and raised their glasses. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Scott Bird (right) during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott Bird (right) during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Poet Charlie Getter reads from Lawrence Ferlinghetti's book Coney Island of the Mind during a vigil outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet Charlie Getter reads from Lawrence Ferlinghetti’s book Coney Island of the Mind during a vigil outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Bottles of beer are raised in the air during a cheers for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bottles of beer are raised in the air during a cheers for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Friends and fellow poets share remembrances and read poems during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Friends and fellow poets share remembrances and read poems during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Photos of Lawrence Ferlinghetti and his bowler hat in the City Lights Poetry Room on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photos of Lawrence Ferlinghetti and his bowler hat in the City Lights Poetry Room on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x1200.jpg\" alt=\"Leilani Chun listens to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"600\" height=\"900\" class=\"size-medium wp-image-13893237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1280w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Leilani Chun listens to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"An attendee at the memorial points to a photo of Ferlinghetti in a poetry book outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee at the memorial points to a photo of Ferlinghetti in a poetry book outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "A group of about 50 people gathered Tuesday night to pay tribute to the legendary poet and publisher.",
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"title": "PHOTOS: Lawrence Ferlinghetti Sidewalk Memorial at City Lights Books | KQED",
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"headline": "PHOTOS: Lawrence Ferlinghetti Sidewalk Memorial at City Lights Books",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday, Feb. 23, a group of about 50 people gathered outside City Lights Books in San Francisco at an impromptu memorial for Lawrence Ferlinghetti, who \u003ca href=\"https://www.kqed.org/arts/13893125/lawrence-ferlinghetti-beat-poet-and-small-press-publisher-dies-at-101\" rel=\"noopener noreferrer\" target=\"_blank\">died on Monday\u003c/a> at age 101. \u003c/p>\n\u003cp>The crowd ranged from those close to Ferlinghetti—like Jack Hirschman, one of the famed poet and publisher’s oldest friends—to readers touched by his work. But all shared the impulse to gather and pay tribute to the City Lights founder in Jack Kerouac Alley—outside the bookstore where Ferlinghetti made his home, in the neighborhood and city that he loved.\u003c/p>\n\u003cp>While readings, anecdotes and testimonials to Ferlinghetti’s \u003ca href=\"https://www.kqed.org/news/10447892/at-95-lawrence-ferlinghetti-recounts-more-than-six-decades-of-life-in-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">indomitable spirit\u003c/a> filled the sidewalk and alley, KQED photographer Beth LaBerge captured the scene in photos.\u003c/p>\n\u003cfigure id=\"attachment_13893247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Agneta Falk reads a poem while Jack Hirschman listens during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Agneta Falk reads a poem during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Bobby Coleman speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1465w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Coleman speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A woman lights a candle at a memorial for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman lights a candle at a memorial for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A crowd of people listen to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of people listen to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Patrick Monk speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Monk speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A vigil and poetry reading is held outside of City Lights Books in San Francisco for its founder Lawrence Ferlinghetti on Tuesday Feb. 23, 2021, who died on Monday at the age of 101. Friends and fellow poets shared remembrances, read his work and raised their glasses.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A vigil and poetry reading is held outside of City Lights Books in San Francisco for its founder Lawrence Ferlinghetti on Tuesday Feb. 23, 2021, who died on Monday at the age of 101. Friends and fellow poets shared remembrances, read his work and raised their glasses. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Scott Bird (right) during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott Bird (right) during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Poet Charlie Getter reads from Lawrence Ferlinghetti's book Coney Island of the Mind during a vigil outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet Charlie Getter reads from Lawrence Ferlinghetti’s book Coney Island of the Mind during a vigil outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Bottles of beer are raised in the air during a cheers for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bottles of beer are raised in the air during a cheers for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Friends and fellow poets share remembrances and read poems during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Friends and fellow poets share remembrances and read poems during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Photos of Lawrence Ferlinghetti and his bowler hat in the City Lights Poetry Room on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photos of Lawrence Ferlinghetti and his bowler hat in the City Lights Poetry Room on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x1200.jpg\" alt=\"Leilani Chun listens to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"600\" height=\"900\" class=\"size-medium wp-image-13893237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1280w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Leilani Chun listens to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"An attendee at the memorial points to a photo of Ferlinghetti in a poetry book outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee at the memorial points to a photo of Ferlinghetti in a poetry book outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Vallie Brown Appointed to Lead SF's Main Nonprofit Arts Funding Agency",
"headTitle": "Vallie Brown Appointed to Lead SF’s Main Nonprofit Arts Funding Agency | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco Mayor London Breed and City Administrator Carmen Chu announced the appointment Thursday of Vallie Brown to the role of director of its main agency for nonprofit arts and culture funding, \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>Brown comes to the job as a strong ally of Mayor Breed’s.\u003c/p>\n\u003cp>The two women go back a long way, first meeting in the early 2000s when Breed ran San Francisco’s \u003ca href=\"https://www.sfartscommission.org/profile-submissions/african-american-art-and-culture-complex\" target=\"_blank\" rel=\"noopener noreferrer\">African American Arts and Culture Complex\u003c/a> and Brown was a community activist in the Haight. When Breed was a city supervisor, Brown was one of her aides. When Breed became Mayor in 2018, Brown took over the District 5 supervisor seat, which she lost in 2019 to a progressive, Dean Preston.\u003c/p>\n\u003cp>A former sculptor who specialized in metalwork, Brown said she won the job because of her many years in City Hall and her background fighting for equity for arts programming in underserved neighborhoods.\u003c/p>\n\u003cp>“I think my experience speaks for itself,” Brown told KQED in a video interview shortly after her appointment was announced. “As we know, the city administrator and the mayor are your bosses, and so they have to feel like they can put someone in there that they can trust and that also can push their agenda. And I know Mayor Breed has been very vocal about equity as her agenda.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Vallie Brown is a dedicated public servant, with a passion for community and the arts in San Francisco,” said Mayor Breed, in a statement. “Her extensive experience and steady hand will serve San Francisco’s arts community well as we navigate the challenges created by COVID-19 and work to recover as a city.”\u003c/p>\n\u003cp>Brown succeeds interim director Jason Blackwell in her new position with Grants for the Arts. Brown said Blackwell will return to his role as associate director as soon as she begins her new job, which she expects to do as early as next week.\u003c/p>\n\u003cp>Grants for the Arts, which has been around for 60 years, provided $12.9 million in general operating support grants in 2020, and increased funding for small- and medium-sized arts and culture groups by 28% over the previous year.\u003c/p>\n\u003cp>“Vallie Brown is a new woman leader in the arts who knows how to work within the political system of the city and the budget of the city,” said longtime former director of Grants for the Arts, Kary Schulman, in a phone interview. “In these difficult budget times, the big task for Brown will be to secure the revenue stream for the arts—the hotel tax—because hotels have been struggling during the pandemic.”\u003c/p>\n\u003cp>(Schulman referred to the passing of \u003ca href=\"https://sfelections.sfgov.org/sites/default/files/Documents/Voting/2018/N18_VIP_EN.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Proposition E\u003c/a> in 2018, which dedicates 1.5% of the base hotel tax—a 14% tax levied on hotel stays in the city—to support arts and culture programs in San Francisco. More about that \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.)\u003c/p>\n\u003cp>Brown said she plans to continue to focus on equity for community arts groups in her new role, especially since so many of them have struggled to survive in recent years—not just because of the COVID-19 pandemic, but also because of the high cost of living in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When you have a festival that is getting $10,000 or $15,000 from the city to put on their event, and you think, ‘OK, we’re going to cut them 10%,’ that could actually completely make it where they can’t put it on,” said Brown. “So we really have to look at equity first. We have to collaborate with the community arts. And we have to listen to them.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco Mayor London Breed and City Administrator Carmen Chu announced the appointment Thursday of Vallie Brown to the role of director of its main agency for nonprofit arts and culture funding, \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>Brown comes to the job as a strong ally of Mayor Breed’s.\u003c/p>\n\u003cp>The two women go back a long way, first meeting in the early 2000s when Breed ran San Francisco’s \u003ca href=\"https://www.sfartscommission.org/profile-submissions/african-american-art-and-culture-complex\" target=\"_blank\" rel=\"noopener noreferrer\">African American Arts and Culture Complex\u003c/a> and Brown was a community activist in the Haight. When Breed was a city supervisor, Brown was one of her aides. When Breed became Mayor in 2018, Brown took over the District 5 supervisor seat, which she lost in 2019 to a progressive, Dean Preston.\u003c/p>\n\u003cp>A former sculptor who specialized in metalwork, Brown said she won the job because of her many years in City Hall and her background fighting for equity for arts programming in underserved neighborhoods.\u003c/p>\n\u003cp>“I think my experience speaks for itself,” Brown told KQED in a video interview shortly after her appointment was announced. “As we know, the city administrator and the mayor are your bosses, and so they have to feel like they can put someone in there that they can trust and that also can push their agenda. And I know Mayor Breed has been very vocal about equity as her agenda.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Vallie Brown is a dedicated public servant, with a passion for community and the arts in San Francisco,” said Mayor Breed, in a statement. “Her extensive experience and steady hand will serve San Francisco’s arts community well as we navigate the challenges created by COVID-19 and work to recover as a city.”\u003c/p>\n\u003cp>Brown succeeds interim director Jason Blackwell in her new position with Grants for the Arts. Brown said Blackwell will return to his role as associate director as soon as she begins her new job, which she expects to do as early as next week.\u003c/p>\n\u003cp>Grants for the Arts, which has been around for 60 years, provided $12.9 million in general operating support grants in 2020, and increased funding for small- and medium-sized arts and culture groups by 28% over the previous year.\u003c/p>\n\u003cp>“Vallie Brown is a new woman leader in the arts who knows how to work within the political system of the city and the budget of the city,” said longtime former director of Grants for the Arts, Kary Schulman, in a phone interview. “In these difficult budget times, the big task for Brown will be to secure the revenue stream for the arts—the hotel tax—because hotels have been struggling during the pandemic.”\u003c/p>\n\u003cp>(Schulman referred to the passing of \u003ca href=\"https://sfelections.sfgov.org/sites/default/files/Documents/Voting/2018/N18_VIP_EN.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Proposition E\u003c/a> in 2018, which dedicates 1.5% of the base hotel tax—a 14% tax levied on hotel stays in the city—to support arts and culture programs in San Francisco. More about that \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.)\u003c/p>\n\u003cp>Brown said she plans to continue to focus on equity for community arts groups in her new role, especially since so many of them have struggled to survive in recent years—not just because of the COVID-19 pandemic, but also because of the high cost of living in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When you have a festival that is getting $10,000 or $15,000 from the city to put on their event, and you think, ‘OK, we’re going to cut them 10%,’ that could actually completely make it where they can’t put it on,” said Brown. “So we really have to look at equity first. We have to collaborate with the community arts. And we have to listen to them.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'They're OK': How One Journalist Experienced the Search for Two Kidnapped Children",
"headTitle": "‘They’re OK’: How One Journalist Experienced the Search for Two Kidnapped Children | KQED",
"content": "\u003cp>Journalists who report on cities know this phone call, this scenario, nearly down to the detail: It’s the middle of the night, you’re at home unwinding in your pajamas, maybe with your latest TV-binge obsession, maybe snuggled next to a loved one, when the phone rings.\u003c/p>\n\u003cp>It could just be a personal call. Or it could be a news tip so compelling that everyone in your audience needs to know, \u003cem>now\u003c/em>. You have to pick it up — because you never know.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13892520\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/JoeFitz.Bio_-160x166.jpg\" alt=\"\" width=\"160\" height=\"166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/JoeFitz.Bio_-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/JoeFitz.Bio_.jpg 400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>You tap that green phone button, and someone on the other end outlines a grave situation. Mayor Ed Lee \u003ca href=\"https://www.sfexaminer.com/news/san-francisco-mayor-ed-lee-dies-at-age-65/\">just died\u003c/a>. There’s an active shooter on a hospital rooftop. A wildfire is taking a turn for the worse, \u003ca href=\"https://www.kqed.org/news/11844521/when-wildfire-breaks-out-during-a-pandemic-whos-responsible-for-elderly-evacuees\">prompting mass evacuations\u003c/a>. You’ve got to \u003cem>go\u003c/em>.\u003c/p>\n\u003cp>This past Saturday night, I got a call much like those others. San Francisco resident and DoorDash delivery driver Jeffrey Fang’s two toddlers, Winnifred and Sean, aged 4 and 1, were in the backseat of his silver Honda Odyssey minivan when it was carjacked.\u003c/p>\n\u003cp>Jeffrey was making a DoorDash delivery in Pacific Heights, leaving his engine on while bringing the bag of food to a front door. That’s when he spotted a stranger in his vehicle. A struggle ensued, which ended with Jeffrey’s car stolen, his children still inside.\u003c/p>\n\u003cp>The story was equal in gravity to so many news incidents I’ve covered. But this time, the horrific story was personal.\u003c/p>\n\u003cp>Jeffrey is my friend.\u003c/p>\n\u003ch3>Trekkies Together\u003c/h3>\n\u003cp>I admit it: Somewhere in my closet, I own a\u003ca href=\"https://www.forbes.com/sites/alexknapp/2012/03/13/five-leadership-lessons-from-jean-luc-picard/?sh=37afcdd350a7\"> Captain Jean-Luc Picard\u003c/a> costume. But then again, so does Jeffrey. (His is much nicer).\u003c/p>\n\u003cp>For almost ten years, we’ve debated the merits of Star Trek’s goofy, makeup-laden societal allegories, having bonded over the show when we were City College of San Francisco students — \u003ca href=\"https://issuu.com/theguardsmanonline/docs/vol153issue1\">me a student journalist\u003c/a>, him a student representative on the college board. Jeffrey’s been one of the few people I’ve hung out with, socially-distantly, since March. He asked me to be a pallbearer at his father’s funeral. When the damned pandemic is \u003cem>finally \u003c/em>over and my fiancee and I can \u003cem>finally\u003c/em> have a proper big wedding, his invitation is near the top of the list.\u003c/p>\n\u003cfigure id=\"attachment_11859579\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11859579\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/JeffreyFang2012-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Fang blowing bubbles on Golden Gate Park’s Hippie Hill in 2012. KQED reporter Joe Fitzgerald Rodriguez took the photo.\u003c/figcaption>\u003c/figure>\n\u003cp>So, suffice to say, I didn’t expect \u003cem>that call \u003c/em>from Jeffrey.\u003c/p>\n\u003cp>On the phone Saturday night, his voice was strained but focused. “I’m sorry to ask you this, Joe, but my car was just stolen with two of my children inside. I need your help to reach every TV station you can, to get the word out.”\u003c/p>\n\u003cp>He’s already talked to the police. But Jeffrey was right: as a journalist, I had unique connections with TV reporters, police, and community members of all stripes. I got as much information as I could—the make and model of the minivan, exact spelling of his children’s names, along with photos of them—and started making calls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By 10:30 p.m., colleagues at various TV stations across the Bay Area were themselves mobilizing from their cozy Saturday nights to run the story. On the 11 o’clock news, the same photos Jeffrey sent me splashed across nearly every newscast.\u003c/p>\n\u003cp>I may not have been writing news that night, but I was in what I think of as my \u003cem>breaking news mode\u003c/em>. The adrenaline pumps. You’re alert, like you had a dozen cups of coffee, without the jitters. You’re ticking off mental boxes of what you need to do.\u003c/p>\n\u003cp>My fiancee, Anna Kaminski, sat by my side as we followed every development on the local police scanner.\u003c/p>\n\u003cp>A Silver Honda Odyssey was spotted in the Mission. An officer checked a section of Golden Gate Park and found nothing. A description of Jeffrey’s children was repeated, again, and again. This was like so many news events I had been part of before, and much like those incidents, the adrenaline suppressed the fear, suppressed the sadness.\u003c/p>\n\u003cp>https://twitter.com/FitzTheReporter/status/1358320044124504064\u003c/p>\n\u003cp>Anna and I decided to head out to Pacific Heights and offer our support to Jeffrey, in person. I just had one last thing to do, the only other thing I \u003cem>could\u003c/em> do, in my profession.\u003c/p>\n\u003cp>Tweet.\u003c/p>\n\u003cp>Little did I know how much it would echo. Partially in response to that tweet, to the TV coverage, and the Amber Alert that would later come from the police, it wouldn’t be long before the entire Bay Area would rise up to help Jeffrey’s family.\u003c/p>\n\u003cp>All of you are part of this story, too.\u003c/p>\n\u003cfigure id=\"attachment_11859588\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11859588 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/Screenshot_20210209-190651_Messages-800x665.jpg\" alt=\"\" width=\"800\" height=\"665\">\u003cfigcaption class=\"wp-caption-text\">A community member sends Joe Fitzgerald Rodriguez a text message coordinating a search for Jeffrey Fang’s kids.\u003c/figcaption>\u003c/figure>\n\u003ch3>Joining the Search\u003c/h3>\n\u003cp>At least an hour before the police’s Amber Alert went out, I tweeted from my account, @FitztheReporter, “MISSING CHILDREN PLEASE HELP,” along with the details of Jeffrey’s plight.\u003c/p>\n\u003cp>Within hours, the Tweet had been seen by hundreds of thousands of people. By the time Jeffrey’s kids were found, unharmed, the tweet was viewed more than 2.5 million times.\u003c/p>\n\u003cp>Many chimed in on Twitter, and elsewhere, offering to help.\u003c/p>\n\u003cp>\u003cem>“I’ll spread the word.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I just cross-posted this to an East Bay / Alameda group on Facebook.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I’m spreading this alert to SF friends.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I could put the word out in a taxi driver group chat.”\u003c/em>\u003c/p>\n\u003cp>Thousands of people in the Bay Area and beyond tweeted, retweeted, and did even more. Across San Francisco, people told me they walked around their own neighborhoods, or drove across the city, helping to be eyes and ears for Jeffrey’s kids.\u003c/p>\n\u003cp>The Bay Area turned out for one of its own.\u003c/p>\n\u003cp>I wonder if the sheer volume of the Bay Area’s concern for these children at all compelled the carjackers to rethink their plan. I suppose I might never know.\u003c/p>\n\u003cp>https://twitter.com/MichelleFranck/status/1358313800173199361\u003c/p>\n\u003ch3>‘They’re OK’\u003c/h3>\n\u003cp>Still scrolling social media replies with my face in my phone, hoping to find someone, somewhere, who spotted the kids, my fiancee and I gathered our gear to hunker down for the night: blankets, pillows, water, spare phone batteries, and snacks.\u003c/p>\n\u003cp>She drove (and I doom-scrolled) on the way from her home in Oakland to San Francisco to help Jeffrey keep his sanity.\u003c/p>\n\u003cp>My fiancee and I got to Jackson and Laguna streets at about 12:30 pm. I know the neighborhood well, as I grew up just nine blocks away, down the hill, toward the water.\u003c/p>\n\u003cfigure id=\"attachment_11859584\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11859584 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/Screenshot_20210206-220635_Citizen-800x1112.jpg\" alt=\"\" width=\"800\" height=\"1112\">\u003cfigcaption class=\"wp-caption-text\">A screenshot of the Citizen app alerting its users to the stolen vehicle with Jeffrey Fang’s children, Winnifred and Sean, inside.\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly a dozen uniformed police stood nearby. One marked SFPD car blocked the street at either end of the block. Jeffrey stood at a corner, masked, speaking to plainclothes cops when we walked up. I grasped McDonald’s bags in one hand, coffee in the other, hoping a full stomach would calm his nerves, but he refused to eat. He took the coffee, at least.\u003c/p>\n\u003cp>That’s when his mind started to drift into perilous waters.\u003c/p>\n\u003cp>What if the carjackers, worried they would be accused as kidnappers, did the worst to his children to hide the evidence? What if they let Winnifred and Sean out of the minivan on a street, and they were struck by a vehicle? What if? What if? What if?\u003c/p>\n\u003cp>Anna and I tried to calm his nerves as best we could. In a very community-minded moment, a local organizer named Max Leung, who volunteered to search for the kids, also stopped by and offered Jeffrey moral support. The pandemic made comforting our friend harder than it should have been — we stood, as you can guess, socially distantly.\u003c/p>\n\u003cp>I offered to turn on the police scanner, for Jeffrey to follow the search in real-time. He said no, he could only bear to hear the news when it came in a definitive manner, good or bad.\u003c/p>\n\u003cp>We didn’t stand there together long before one of the plainclothes cops called out, “Jeffrey, can you come here?” He held his hand out and cocked his fingers toward himself.\u003c/p>\n\u003cp>Jeffrey walked over. My stomach clenched.\u003c/p>\n\u003cp>“They’re OK,” he said.\u003c/p>\n\u003cp>I couldn’t hear the rest. But I could see Jeffrey’s back was to me. I watched his shoulders slump, the tension visibly fading from his body.\u003c/p>\n\u003cp>Anna and I shouted out. Leung, too. I threw my own cup of coffee behind me out of shock and joy. As it fell behind Anna and splattered next to a tree, I wrapped my arms around her as hard as I could, laughing from relief. Police from Bayview Station had found Jeffrey’s children.\u003c/p>\n\u003cp>In minutes, Jeffrey sat in a police vehicle, finally heading toward his kids. Doing what any journalist would do, I took to Twitter to let everyone know Winnifred and Sean were safe.\u003c/p>\n\u003cp>https://twitter.com/SVscanners/status/1358363844586868738?s=19\u003c/p>\n\u003ch3>A Story Everyone Could Relate To\u003c/h3>\n\u003cp>Once home, the emotions still hadn’t hit. I was too exhausted. This often happens after covering a heavy news story — the armor takes time to come down, the emotions take time to bubble up.\u003c/p>\n\u003cp>Still wired, I turned back to Twitter.\u003c/p>\n\u003cp>It was about 1:30 a.m. when Kim-Mai Cutler,\u003ca href=\"https://techcrunch.com/2014/04/14/sf-housing/\"> a journalist\u003c/a> and partner at Initialized Capital, reached out to me in a DM. We talk once in a while, and she offered wise counsel that night.\u003c/p>\n\u003cp>“Put up a GoFundMe for the dad. His family needs a break,” she wrote.\u003c/p>\n\u003cp>She was the second person to say so. Another dozen or so people had already asked me for his Venmo information, to offer Jeffrey’s family support. As a journalist, it was something \u003ca href=\"https://www.spj.org/ethicscode.asp\">I ordinarily wouldn’t do \u003c/a>— but again, Jeffrey was my friend, not a source.\u003c/p>\n\u003cp>So I set up the account. The Fang family’s story had clearly resonated with people, and days later, at the time of this writing, \u003ca href=\"https://www.gofundme.com/f/help-the-fang-family-after-children-abducted\">more than 3,300 have donated\u003c/a> to help them recuperate, and heal from the trauma of the night.\u003c/p>\n\u003cp>That’s $136,910, to be exact, as of this writing. Easily more than a year’s worth of Jeffrey’s earnings, and counting.\u003c/p>\n\u003cp>https://twitter.com/henrykleeKTVU/status/1358767878778986496\u003c/p>\n\u003cp>I got to play my own small role lighting a spark to help Jeffrey, but it was only the beginning of something much bigger than either of us. The teams of police canvassing the city for his children, the small army of Bay Area folks going outside their homes in a pandemic to help, or the literal tens of thousands who spread the word—they’re the flame.\u003c/p>\n\u003cp>Maybe \u003cem>you’ve \u003c/em>felt this way too: During the pandemic, with some of us stuck inside so often (with the obvious exception of our essential workers), it can seem like the webs of our lives have had all the threads snipped, one by one. The loneliness can be overbearing. But over the weekend, when my good friend needed it most, when he feared the worst — the unimaginable — for his children, it felt like all of the Bay Area’s human connections were woven together again — like thousands of Golden Gate Bridges built in the span of a few hours, with everyone in the community I love marching across in solidarity to lift Jeffrey and his family onto their shoulders.\u003c/p>\n\u003cp>It was Sunday, a day later, when the enormity of everything you all did hit me. The sobs that wracked me were happy ones.\u003c/p>\n\u003ch3>Why Jeffrey’s Story is Really All of Us\u003c/h3>\n\u003cp>Those who felt for Jeffrey’s family fall into two main camps.\u003c/p>\n\u003cp>Many empathized with him as a hard-working father from China who has been in the US for most of his adult life, an immigrant who became a citizen here, who over many long hours behind the wheel for various gig economy companies afforded to bring over his wife and three children to the United States right at the beginning of the pandemic.\u003c/p>\n\u003cp>Donors called out this story again and again in the GoFundMe comments:\u003c/p>\n\u003cp>\u003cem>“I come from a Korean immigrant family, and know the joys but also the struggle. Please know that there is far more good in the world than evil, and your sacrifices for your children are beautiful and worthy. Sending all love to you Fang family.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I’m a child of immigrant parents and know how hard it was for my parents to raise two kids and make an honest living through hard work and sacrifice. Jeffrey Fang is trying to do this during a worldwide Pandemic. Best of luck and all the health and happiness to you and your family.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“From one immigrant’s family to another, we hope this will help. We understand the struggle. With hard work, it will get better in time.”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11859590\" class=\"wp-caption alignnone\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11859590\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/JeffreyFam2.jpg\" alt=\"\" width=\"1500\" height=\"1000\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Fang and two of his three children, Winnifred and Sean, Feb. 2021. \u003cem>(Chris Victorio/Courtesy of the S.F. Examiner)\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Others who donated money said in GoFundMe comments that they found solidarity in his life as an Uber and Lyft driver-turned DoorDash driver, in the ever-precarious gig economy:\u003c/p>\n\u003cp>\u003cem>“Tech Workers For Tech Workers.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I really felt for this family when I saw this on the news. This pandemic has been challenging for so many people. Working as a food delivery driver is tough enough. How difficult it must have been for him to juggle work and babysitting the kids. So glad there are so many kind hearted people reaching out to help this family.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I’m sorry for your trauma and wish you a full recovery. My parents used to leave my siblings and me in the car while making deliveries in the ’80s. The immigrant/refugee struggle is real. Your hard work will not go unnoticed, and your children will be better because of it. You make this country great, thank you!”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11859595\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11859595\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/Screenshot_20210208-084541_Chrome.jpg\" alt=\"\" width=\"1080\" height=\"1471\">\u003cfigcaption class=\"wp-caption-text\">An excerpt from a GoFundMe for DoorDash driver Jeffrey Fang, whose children were abducted Feb. 6, 2021.\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, the Fang family’s story hit \u003cem>\u003ca href=\"https://www.washingtonpost.com/nation/2021/02/07/doordash-driver-kids-car/\">The Washington Post\u003c/a>, \u003ca href=\"https://www.vice.com/en/article/4adpmq/a-doordash-drivers-van-was-stolen-with-his-two-kids-inside\">Vice\u003c/a>,\u003c/em> and nearly every \u003ca href=\"https://abc7news.com/san-francisco-car-theft-2-kids-stolen-while-dad-delivers-doordash-order-sf-robbery-jackson-street/10320623/\">local TV station\u003c/a>, radio station, and news outlet you can think of. Thousands upon thousands of people responded to those stories on social media.\u003c/p>\n\u003cp>Jeffrey acknowledged the Bay Area’s support in an interview with my KQED colleague, Sara Hossaini.\u003c/p>\n\u003cp>“I know they helped me look, they pitched in massively to help looking for my children, which I’m eternally grateful for,” Jeffrey told her.\u003c/p>\n\u003cp>And as for his kids? How were they?\u003c/p>\n\u003cp>Sean is too young to say what he saw. But Winnifred apparently slept through the whole ordeal.\u003c/p>\n\u003cp>“She told me the only thing she remembers is waking up to police showing up at the car,” Jeffrey said, “So I am honestly quite thankful for that. Quite thankful.”\u003c/p>\n\u003cp>And as for me?\u003c/p>\n\u003cp>Much like Jeffrey, I’m quite thankful for all of you, too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Journalists who report on cities know this phone call, this scenario, nearly down to the detail: It’s the middle of the night, you’re at home unwinding in your pajamas, maybe with your latest TV-binge obsession, maybe snuggled next to a loved one, when the phone rings.\u003c/p>\n\u003cp>It could just be a personal call. Or it could be a news tip so compelling that everyone in your audience needs to know, \u003cem>now\u003c/em>. You have to pick it up — because you never know.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13892520\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/JoeFitz.Bio_-160x166.jpg\" alt=\"\" width=\"160\" height=\"166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/JoeFitz.Bio_-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/JoeFitz.Bio_.jpg 400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>You tap that green phone button, and someone on the other end outlines a grave situation. Mayor Ed Lee \u003ca href=\"https://www.sfexaminer.com/news/san-francisco-mayor-ed-lee-dies-at-age-65/\">just died\u003c/a>. There’s an active shooter on a hospital rooftop. A wildfire is taking a turn for the worse, \u003ca href=\"https://www.kqed.org/news/11844521/when-wildfire-breaks-out-during-a-pandemic-whos-responsible-for-elderly-evacuees\">prompting mass evacuations\u003c/a>. You’ve got to \u003cem>go\u003c/em>.\u003c/p>\n\u003cp>This past Saturday night, I got a call much like those others. San Francisco resident and DoorDash delivery driver Jeffrey Fang’s two toddlers, Winnifred and Sean, aged 4 and 1, were in the backseat of his silver Honda Odyssey minivan when it was carjacked.\u003c/p>\n\u003cp>Jeffrey was making a DoorDash delivery in Pacific Heights, leaving his engine on while bringing the bag of food to a front door. That’s when he spotted a stranger in his vehicle. A struggle ensued, which ended with Jeffrey’s car stolen, his children still inside.\u003c/p>\n\u003cp>The story was equal in gravity to so many news incidents I’ve covered. But this time, the horrific story was personal.\u003c/p>\n\u003cp>Jeffrey is my friend.\u003c/p>\n\u003ch3>Trekkies Together\u003c/h3>\n\u003cp>I admit it: Somewhere in my closet, I own a\u003ca href=\"https://www.forbes.com/sites/alexknapp/2012/03/13/five-leadership-lessons-from-jean-luc-picard/?sh=37afcdd350a7\"> Captain Jean-Luc Picard\u003c/a> costume. But then again, so does Jeffrey. (His is much nicer).\u003c/p>\n\u003cp>For almost ten years, we’ve debated the merits of Star Trek’s goofy, makeup-laden societal allegories, having bonded over the show when we were City College of San Francisco students — \u003ca href=\"https://issuu.com/theguardsmanonline/docs/vol153issue1\">me a student journalist\u003c/a>, him a student representative on the college board. Jeffrey’s been one of the few people I’ve hung out with, socially-distantly, since March. He asked me to be a pallbearer at his father’s funeral. When the damned pandemic is \u003cem>finally \u003c/em>over and my fiancee and I can \u003cem>finally\u003c/em> have a proper big wedding, his invitation is near the top of the list.\u003c/p>\n\u003cfigure id=\"attachment_11859579\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11859579\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/JeffreyFang2012-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Fang blowing bubbles on Golden Gate Park’s Hippie Hill in 2012. KQED reporter Joe Fitzgerald Rodriguez took the photo.\u003c/figcaption>\u003c/figure>\n\u003cp>So, suffice to say, I didn’t expect \u003cem>that call \u003c/em>from Jeffrey.\u003c/p>\n\u003cp>On the phone Saturday night, his voice was strained but focused. “I’m sorry to ask you this, Joe, but my car was just stolen with two of my children inside. I need your help to reach every TV station you can, to get the word out.”\u003c/p>\n\u003cp>He’s already talked to the police. But Jeffrey was right: as a journalist, I had unique connections with TV reporters, police, and community members of all stripes. I got as much information as I could—the make and model of the minivan, exact spelling of his children’s names, along with photos of them—and started making calls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By 10:30 p.m., colleagues at various TV stations across the Bay Area were themselves mobilizing from their cozy Saturday nights to run the story. On the 11 o’clock news, the same photos Jeffrey sent me splashed across nearly every newscast.\u003c/p>\n\u003cp>I may not have been writing news that night, but I was in what I think of as my \u003cem>breaking news mode\u003c/em>. The adrenaline pumps. You’re alert, like you had a dozen cups of coffee, without the jitters. You’re ticking off mental boxes of what you need to do.\u003c/p>\n\u003cp>My fiancee, Anna Kaminski, sat by my side as we followed every development on the local police scanner.\u003c/p>\n\u003cp>A Silver Honda Odyssey was spotted in the Mission. An officer checked a section of Golden Gate Park and found nothing. A description of Jeffrey’s children was repeated, again, and again. This was like so many news events I had been part of before, and much like those incidents, the adrenaline suppressed the fear, suppressed the sadness.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Anna and I decided to head out to Pacific Heights and offer our support to Jeffrey, in person. I just had one last thing to do, the only other thing I \u003cem>could\u003c/em> do, in my profession.\u003c/p>\n\u003cp>Tweet.\u003c/p>\n\u003cp>Little did I know how much it would echo. Partially in response to that tweet, to the TV coverage, and the Amber Alert that would later come from the police, it wouldn’t be long before the entire Bay Area would rise up to help Jeffrey’s family.\u003c/p>\n\u003cp>All of you are part of this story, too.\u003c/p>\n\u003cfigure id=\"attachment_11859588\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11859588 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/Screenshot_20210209-190651_Messages-800x665.jpg\" alt=\"\" width=\"800\" height=\"665\">\u003cfigcaption class=\"wp-caption-text\">A community member sends Joe Fitzgerald Rodriguez a text message coordinating a search for Jeffrey Fang’s kids.\u003c/figcaption>\u003c/figure>\n\u003ch3>Joining the Search\u003c/h3>\n\u003cp>At least an hour before the police’s Amber Alert went out, I tweeted from my account, @FitztheReporter, “MISSING CHILDREN PLEASE HELP,” along with the details of Jeffrey’s plight.\u003c/p>\n\u003cp>Within hours, the Tweet had been seen by hundreds of thousands of people. By the time Jeffrey’s kids were found, unharmed, the tweet was viewed more than 2.5 million times.\u003c/p>\n\u003cp>Many chimed in on Twitter, and elsewhere, offering to help.\u003c/p>\n\u003cp>\u003cem>“I’ll spread the word.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I just cross-posted this to an East Bay / Alameda group on Facebook.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I’m spreading this alert to SF friends.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I could put the word out in a taxi driver group chat.”\u003c/em>\u003c/p>\n\u003cp>Thousands of people in the Bay Area and beyond tweeted, retweeted, and did even more. Across San Francisco, people told me they walked around their own neighborhoods, or drove across the city, helping to be eyes and ears for Jeffrey’s kids.\u003c/p>\n\u003cp>The Bay Area turned out for one of its own.\u003c/p>\n\u003cp>I wonder if the sheer volume of the Bay Area’s concern for these children at all compelled the carjackers to rethink their plan. I suppose I might never know.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>‘They’re OK’\u003c/h3>\n\u003cp>Still scrolling social media replies with my face in my phone, hoping to find someone, somewhere, who spotted the kids, my fiancee and I gathered our gear to hunker down for the night: blankets, pillows, water, spare phone batteries, and snacks.\u003c/p>\n\u003cp>She drove (and I doom-scrolled) on the way from her home in Oakland to San Francisco to help Jeffrey keep his sanity.\u003c/p>\n\u003cp>My fiancee and I got to Jackson and Laguna streets at about 12:30 pm. I know the neighborhood well, as I grew up just nine blocks away, down the hill, toward the water.\u003c/p>\n\u003cfigure id=\"attachment_11859584\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11859584 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/Screenshot_20210206-220635_Citizen-800x1112.jpg\" alt=\"\" width=\"800\" height=\"1112\">\u003cfigcaption class=\"wp-caption-text\">A screenshot of the Citizen app alerting its users to the stolen vehicle with Jeffrey Fang’s children, Winnifred and Sean, inside.\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly a dozen uniformed police stood nearby. One marked SFPD car blocked the street at either end of the block. Jeffrey stood at a corner, masked, speaking to plainclothes cops when we walked up. I grasped McDonald’s bags in one hand, coffee in the other, hoping a full stomach would calm his nerves, but he refused to eat. He took the coffee, at least.\u003c/p>\n\u003cp>That’s when his mind started to drift into perilous waters.\u003c/p>\n\u003cp>What if the carjackers, worried they would be accused as kidnappers, did the worst to his children to hide the evidence? What if they let Winnifred and Sean out of the minivan on a street, and they were struck by a vehicle? What if? What if? What if?\u003c/p>\n\u003cp>Anna and I tried to calm his nerves as best we could. In a very community-minded moment, a local organizer named Max Leung, who volunteered to search for the kids, also stopped by and offered Jeffrey moral support. The pandemic made comforting our friend harder than it should have been — we stood, as you can guess, socially distantly.\u003c/p>\n\u003cp>I offered to turn on the police scanner, for Jeffrey to follow the search in real-time. He said no, he could only bear to hear the news when it came in a definitive manner, good or bad.\u003c/p>\n\u003cp>We didn’t stand there together long before one of the plainclothes cops called out, “Jeffrey, can you come here?” He held his hand out and cocked his fingers toward himself.\u003c/p>\n\u003cp>Jeffrey walked over. My stomach clenched.\u003c/p>\n\u003cp>“They’re OK,” he said.\u003c/p>\n\u003cp>I couldn’t hear the rest. But I could see Jeffrey’s back was to me. I watched his shoulders slump, the tension visibly fading from his body.\u003c/p>\n\u003cp>Anna and I shouted out. Leung, too. I threw my own cup of coffee behind me out of shock and joy. As it fell behind Anna and splattered next to a tree, I wrapped my arms around her as hard as I could, laughing from relief. Police from Bayview Station had found Jeffrey’s children.\u003c/p>\n\u003cp>In minutes, Jeffrey sat in a police vehicle, finally heading toward his kids. Doing what any journalist would do, I took to Twitter to let everyone know Winnifred and Sean were safe.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>A Story Everyone Could Relate To\u003c/h3>\n\u003cp>Once home, the emotions still hadn’t hit. I was too exhausted. This often happens after covering a heavy news story — the armor takes time to come down, the emotions take time to bubble up.\u003c/p>\n\u003cp>Still wired, I turned back to Twitter.\u003c/p>\n\u003cp>It was about 1:30 a.m. when Kim-Mai Cutler,\u003ca href=\"https://techcrunch.com/2014/04/14/sf-housing/\"> a journalist\u003c/a> and partner at Initialized Capital, reached out to me in a DM. We talk once in a while, and she offered wise counsel that night.\u003c/p>\n\u003cp>“Put up a GoFundMe for the dad. His family needs a break,” she wrote.\u003c/p>\n\u003cp>She was the second person to say so. Another dozen or so people had already asked me for his Venmo information, to offer Jeffrey’s family support. As a journalist, it was something \u003ca href=\"https://www.spj.org/ethicscode.asp\">I ordinarily wouldn’t do \u003c/a>— but again, Jeffrey was my friend, not a source.\u003c/p>\n\u003cp>So I set up the account. The Fang family’s story had clearly resonated with people, and days later, at the time of this writing, \u003ca href=\"https://www.gofundme.com/f/help-the-fang-family-after-children-abducted\">more than 3,300 have donated\u003c/a> to help them recuperate, and heal from the trauma of the night.\u003c/p>\n\u003cp>That’s $136,910, to be exact, as of this writing. Easily more than a year’s worth of Jeffrey’s earnings, and counting.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I got to play my own small role lighting a spark to help Jeffrey, but it was only the beginning of something much bigger than either of us. The teams of police canvassing the city for his children, the small army of Bay Area folks going outside their homes in a pandemic to help, or the literal tens of thousands who spread the word—they’re the flame.\u003c/p>\n\u003cp>Maybe \u003cem>you’ve \u003c/em>felt this way too: During the pandemic, with some of us stuck inside so often (with the obvious exception of our essential workers), it can seem like the webs of our lives have had all the threads snipped, one by one. The loneliness can be overbearing. But over the weekend, when my good friend needed it most, when he feared the worst — the unimaginable — for his children, it felt like all of the Bay Area’s human connections were woven together again — like thousands of Golden Gate Bridges built in the span of a few hours, with everyone in the community I love marching across in solidarity to lift Jeffrey and his family onto their shoulders.\u003c/p>\n\u003cp>It was Sunday, a day later, when the enormity of everything you all did hit me. The sobs that wracked me were happy ones.\u003c/p>\n\u003ch3>Why Jeffrey’s Story is Really All of Us\u003c/h3>\n\u003cp>Those who felt for Jeffrey’s family fall into two main camps.\u003c/p>\n\u003cp>Many empathized with him as a hard-working father from China who has been in the US for most of his adult life, an immigrant who became a citizen here, who over many long hours behind the wheel for various gig economy companies afforded to bring over his wife and three children to the United States right at the beginning of the pandemic.\u003c/p>\n\u003cp>Donors called out this story again and again in the GoFundMe comments:\u003c/p>\n\u003cp>\u003cem>“I come from a Korean immigrant family, and know the joys but also the struggle. Please know that there is far more good in the world than evil, and your sacrifices for your children are beautiful and worthy. Sending all love to you Fang family.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I’m a child of immigrant parents and know how hard it was for my parents to raise two kids and make an honest living through hard work and sacrifice. Jeffrey Fang is trying to do this during a worldwide Pandemic. Best of luck and all the health and happiness to you and your family.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“From one immigrant’s family to another, we hope this will help. We understand the struggle. With hard work, it will get better in time.”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11859590\" class=\"wp-caption alignnone\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11859590\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/JeffreyFam2.jpg\" alt=\"\" width=\"1500\" height=\"1000\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Fang and two of his three children, Winnifred and Sean, Feb. 2021. \u003cem>(Chris Victorio/Courtesy of the S.F. Examiner)\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Others who donated money said in GoFundMe comments that they found solidarity in his life as an Uber and Lyft driver-turned DoorDash driver, in the ever-precarious gig economy:\u003c/p>\n\u003cp>\u003cem>“Tech Workers For Tech Workers.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I really felt for this family when I saw this on the news. This pandemic has been challenging for so many people. Working as a food delivery driver is tough enough. How difficult it must have been for him to juggle work and babysitting the kids. So glad there are so many kind hearted people reaching out to help this family.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I’m sorry for your trauma and wish you a full recovery. My parents used to leave my siblings and me in the car while making deliveries in the ’80s. The immigrant/refugee struggle is real. Your hard work will not go unnoticed, and your children will be better because of it. You make this country great, thank you!”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11859595\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11859595\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/Screenshot_20210208-084541_Chrome.jpg\" alt=\"\" width=\"1080\" height=\"1471\">\u003cfigcaption class=\"wp-caption-text\">An excerpt from a GoFundMe for DoorDash driver Jeffrey Fang, whose children were abducted Feb. 6, 2021.\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, the Fang family’s story hit \u003cem>\u003ca href=\"https://www.washingtonpost.com/nation/2021/02/07/doordash-driver-kids-car/\">The Washington Post\u003c/a>, \u003ca href=\"https://www.vice.com/en/article/4adpmq/a-doordash-drivers-van-was-stolen-with-his-two-kids-inside\">Vice\u003c/a>,\u003c/em> and nearly every \u003ca href=\"https://abc7news.com/san-francisco-car-theft-2-kids-stolen-while-dad-delivers-doordash-order-sf-robbery-jackson-street/10320623/\">local TV station\u003c/a>, radio station, and news outlet you can think of. Thousands upon thousands of people responded to those stories on social media.\u003c/p>\n\u003cp>Jeffrey acknowledged the Bay Area’s support in an interview with my KQED colleague, Sara Hossaini.\u003c/p>\n\u003cp>“I know they helped me look, they pitched in massively to help looking for my children, which I’m eternally grateful for,” Jeffrey told her.\u003c/p>\n\u003cp>And as for his kids? How were they?\u003c/p>\n\u003cp>Sean is too young to say what he saw. But Winnifred apparently slept through the whole ordeal.\u003c/p>\n\u003cp>“She told me the only thing she remembers is waking up to police showing up at the car,” Jeffrey said, “So I am honestly quite thankful for that. Quite thankful.”\u003c/p>\n\u003cp>And as for me?\u003c/p>\n\u003cp>Much like Jeffrey, I’m quite thankful for all of you, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Q&A: San Francisco Poet Laureate Tongo Eisen-Martin on the City’s Pivotal Moment",
"headTitle": "Q&A: San Francisco Poet Laureate Tongo Eisen-Martin on the City’s Pivotal Moment | KQED",
"content": "\u003cp>When Mayor London Breed announced San Francisco poet \u003ca href=\"https://www.kqed.org/arts/13891380/tongo-eisen-martin-selected-as-san-franciscos-poet-laureate\" rel=\"noopener noreferrer\" target=\"_blank\">Tongo Eisen-Martin as the city’s eighth poet laureate\u003c/a> earlier this month, she praised his work uplifting the voices of black men and youth. “He will continue the work that our ancestors did as they fought for their own voices to be heard,” she said.\u003c/p>\n\u003cp>Some of that work appeared in Eisen-Martin’s two previous poetry collections, \u003cem>Someone’s Dead Already\u003c/em> and the multiple-award-wining \u003cem>Heaven is All Goodbyes Now\u003c/em>. Now, as he finds himself in an official city role, Eisen-Martin spoke with KQED to outline his vision for San Francisco, emphasize the importance of poetry in underserved communities, and explain why we need to revisit the urgency of last summer.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Kate Wolffe: Hi Tongo, congratulations. You’ve said San Francisco, the Bay Area, is a dystopia. To me, a poet laureate feels like someone who engages with the city and inspires hope. How do you balance those two things? \u003c/strong>\u003c/p>\n\u003cp>Tongo Eisen-Martin: I think below inspiration and hope and a lot of various energies, there has to be awareness — social awareness, political awareness — and that’s where my efforts are skewed to.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>How we react to it is how we react to it. But I think now is the time to, you know, really approach social life with a praxis, with an understanding of, “OK, well, how does oppression actually work? Who is actually benefiting? How do we resist this?”\u003c/p>\n\u003cp>If there’s any little boost in my craft, it really just comes from a perpetual inquiry. \u003c/p>\n\u003cp>\u003cstrong>In your inaugural address as Poet Laureate, you said “unity is the only thing” and “individualism at its core is about selective humanization.” Can you say more about that?\u003c/strong>[aside postID='arts_13806398']\u003c/p>\n\u003cp>Just to take our conversation, for example, I’m speaking as Poet Laureate: “Let us speak about these issues pertaining to poetry and application of some kind of public embrace of poetry.” Even my identity. I have this identity as a poet, or this or that, and not just a person that is actually talking to you live from unceded territory. If you think about it, there’s so much genocide, and so much slavery, there’s so much exploitation, that we psychically turn a blind eye just to go on about our daily business. \u003c/p>\n\u003cp>That’s the individualism that’s dangerous, because that ignoring — I mean, “ignoring” doesn’t even cover it — that delusion actually adds to the consent that makes all this oppression and repression possible. \u003c/p>\n\u003cp>I mean, even think about the kids in the cages. Are they still in the cages? The three-year-olds and the five-year-olds of the asylum seekers, are they still in the cages? \u003c/p>\n\u003cp>This has been in our face for three years now, at least. Right? We talk about a billion things other than the fact there are, within driving distance, there are kids in cages. This is that kind of individualism that oppression — that oppressors — thrive on. And that’s what we have to turn our attention to, or at least take our efforts, whatever our individual assertion is, whatever our talents, our interests, whatever our skills, and synthesize it with some kind of acknowledgment of the total social picture. \u003c/p>\n\u003cp>This is what I’m at the gate yelling. \u003c/p>\n\u003cp>\u003cstrong>Maybe people feel like they have to turn a blind eye in order to function in society.\u003c/strong>\u003c/p>\n\u003cp>Right, definitely. In order to fit your psyche in the structure, it requires you to take some of your mind and leave it at home. And this is how we’re socialized. This is what’s rewarded, right? \u003c/p>\n\u003cp>To not acknowledge the humanity of some is rewarded. And really it’s been rewarded since the settler colonial project began. And when you look at what’s not rewarded, nine times out of ten, it’s people who decide that what’s going to be the center of their day is the humanity of all. \u003c/p>\n\u003cp>Some might call them revolutionaries, but that’s really all it is, right? Someone who’s just entering everybody’s humanity. Because if I center everybody’s humanity, well, now my day looks different. I’m going to have to do something different with it. \u003c/p>\n\u003cp>\u003cstrong>Would you call yourself a revolutionary?\u003c/strong>[aside postID='arts_13810393']\u003c/p>\n\u003cp>I would, but a failing revolutionary. I wouldn’t pat myself on the back yet, until we had movements that are better organized, or organized more around a clear ideology and not just tactic, tactic, tactic. \u003c/p>\n\u003cp>What’s interesting about resistance is where it exists in the daily self-talk. Now for somebody who wants to stand on the identity of “revolutionary,” daily this is what you think about: “Where am I in relationship to revolutionary change?” \u003c/p>\n\u003cp>For those who don’t, that’s just not what we’re talking to ourselves about. We’re talking about all kinds of other stuff. No judgment, it’s just reality, that’s not what’s going through your mind. \u003c/p>\n\u003cp>Now in the summer, what the opportunity was, everybody was defining themselves according to this moment. That’s a huge amount of energy that movement doesn’t ordinarily have access to. \u003c/p>\n\u003cp>But it’s gone now, right? And it’s gone because there was no solid enough political organization to take that energy and clarify it for people and then give people something to do. \u003c/p>\n\u003cp>We see this dance and things are only going to get more and more frenetic because capitalism is in crisis, because climate catastrophe is only going to get more and more dramatic. \u003c/p>\n\u003cp>Revolutionary energy is not just a spontaneous reaction to dramatic conditions. We see how this kind of modern psyche will just adjust itself, will adjust its individualism, to whatever. We’re addicted to it. So it’s time to Black Panther up again. That’s really where transformation comes from. \u003c/p>\n\u003cp>\u003cstrong>Right. So what is your vision for yourself in this role?\u003c/strong> \u003c/p>\n\u003cp>There are so many beautiful artists, educators, curators, organizations [in San Francisco]. The art landscape of San Francisco is not missing anything — except maybe missing the people, because so many are gone. [laughing] You know, we might have to do some San Francisco extension workshops in Antioch or something like that. \u003c/p>\n\u003cp>What I want to add to the landscape or just support: I want workshops. Poetry programs that do center social analysis. Yes, we want to build insight into what language can do. But at the same time, the vehicle is insight into the content that language is exploring. I’ll work with anybody, anywhere, any any age. I love youth programming, but I think the whole village should get the opportunity to develop themselves in craft too. \u003c/p>\n\u003cp>\u003cstrong>Along those lines, how do you see poetry becoming more integrated into the community? \u003c/strong>\u003c/p>\n\u003cp>I love the prospects of the neighborhood libraries becoming centers of this almost political education. Really, I guess moving the poetry scene back into the proletariat a little bit. \u003c/p>\n\u003cp>This kind of “high art” really is a mass effort. It’s definitely a product of a mass effort. I did not get these poems, they did not cost me tens of thousands of dollars. You know, my poetry was developed in the trenches of mass culture. And so I want to bring it home. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Tongo Eisen-Martin is San Francisco’s eighth Poet Laureate and the author of the poetry collections ‘Someone’s Dead Already’ and ‘Heaven is All Goodbyes.’ He has a third poetry collection set to be published in the fall of this year.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Mayor London Breed announced San Francisco poet \u003ca href=\"https://www.kqed.org/arts/13891380/tongo-eisen-martin-selected-as-san-franciscos-poet-laureate\" rel=\"noopener noreferrer\" target=\"_blank\">Tongo Eisen-Martin as the city’s eighth poet laureate\u003c/a> earlier this month, she praised his work uplifting the voices of black men and youth. “He will continue the work that our ancestors did as they fought for their own voices to be heard,” she said.\u003c/p>\n\u003cp>Some of that work appeared in Eisen-Martin’s two previous poetry collections, \u003cem>Someone’s Dead Already\u003c/em> and the multiple-award-wining \u003cem>Heaven is All Goodbyes Now\u003c/em>. Now, as he finds himself in an official city role, Eisen-Martin spoke with KQED to outline his vision for San Francisco, emphasize the importance of poetry in underserved communities, and explain why we need to revisit the urgency of last summer.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Kate Wolffe: Hi Tongo, congratulations. You’ve said San Francisco, the Bay Area, is a dystopia. To me, a poet laureate feels like someone who engages with the city and inspires hope. How do you balance those two things? \u003c/strong>\u003c/p>\n\u003cp>Tongo Eisen-Martin: I think below inspiration and hope and a lot of various energies, there has to be awareness — social awareness, political awareness — and that’s where my efforts are skewed to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How we react to it is how we react to it. But I think now is the time to, you know, really approach social life with a praxis, with an understanding of, “OK, well, how does oppression actually work? Who is actually benefiting? How do we resist this?”\u003c/p>\n\u003cp>If there’s any little boost in my craft, it really just comes from a perpetual inquiry. \u003c/p>\n\u003cp>\u003cstrong>In your inaugural address as Poet Laureate, you said “unity is the only thing” and “individualism at its core is about selective humanization.” Can you say more about that?\u003c/strong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just to take our conversation, for example, I’m speaking as Poet Laureate: “Let us speak about these issues pertaining to poetry and application of some kind of public embrace of poetry.” Even my identity. I have this identity as a poet, or this or that, and not just a person that is actually talking to you live from unceded territory. If you think about it, there’s so much genocide, and so much slavery, there’s so much exploitation, that we psychically turn a blind eye just to go on about our daily business. \u003c/p>\n\u003cp>That’s the individualism that’s dangerous, because that ignoring — I mean, “ignoring” doesn’t even cover it — that delusion actually adds to the consent that makes all this oppression and repression possible. \u003c/p>\n\u003cp>I mean, even think about the kids in the cages. Are they still in the cages? The three-year-olds and the five-year-olds of the asylum seekers, are they still in the cages? \u003c/p>\n\u003cp>This has been in our face for three years now, at least. Right? We talk about a billion things other than the fact there are, within driving distance, there are kids in cages. This is that kind of individualism that oppression — that oppressors — thrive on. And that’s what we have to turn our attention to, or at least take our efforts, whatever our individual assertion is, whatever our talents, our interests, whatever our skills, and synthesize it with some kind of acknowledgment of the total social picture. \u003c/p>\n\u003cp>This is what I’m at the gate yelling. \u003c/p>\n\u003cp>\u003cstrong>Maybe people feel like they have to turn a blind eye in order to function in society.\u003c/strong>\u003c/p>\n\u003cp>Right, definitely. In order to fit your psyche in the structure, it requires you to take some of your mind and leave it at home. And this is how we’re socialized. This is what’s rewarded, right? \u003c/p>\n\u003cp>To not acknowledge the humanity of some is rewarded. And really it’s been rewarded since the settler colonial project began. And when you look at what’s not rewarded, nine times out of ten, it’s people who decide that what’s going to be the center of their day is the humanity of all. \u003c/p>\n\u003cp>Some might call them revolutionaries, but that’s really all it is, right? Someone who’s just entering everybody’s humanity. Because if I center everybody’s humanity, well, now my day looks different. I’m going to have to do something different with it. \u003c/p>\n\u003cp>\u003cstrong>Would you call yourself a revolutionary?\u003c/strong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I would, but a failing revolutionary. I wouldn’t pat myself on the back yet, until we had movements that are better organized, or organized more around a clear ideology and not just tactic, tactic, tactic. \u003c/p>\n\u003cp>What’s interesting about resistance is where it exists in the daily self-talk. Now for somebody who wants to stand on the identity of “revolutionary,” daily this is what you think about: “Where am I in relationship to revolutionary change?” \u003c/p>\n\u003cp>For those who don’t, that’s just not what we’re talking to ourselves about. We’re talking about all kinds of other stuff. No judgment, it’s just reality, that’s not what’s going through your mind. \u003c/p>\n\u003cp>Now in the summer, what the opportunity was, everybody was defining themselves according to this moment. That’s a huge amount of energy that movement doesn’t ordinarily have access to. \u003c/p>\n\u003cp>But it’s gone now, right? And it’s gone because there was no solid enough political organization to take that energy and clarify it for people and then give people something to do. \u003c/p>\n\u003cp>We see this dance and things are only going to get more and more frenetic because capitalism is in crisis, because climate catastrophe is only going to get more and more dramatic. \u003c/p>\n\u003cp>Revolutionary energy is not just a spontaneous reaction to dramatic conditions. We see how this kind of modern psyche will just adjust itself, will adjust its individualism, to whatever. We’re addicted to it. So it’s time to Black Panther up again. That’s really where transformation comes from. \u003c/p>\n\u003cp>\u003cstrong>Right. So what is your vision for yourself in this role?\u003c/strong> \u003c/p>\n\u003cp>There are so many beautiful artists, educators, curators, organizations [in San Francisco]. The art landscape of San Francisco is not missing anything — except maybe missing the people, because so many are gone. [laughing] You know, we might have to do some San Francisco extension workshops in Antioch or something like that. \u003c/p>\n\u003cp>What I want to add to the landscape or just support: I want workshops. Poetry programs that do center social analysis. Yes, we want to build insight into what language can do. But at the same time, the vehicle is insight into the content that language is exploring. I’ll work with anybody, anywhere, any any age. I love youth programming, but I think the whole village should get the opportunity to develop themselves in craft too. \u003c/p>\n\u003cp>\u003cstrong>Along those lines, how do you see poetry becoming more integrated into the community? \u003c/strong>\u003c/p>\n\u003cp>I love the prospects of the neighborhood libraries becoming centers of this almost political education. Really, I guess moving the poetry scene back into the proletariat a little bit. \u003c/p>\n\u003cp>This kind of “high art” really is a mass effort. It’s definitely a product of a mass effort. I did not get these poems, they did not cost me tens of thousands of dollars. You know, my poetry was developed in the trenches of mass culture. And so I want to bring it home. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The COVID-19 crisis is nearing its second year in the Bay Area, and it’s no secret that small businesses are struggling—especially during the current wave of tougher restrictions and climbing infection rates.\u003c/p>\n\u003cp>Today, San Francisco Mayor London Breed proposed two new small business grant and loan programs that aim to offer some relief in this challenging climate. The $62 million plan could be a boon for arts organizations waiting for funding from the state and federal governments, such as, for instance, the \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> grant program for independent music venues. Congress passed it in December along with its latest pandemic stimulus package, but funds \u003ca href=\"https://www.billboard.com/articles/business/9509810/save-our-stages-act-passage-niva-director-next-steps/?utm_medium=social&utm_source=twitter\" target=\"_blank\" rel=\"noopener noreferrer\">may not be disbursed for months\u003c/a>, and many concert venue owners have said that they are weeks or months away from closing permanently if help doesn’t arrive soon. [aside postid='arts_13890093']\u003c/p>\n\u003cp>Breed’s new plan offers $12.4 million in grants for small businesses, which will be given out in amounts of $5,000-$20,000 depending on the number of employees the business had in February 2020. The grants prioritize businesses owned by people of color and women, long-standing businesses, those most impacted by stay-at-home orders and those unable to access state and federal programs.\u003c/p>\n\u003cp>At today’s Board of Supervisors meeting, Breed said that music and nightlife venues would be among the businesses prioritized. Most of them haven’t been able to operate in any capacity—other than the few selling merchandise or to-go drinks—since March. Yet the San Francisco Venue Coalition estimates that most music venues’ monthly overhead costs are between $18,000–$35,000; many of them have racked up substantial debt, and some, like The Stud, have opted to close for good.\u003c/p>\n\u003cp>Breed emphasized the importance of preserving the city’s nightlife and entertainment venues so there are places to celebrate when the pandemic is over.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The remaining $50 million of the proposed program will go to low-to-no interest small business loans, distributed in amounts of up to $250,000. The goal of the loan program is to stabilize the workforce, the mayor’s announcement says, and to retain and create jobs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Breed’s office is working with other departments of San Francisco government to cut their expenditures in order to fund this proposal. To go into effect, it’ll require the Board of Supervisors to approve a new ordinance that will be introduced later this month.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The COVID-19 crisis is nearing its second year in the Bay Area, and it’s no secret that small businesses are struggling—especially during the current wave of tougher restrictions and climbing infection rates.\u003c/p>\n\u003cp>Today, San Francisco Mayor London Breed proposed two new small business grant and loan programs that aim to offer some relief in this challenging climate. The $62 million plan could be a boon for arts organizations waiting for funding from the state and federal governments, such as, for instance, the \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> grant program for independent music venues. Congress passed it in December along with its latest pandemic stimulus package, but funds \u003ca href=\"https://www.billboard.com/articles/business/9509810/save-our-stages-act-passage-niva-director-next-steps/?utm_medium=social&utm_source=twitter\" target=\"_blank\" rel=\"noopener noreferrer\">may not be disbursed for months\u003c/a>, and many concert venue owners have said that they are weeks or months away from closing permanently if help doesn’t arrive soon. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Breed’s new plan offers $12.4 million in grants for small businesses, which will be given out in amounts of $5,000-$20,000 depending on the number of employees the business had in February 2020. The grants prioritize businesses owned by people of color and women, long-standing businesses, those most impacted by stay-at-home orders and those unable to access state and federal programs.\u003c/p>\n\u003cp>At today’s Board of Supervisors meeting, Breed said that music and nightlife venues would be among the businesses prioritized. Most of them haven’t been able to operate in any capacity—other than the few selling merchandise or to-go drinks—since March. Yet the San Francisco Venue Coalition estimates that most music venues’ monthly overhead costs are between $18,000–$35,000; many of them have racked up substantial debt, and some, like The Stud, have opted to close for good.\u003c/p>\n\u003cp>Breed emphasized the importance of preserving the city’s nightlife and entertainment venues so there are places to celebrate when the pandemic is over.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The remaining $50 million of the proposed program will go to low-to-no interest small business loans, distributed in amounts of up to $250,000. The goal of the loan program is to stabilize the workforce, the mayor’s announcement says, and to retain and create jobs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Breed’s office is working with other departments of San Francisco government to cut their expenditures in order to fund this proposal. To go into effect, it’ll require the Board of Supervisors to approve a new ordinance that will be introduced later this month.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Watch: That Time the Mayor Burned a Cage of Opium Outside SF City Hall",
"headTitle": "Watch: That Time the Mayor Burned a Cage of Opium Outside SF City Hall | KQED",
"content": "\u003cp>Picture, if you will, Mayor London Breed one day emerging from San Francisco City Hall to set fire to half a million dollars’ worth of narcotics piled inside a massive cage constructed out of drug paraphernalia. And imagine if the main thing in that burning structure was opium, which gets you high if you set it on fire and inhale the smoke it produces.\u003c/p>\n\u003cp>\u003cem>Yeah.\u003c/em>\u003c/p>\n\u003cp>In 1914, this is exactly what San Francisco’s mayor James Rolph did, in front of a gathered crowd of 5,000 people. Rolph’s stated goal was to send a very public message to local drug smugglers and dealers. (That message, to be clear, was supposed to be about zero tolerance, not the dangers of secondhand smoke.)\u003c/p>\n\u003cp>According to an article from the \u003ca href=\"https://books.google.com/books?id=XaxMAAAAYAAJ&pg=PA392&lpg=PA392&dq=%22Ten+thousand+packages+of+morphia,+opium,+and+cocaine%22&source=bl&ots=jYG95RRkUe&sig=ACfU3U1PE87JyT1fwGUYOdIjLFIJ5APIVA&hl=en&sa=X&ved=2ahUKEwjL4viNnYfgAhXDct8KHbn3A7AQ6AEwAHoECAAQAQ#v=onepage&q=%22Ten%20thousand%20packages%20of%20morphia%2C%20opium%2C%20and%20cocaine%22&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">March 1914 issue of \u003cem>Technical World Magazine\u003c/em>\u003c/a>, “All the condemned articles were piled upon the stone ruins of the old City Hall. With the tins of drugs were mixed excelsior and other highly inflammable material, while the pipes were hung side by side on scaffolding erected for the purpose.” The photo accompanying the story called the resulting bonfire “The Funeral Pyre of Dreams.”\u003c/p>\n\u003cfigure id=\"attachment_13890860\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890860\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-800x497.png\" alt=\"The photo that 'Technical World Magazine' used in its March 1914 report on the opium bonfire shows a plume of black smoke rising up, outside San Francisco's City Hall.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-768x477.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM.png 1007w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The photo that ‘Technical World Magazine’ used in its report on the opium bonfire outside San Francisco’s City Hall. \u003ccite>(Technical World Magazine, March 1914, P.392.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This drug blaze was the result of an 18-month crackdown by California’s State Board of Pharmacy. During that time, 1,200 people were successfully prosecuted on narcotics-related charges, a multitude of pipes and syringes were seized, and $20,000 (in 1914 money) of opium, morphine and cocaine (around “10,000 packages”) was confiscated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At around 2pm, Mayor Rolph set all of it alight, including, according to \u003cem>Technical World Magazine\u003c/em>, “several hundred pipes, centuries old, beautifully carved and ornamented with gold and jewels.” (Thankfully, Rolph did make a last minute call to rescue “several pipes, known to be more than two hundred years old” to be sent to “the Golden Gate Museum.”) The \u003cem>Chronicle\u003c/em> later \u003ca href=\"https://www.newstimes.com/sfhistory/article/San-Francisco-opium-burning-1914-13031409.php\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a>, “It was only a matter of moments ere the entire monument of potential degeneracy and vice was sending its smoke up to heaven.”\u003c/p>\n\u003cp>Thankfully someone had the good sense to capture it on film:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5ForrNJLv0A\u003c/p>\n\u003cp>At the time of the burning, the State Board of Pharmacy had been holding public drug-related burnings for five years. A year earlier, one bonfire set to destroy 1,300 pipes ($25,000 worth) came dangerously close to igniting several buildings on the corner of Washington Street and Ross Alley. After that close call, the wide open space outside City Hall must have seemed like a much safer option. [aside postid='arts_13886018']\u003c/p>\n\u003cp>These kinds of dramatic clampdowns came after decades of San Francisco mostly turning a blind eye to the opium boom. What started with the arrival of \u003ca href=\"https://www.foundsf.org/index.php?title=Chinatown%27s_Opium_Dens\" target=\"_blank\" rel=\"noopener noreferrer\">52 boxes of opium in 1861\u003c/a> had created around 300 opium dens by the end of the 1880s. While the city served as the \u003ca href=\"https://immigrants.harpweek.com/chineseamericans/Items/Item061L.htm\" target=\"_blank\" rel=\"noopener noreferrer\">primary American gateway\u003c/a> for drug imports from China, law enforcement was slow to do anything about it. Commissioner Jesse B. Cook, a former chief of SFPD and a sergeant of the “Chinatown Squad” before the 1906 earthquake, wrote in 1931 about his experience with opium in the city at the turn of the century.\u003c/p>\n\u003cp>“At that time nearly every store in Chinatown had an opium layout in the rear for their customers,” \u003ca href=\"http://www.sfmuseum.org/hist9/cook.html\" target=\"_blank\" rel=\"noopener noreferrer\">he reported\u003c/a>. “In those days the Chinese were allowed to smoke opium, provided they did not do so in the presence of a white man. If a white man was present it meant the arrest of all who were in the room at the time.”\u003c/p>\n\u003cp>Cook said that some dens could accommodate as many as 100 opium smokers. “The opium smoke was sometimes so thick in those dens that the gas jets looked like small matches burning. Opium has a peculiar, sweet smell, not at all distasteful, and many times when coming home from Chinatown after going through dens, people in the cars sitting near me, would be sniffing, smelling the opium in my clothes and wondering what it was. When I got home it would be necessary to undress in an outer room and air my clothes to get the opium fumes out of them.” [aside postid='arts_13884403']\u003c/p>\n\u003cp>At the end of the 19th century, messages about opium were fairly mixed, with some advocates viewing the narcotic as positively medicinal. One journal article titled “\u003ca href=\"https://jamanetwork.com/journals/jama/article-abstract/468857\" target=\"_blank\" rel=\"noopener noreferrer\">Opium Smoking\u003c/a>” from March 5, 1892 quoted one enthusiast as saying: “Opium smoking is not only innocuous, but positively beneficial to the system. It is a complete preservative against drunkenness.”\u003c/p>\n\u003cp>After the 1906 earthquake decimated much of Chinatown, many of the city’s opium dens disappeared literally overnight. And by 1914, public attitudes to narcotics entered a major shift on a national level. In 1908, Hamilton Wright had become United States Opium Commissioner and launched a passionate and concerted campaign to stamp out opium. In March 1911, \u003ca href=\"https://www.nytimes.com/1911/03/12/archives/-uncle-sam-is-the-worst-drug-fiend-in-the-world-dr-hamilton-wright-.html\" target=\"_blank\" rel=\"noopener noreferrer\">he told the \u003cem>New York Times\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Of all the nations of the world, the United States consumes most habit-forming drugs per capita … China now guards [opium] with much greater care than we do; Japan preserves her people from it far more intelligently than we do ours, who can buy it, in almost any form, in every tenth one of our drug stores. Our physicians use it recklessly in remedies and thus become responsible for making numberless ‘dope fiends’ … The habit has this Nation in its grip to an astonishing extent. Our prisons and our hospitals are full of victims of it.\u003c/p>\u003c/blockquote>\n\u003cp>Heeding Wright’s warnings, America tip-toed into the war on drugs via the Harrison Narcotics Tax Act of 1914. The legislation imposed “a special tax on all persons who produce, import, manufacture, compound, deal in, dispense, sell, distribute, or give away opium or coca leaves, their salts, derivatives, or preparations, and for other purposes.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The act quickly reduced the amount of opium in circulation—without anyone having to publicly set it on fire.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Picture, if you will, Mayor London Breed one day emerging from San Francisco City Hall to set fire to half a million dollars’ worth of narcotics piled inside a massive cage constructed out of drug paraphernalia. And imagine if the main thing in that burning structure was opium, which gets you high if you set it on fire and inhale the smoke it produces.\u003c/p>\n\u003cp>\u003cem>Yeah.\u003c/em>\u003c/p>\n\u003cp>In 1914, this is exactly what San Francisco’s mayor James Rolph did, in front of a gathered crowd of 5,000 people. Rolph’s stated goal was to send a very public message to local drug smugglers and dealers. (That message, to be clear, was supposed to be about zero tolerance, not the dangers of secondhand smoke.)\u003c/p>\n\u003cp>According to an article from the \u003ca href=\"https://books.google.com/books?id=XaxMAAAAYAAJ&pg=PA392&lpg=PA392&dq=%22Ten+thousand+packages+of+morphia,+opium,+and+cocaine%22&source=bl&ots=jYG95RRkUe&sig=ACfU3U1PE87JyT1fwGUYOdIjLFIJ5APIVA&hl=en&sa=X&ved=2ahUKEwjL4viNnYfgAhXDct8KHbn3A7AQ6AEwAHoECAAQAQ#v=onepage&q=%22Ten%20thousand%20packages%20of%20morphia%2C%20opium%2C%20and%20cocaine%22&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">March 1914 issue of \u003cem>Technical World Magazine\u003c/em>\u003c/a>, “All the condemned articles were piled upon the stone ruins of the old City Hall. With the tins of drugs were mixed excelsior and other highly inflammable material, while the pipes were hung side by side on scaffolding erected for the purpose.” The photo accompanying the story called the resulting bonfire “The Funeral Pyre of Dreams.”\u003c/p>\n\u003cfigure id=\"attachment_13890860\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890860\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-800x497.png\" alt=\"The photo that 'Technical World Magazine' used in its March 1914 report on the opium bonfire shows a plume of black smoke rising up, outside San Francisco's City Hall.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-768x477.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM.png 1007w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The photo that ‘Technical World Magazine’ used in its report on the opium bonfire outside San Francisco’s City Hall. \u003ccite>(Technical World Magazine, March 1914, P.392.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This drug blaze was the result of an 18-month crackdown by California’s State Board of Pharmacy. During that time, 1,200 people were successfully prosecuted on narcotics-related charges, a multitude of pipes and syringes were seized, and $20,000 (in 1914 money) of opium, morphine and cocaine (around “10,000 packages”) was confiscated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At around 2pm, Mayor Rolph set all of it alight, including, according to \u003cem>Technical World Magazine\u003c/em>, “several hundred pipes, centuries old, beautifully carved and ornamented with gold and jewels.” (Thankfully, Rolph did make a last minute call to rescue “several pipes, known to be more than two hundred years old” to be sent to “the Golden Gate Museum.”) The \u003cem>Chronicle\u003c/em> later \u003ca href=\"https://www.newstimes.com/sfhistory/article/San-Francisco-opium-burning-1914-13031409.php\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a>, “It was only a matter of moments ere the entire monument of potential degeneracy and vice was sending its smoke up to heaven.”\u003c/p>\n\u003cp>Thankfully someone had the good sense to capture it on film:\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/5ForrNJLv0A'\n title='//www.youtube.com/embed/5ForrNJLv0A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the time of the burning, the State Board of Pharmacy had been holding public drug-related burnings for five years. A year earlier, one bonfire set to destroy 1,300 pipes ($25,000 worth) came dangerously close to igniting several buildings on the corner of Washington Street and Ross Alley. After that close call, the wide open space outside City Hall must have seemed like a much safer option. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These kinds of dramatic clampdowns came after decades of San Francisco mostly turning a blind eye to the opium boom. What started with the arrival of \u003ca href=\"https://www.foundsf.org/index.php?title=Chinatown%27s_Opium_Dens\" target=\"_blank\" rel=\"noopener noreferrer\">52 boxes of opium in 1861\u003c/a> had created around 300 opium dens by the end of the 1880s. While the city served as the \u003ca href=\"https://immigrants.harpweek.com/chineseamericans/Items/Item061L.htm\" target=\"_blank\" rel=\"noopener noreferrer\">primary American gateway\u003c/a> for drug imports from China, law enforcement was slow to do anything about it. Commissioner Jesse B. Cook, a former chief of SFPD and a sergeant of the “Chinatown Squad” before the 1906 earthquake, wrote in 1931 about his experience with opium in the city at the turn of the century.\u003c/p>\n\u003cp>“At that time nearly every store in Chinatown had an opium layout in the rear for their customers,” \u003ca href=\"http://www.sfmuseum.org/hist9/cook.html\" target=\"_blank\" rel=\"noopener noreferrer\">he reported\u003c/a>. “In those days the Chinese were allowed to smoke opium, provided they did not do so in the presence of a white man. If a white man was present it meant the arrest of all who were in the room at the time.”\u003c/p>\n\u003cp>Cook said that some dens could accommodate as many as 100 opium smokers. “The opium smoke was sometimes so thick in those dens that the gas jets looked like small matches burning. Opium has a peculiar, sweet smell, not at all distasteful, and many times when coming home from Chinatown after going through dens, people in the cars sitting near me, would be sniffing, smelling the opium in my clothes and wondering what it was. When I got home it would be necessary to undress in an outer room and air my clothes to get the opium fumes out of them.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the end of the 19th century, messages about opium were fairly mixed, with some advocates viewing the narcotic as positively medicinal. One journal article titled “\u003ca href=\"https://jamanetwork.com/journals/jama/article-abstract/468857\" target=\"_blank\" rel=\"noopener noreferrer\">Opium Smoking\u003c/a>” from March 5, 1892 quoted one enthusiast as saying: “Opium smoking is not only innocuous, but positively beneficial to the system. It is a complete preservative against drunkenness.”\u003c/p>\n\u003cp>After the 1906 earthquake decimated much of Chinatown, many of the city’s opium dens disappeared literally overnight. And by 1914, public attitudes to narcotics entered a major shift on a national level. In 1908, Hamilton Wright had become United States Opium Commissioner and launched a passionate and concerted campaign to stamp out opium. In March 1911, \u003ca href=\"https://www.nytimes.com/1911/03/12/archives/-uncle-sam-is-the-worst-drug-fiend-in-the-world-dr-hamilton-wright-.html\" target=\"_blank\" rel=\"noopener noreferrer\">he told the \u003cem>New York Times\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Of all the nations of the world, the United States consumes most habit-forming drugs per capita … China now guards [opium] with much greater care than we do; Japan preserves her people from it far more intelligently than we do ours, who can buy it, in almost any form, in every tenth one of our drug stores. Our physicians use it recklessly in remedies and thus become responsible for making numberless ‘dope fiends’ … The habit has this Nation in its grip to an astonishing extent. Our prisons and our hospitals are full of victims of it.\u003c/p>\u003c/blockquote>\n\u003cp>Heeding Wright’s warnings, America tip-toed into the war on drugs via the Harrison Narcotics Tax Act of 1914. The legislation imposed “a special tax on all persons who produce, import, manufacture, compound, deal in, dispense, sell, distribute, or give away opium or coca leaves, their salts, derivatives, or preparations, and for other purposes.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The act quickly reduced the amount of opium in circulation—without anyone having to publicly set it on fire.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Save Our Stages Act Included in Stimulus Package, Promises Relief for Venues",
"headTitle": "Save Our Stages Act Included in Stimulus Package, Promises Relief for Venues | KQED",
"content": "\u003cp>Help might be on the way for independent music venues, which have been in dire financial straits since the pandemic began. With no revenue coming in, some venue owners have \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">called it quits\u003c/a> and gone out of business. Meanwhile, others have \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\" target=\"_blank\" rel=\"noopener noreferrer\">dug into their retirements\u003c/a> and amassed debt to hang on to their establishments until the vaccine arrives. Crowdfunding, selling merchandise or \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">grants from philanthropic foundations\u003c/a> have provided some relief, but not enough to cover an average San Francisco concert hall’s estimated $18,000–$35,000 monthly overhead costs.\u003c/p>\n\u003cp>The long-awaited \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> promises some help. It’s part of the COVID-19 stimulus package that Congressional Democrats and Republicans finally agreed upon on Sunday after months of stalling and debate. The House and Senate must now pass the bill, and President Trump must sign it, before it becomes law. If passed, $15 billion would go to grant programs for live venues, independent movie theaters and other cultural institutions, according to a statement from House Speaker Nancy Pelosi and Senate Minority Leader Chuck Schumer. Each qualifying venue would be awarded a grant equal to 45% of its 2019 operating costs, or up to $12 million.\u003c/p>\n\u003cp>Dayna Frank, board president of the National Independent Venue Association, praised the compromise in a statement. She heads an advocacy group of club owners that includes over 100 members in Northern California. “We’re also incredibly grateful that this bill provides Pandemic Unemployment Assistance which will help the millions of people who lost their jobs through no fault of their own during this economic crisis,” she wrote. “We urge swift passage of this legislation, which will assist those in the greatest need and ensure the music lives on for generations to come.”\u003c/p>\n\u003cp>Timing is crucial for Bay Area music venues, which were already operating on thin profit margins due to high rent and mortgage costs. Recently, some club owners have said they’re weeks or months away from closing. [aside postid='arts_13890093']\u003c/p>\n\u003cp>While pleased with the compromise, San Francisco Venue Coalition member Casey Lowdermilk says he’s cautiously optimistic. “There are a lot of steps still to be done—implementation, distribution and tracking all the venues in San Francisco to make sure they can get this money and survive this shutdown,” says Lowdermilk, who is also the assistant general manager of Bill Graham Civic Auditorium.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He says the San Francisco Venue Coalition will continue its campaign in city hall, which urges San Francisco to set aside $48 million to allow around 50 music venues to survive 16–18 months of closure. “We’re kind of concerned that federal money might not be timely enough, so we’re still pushing forward in San Francisco as planned,” Lowdermilk says.\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney also emphasized the sense of urgency. “I\u003cspan class=\"s1\"> think our concern now is how quickly that money can be disbursed,” he says. “Some of these venues are weeks or months away from going under. They can’t wait until next year or for the federal bureaucracy to figure it out.”\u003c/span>\u003c/p>\n\u003cp>Last week, Haney proposed the creation of the San Francisco Independent Venue Recovery Fund. It doesn’t have a dollar figure attached to it yet, and the Board of Supervisors is set to discuss it at tomorrow’s meeting on Dec. 22.\u003c/p>\n\u003cp>Haney says that while this federal stimulus package doesn’t include funds directly for city and state governments—which San Francisco badly needs to avoid job and service cuts—his office is researching options for funding music venue relief. Those could include soliciting donations from the private sector, or a loan program that can provide relief in the short term until Save Our Stages money arrives.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“These venues have a lot of people who love them and want to support them,” Haney says. “T\u003c/span>\u003cspan class=\"s1\">he local funding is challenging obviously because we’re facing a massive deficit and are going to make a lot of cuts to our budget. But I think this should be prioritized, especially if it’s money that can be matched or reimbursed at a later date. … I\u003c/span>\u003cspan class=\"s1\">f San Francisco loses these venues, the longterm impacts will be very severe.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to include quotes from Supervisor Matt Haney.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Concert halls across the country are on the brink of closing. If passed, the new stimulus could help them survive the pandemic.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Help might be on the way for independent music venues, which have been in dire financial straits since the pandemic began. With no revenue coming in, some venue owners have \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">called it quits\u003c/a> and gone out of business. Meanwhile, others have \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\" target=\"_blank\" rel=\"noopener noreferrer\">dug into their retirements\u003c/a> and amassed debt to hang on to their establishments until the vaccine arrives. Crowdfunding, selling merchandise or \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">grants from philanthropic foundations\u003c/a> have provided some relief, but not enough to cover an average San Francisco concert hall’s estimated $18,000–$35,000 monthly overhead costs.\u003c/p>\n\u003cp>The long-awaited \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> promises some help. It’s part of the COVID-19 stimulus package that Congressional Democrats and Republicans finally agreed upon on Sunday after months of stalling and debate. The House and Senate must now pass the bill, and President Trump must sign it, before it becomes law. If passed, $15 billion would go to grant programs for live venues, independent movie theaters and other cultural institutions, according to a statement from House Speaker Nancy Pelosi and Senate Minority Leader Chuck Schumer. Each qualifying venue would be awarded a grant equal to 45% of its 2019 operating costs, or up to $12 million.\u003c/p>\n\u003cp>Dayna Frank, board president of the National Independent Venue Association, praised the compromise in a statement. She heads an advocacy group of club owners that includes over 100 members in Northern California. “We’re also incredibly grateful that this bill provides Pandemic Unemployment Assistance which will help the millions of people who lost their jobs through no fault of their own during this economic crisis,” she wrote. “We urge swift passage of this legislation, which will assist those in the greatest need and ensure the music lives on for generations to come.”\u003c/p>\n\u003cp>Timing is crucial for Bay Area music venues, which were already operating on thin profit margins due to high rent and mortgage costs. Recently, some club owners have said they’re weeks or months away from closing. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While pleased with the compromise, San Francisco Venue Coalition member Casey Lowdermilk says he’s cautiously optimistic. “There are a lot of steps still to be done—implementation, distribution and tracking all the venues in San Francisco to make sure they can get this money and survive this shutdown,” says Lowdermilk, who is also the assistant general manager of Bill Graham Civic Auditorium.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He says the San Francisco Venue Coalition will continue its campaign in city hall, which urges San Francisco to set aside $48 million to allow around 50 music venues to survive 16–18 months of closure. “We’re kind of concerned that federal money might not be timely enough, so we’re still pushing forward in San Francisco as planned,” Lowdermilk says.\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney also emphasized the sense of urgency. “I\u003cspan class=\"s1\"> think our concern now is how quickly that money can be disbursed,” he says. “Some of these venues are weeks or months away from going under. They can’t wait until next year or for the federal bureaucracy to figure it out.”\u003c/span>\u003c/p>\n\u003cp>Last week, Haney proposed the creation of the San Francisco Independent Venue Recovery Fund. It doesn’t have a dollar figure attached to it yet, and the Board of Supervisors is set to discuss it at tomorrow’s meeting on Dec. 22.\u003c/p>\n\u003cp>Haney says that while this federal stimulus package doesn’t include funds directly for city and state governments—which San Francisco badly needs to avoid job and service cuts—his office is researching options for funding music venue relief. Those could include soliciting donations from the private sector, or a loan program that can provide relief in the short term until Save Our Stages money arrives.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“These venues have a lot of people who love them and want to support them,” Haney says. “T\u003c/span>\u003cspan class=\"s1\">he local funding is challenging obviously because we’re facing a massive deficit and are going to make a lot of cuts to our budget. But I think this should be prioritized, especially if it’s money that can be matched or reimbursed at a later date. … I\u003c/span>\u003cspan class=\"s1\">f San Francisco loses these venues, the longterm impacts will be very severe.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to include quotes from Supervisor Matt Haney.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For Margo Hall, growing up in Detroit, Michigan meant an early exposure to the arts. Enrolled from a young age in “every dance class” and “every choir,” she says, and influenced by her Motown-employed stepfather and his circle of musician friends, Hall gained a strong foundation in the arts—even before she knew that she’d wind up dedicating her life to them.\u003c/p>\n\u003cp>Recently announced as the new artistic director for the Lorraine Hansberry Theatre, Hall brings a lifetime of learning, skill, and dedication to the role. And as the first woman to hold the position in the company, she’s ready to implement her vision of a program dedicated to nurturing the voices of young, Black female and non-binary playwrights, a welcome homage to the theater’s namesake.\u003c/p>\n\u003cfigure id=\"attachment_13889585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli.jpg 1933w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of ‘Barbeque’ by Robert O’Hara at SF Playhouse. Margo Hall in red. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Described by biographers as a “force of nature,” Lorraine Hansberry’s legacy lives on, despite the playwright and activist’s tragically early death from pancreatic cancer at the age of 34. One of those legacies has been carried forward in the form of the Lorraine Hansberry Theatre, founded in 1981 by Stanley Williams and Quentin Easter, who were determined to build to build an artistic home for Black theater-makers. And while the theater has experienced a series of material setbacks over the years—losing its Sutter Street space in 2007, and its founders within weeks of each other in 2010—its influence as an incubator for Black artists has remained intact.\u003c/p>\n\u003cp>One such artist is Hall, the Bay Area’s own force of nature. Although this will be her first time in the role of artistic director, it’s certainly not her first time creating and holding artistic space, a talent she’s cultivated over the course of many years—particularly with the long-running theater collective, Campo Santo.\u003c/p>\n\u003cfigure id=\"attachment_13889588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889588\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x591.jpg\" alt=\"\" width=\"800\" height=\"591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1536x1135.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-2048x1513.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1920x1418.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall as Fe in ‘Stairway to Heaven,’ by Jessica Hagedorn, with Campo Santo. \u003ccite>(Jeff Fohl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s with Campo Santo that Hall first made the leap from acting to directing, in a 1998 co-production with Word for Word. Although she was initially reluctant, her fellow company members (“my brothers,” she remarks fondly) talked her into it by telling her, “You tell us what to do all the time anyway, so you might as well just direct this play.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saying “yes” to unexpected opportunity—whether it’s been directing, teaching, or mentoring a new generation of artistic voices—has been a trademark of Hall’s multi-faceted career.\u003c/p>\n\u003cp>After the success of her directorial debut, Hall was determined to learn more about the craft, which she knew involved a lot more than the “hanging out,” as she refers to the process, with her Campo Santo family. This took the form of shadowing directors she admired, and learning the vocabulary of time management, and working with designers and production staff in bigger theaters.\u003c/p>\n\u003cp>“A lot of my directing aesthetic comes from being an actor and understanding how to work with actors,” she reflects. “I feel my strength is really pulling the work out of actors in a way that they feel appreciated.” Over the years she’s cultivated her skills in both, and her work has appeared in one capacity or another on pretty much every major Bay Area stage (as well as films like 2016’s \u003cem>Blindspotting\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in ‘Fences’ at California Shakespeare Theater. \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s common to refer to actors who also sing and dance as “triple threats,” and by extension, Hall could be considered a sextuple threat, at minimum: she also directs, teaches and writes. But artistic directorship has been one role she’s put off, even though this isn’t the first time over the past ten years that the Lorraine Hansberry has invited her to take it on. For one reason or another, she never felt the time was right.\u003c/p>\n\u003cp>“Even this time around, if you asked me six months ago if I thought I would be the artistic director of Lorraine Hansberry I would tell you no, that wasn’t my plan,” she admits. But her perspective shifted during the pandemic, causing her to reevaluate where she wanted to channel her energies. And so, this time when the company’s executive director Stephanie Shoffner offered her the position, she was ready to “once again…say yes to something I had no idea of what to do!”\u003c/p>\n\u003cp>While she’s still navigating the specifics of fundraising and day-to-day operations, she’s not short on artistic ideas. She hopes that the New Black Voices initiative for playwrights will eventually include full productions, and she’s eager to see a return to producing Black classics as well as contemporary, multi-disciplinary work, a particular strength of Campo Santo.\u003c/p>\n\u003cfigure id=\"attachment_13889587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889587\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall in ‘Fe in the Desert,’ by Jessica Hagedorn, with Campo Santo. \u003ccite>(Jeff Fohl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a mentor and a leader, Hall exudes a self-possession instilled in her from a young age and honed over her long career.\u003c/p>\n\u003cp>“I grew up in a household where…being Black was the best thing ever,” she reminisces. “Not that we were better than anyone else, but that we were these powerful beings.” Learning to keep hold of her power, and “show up as herself” on every project has been a lifelong pursuit, and one with many levels and lessons. But now, she admits, she doesn’t know any other way.\u003c/p>\n\u003cp>“Just imagine if we all were confident in ourselves, and we came into a room together to create art in a collaborative way, with all of this confident powerful energy,” she enthuses. Having the opportunity to implement this vision of collaborative confidence at the Lorraine Hansberry Theatre is sure to be an inspiring legacy all its own.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More information about the Lorraine Hansberry Theatre and Margo Hall can be found \u003ca href=\"https://www.lhtsf.org\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Margo Hall, growing up in Detroit, Michigan meant an early exposure to the arts. Enrolled from a young age in “every dance class” and “every choir,” she says, and influenced by her Motown-employed stepfather and his circle of musician friends, Hall gained a strong foundation in the arts—even before she knew that she’d wind up dedicating her life to them.\u003c/p>\n\u003cp>Recently announced as the new artistic director for the Lorraine Hansberry Theatre, Hall brings a lifetime of learning, skill, and dedication to the role. And as the first woman to hold the position in the company, she’s ready to implement her vision of a program dedicated to nurturing the voices of young, Black female and non-binary playwrights, a welcome homage to the theater’s namesake.\u003c/p>\n\u003cfigure id=\"attachment_13889585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli.jpg 1933w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of ‘Barbeque’ by Robert O’Hara at SF Playhouse. Margo Hall in red. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Described by biographers as a “force of nature,” Lorraine Hansberry’s legacy lives on, despite the playwright and activist’s tragically early death from pancreatic cancer at the age of 34. One of those legacies has been carried forward in the form of the Lorraine Hansberry Theatre, founded in 1981 by Stanley Williams and Quentin Easter, who were determined to build to build an artistic home for Black theater-makers. And while the theater has experienced a series of material setbacks over the years—losing its Sutter Street space in 2007, and its founders within weeks of each other in 2010—its influence as an incubator for Black artists has remained intact.\u003c/p>\n\u003cp>One such artist is Hall, the Bay Area’s own force of nature. Although this will be her first time in the role of artistic director, it’s certainly not her first time creating and holding artistic space, a talent she’s cultivated over the course of many years—particularly with the long-running theater collective, Campo Santo.\u003c/p>\n\u003cfigure id=\"attachment_13889588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889588\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x591.jpg\" alt=\"\" width=\"800\" height=\"591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1536x1135.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-2048x1513.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1920x1418.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall as Fe in ‘Stairway to Heaven,’ by Jessica Hagedorn, with Campo Santo. \u003ccite>(Jeff Fohl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s with Campo Santo that Hall first made the leap from acting to directing, in a 1998 co-production with Word for Word. Although she was initially reluctant, her fellow company members (“my brothers,” she remarks fondly) talked her into it by telling her, “You tell us what to do all the time anyway, so you might as well just direct this play.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saying “yes” to unexpected opportunity—whether it’s been directing, teaching, or mentoring a new generation of artistic voices—has been a trademark of Hall’s multi-faceted career.\u003c/p>\n\u003cp>After the success of her directorial debut, Hall was determined to learn more about the craft, which she knew involved a lot more than the “hanging out,” as she refers to the process, with her Campo Santo family. This took the form of shadowing directors she admired, and learning the vocabulary of time management, and working with designers and production staff in bigger theaters.\u003c/p>\n\u003cp>“A lot of my directing aesthetic comes from being an actor and understanding how to work with actors,” she reflects. “I feel my strength is really pulling the work out of actors in a way that they feel appreciated.” Over the years she’s cultivated her skills in both, and her work has appeared in one capacity or another on pretty much every major Bay Area stage (as well as films like 2016’s \u003cem>Blindspotting\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in ‘Fences’ at California Shakespeare Theater. \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s common to refer to actors who also sing and dance as “triple threats,” and by extension, Hall could be considered a sextuple threat, at minimum: she also directs, teaches and writes. But artistic directorship has been one role she’s put off, even though this isn’t the first time over the past ten years that the Lorraine Hansberry has invited her to take it on. For one reason or another, she never felt the time was right.\u003c/p>\n\u003cp>“Even this time around, if you asked me six months ago if I thought I would be the artistic director of Lorraine Hansberry I would tell you no, that wasn’t my plan,” she admits. But her perspective shifted during the pandemic, causing her to reevaluate where she wanted to channel her energies. And so, this time when the company’s executive director Stephanie Shoffner offered her the position, she was ready to “once again…say yes to something I had no idea of what to do!”\u003c/p>\n\u003cp>While she’s still navigating the specifics of fundraising and day-to-day operations, she’s not short on artistic ideas. She hopes that the New Black Voices initiative for playwrights will eventually include full productions, and she’s eager to see a return to producing Black classics as well as contemporary, multi-disciplinary work, a particular strength of Campo Santo.\u003c/p>\n\u003cfigure id=\"attachment_13889587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889587\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall in ‘Fe in the Desert,’ by Jessica Hagedorn, with Campo Santo. \u003ccite>(Jeff Fohl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a mentor and a leader, Hall exudes a self-possession instilled in her from a young age and honed over her long career.\u003c/p>\n\u003cp>“I grew up in a household where…being Black was the best thing ever,” she reminisces. “Not that we were better than anyone else, but that we were these powerful beings.” Learning to keep hold of her power, and “show up as herself” on every project has been a lifelong pursuit, and one with many levels and lessons. But now, she admits, she doesn’t know any other way.\u003c/p>\n\u003cp>“Just imagine if we all were confident in ourselves, and we came into a room together to create art in a collaborative way, with all of this confident powerful energy,” she enthuses. Having the opportunity to implement this vision of collaborative confidence at the Lorraine Hansberry Theatre is sure to be an inspiring legacy all its own.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More information about the Lorraine Hansberry Theatre and Margo Hall can be found \u003ca href=\"https://www.lhtsf.org\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the spirit of the New Deal, which hired artists for public works projects during the Great Depression, San Francisco Mayor London Breed \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-san-francisco-creative-corps-support-artists-and-promote-public\" rel=\"noopener noreferrer\" target=\"_blank\">announced a new program\u003c/a> that will employ artists to amplify crucial public health reminders this holiday season.\u003c/p>\n\u003cp>With COVID-19 rates up city- and statewide, San Francisco will deploy 30 actors, musicians, dancers and other performing artists as Community Health Ambassadors to promote pandemic safety practices. An additional 30 visual artists will be hired to paint temporary public health-themed murals on boarded-up storefronts.\u003c/p>\n\u003cp>“This new program supports artists financially while also reminding community members to stay safe this holiday season,” Mayor Breed said in a statement. “San Francisco’s artists and cultural organizations are what make our city such a vibrant place, and we need to do all we can to support them. The Creative Corps is an innovate approach to help our artists during this difficult time, and will bring some joy and fun to public spaces throughout the City.”\u003c/p>\n\u003cp>The \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-san-francisco-creative-corps-support-artists-and-promote-public\" target=\"_blank\" rel=\"noopener noreferrer\">Creative Corps\u003c/a> project has a budget of $250,000 from the Office of Economic and Workforce Development. Local organizations Yerba Buena Center for the Arts (YBCA) and Paint the Void will administer the program, and YBCA will collaborate with San Francisco Bay Area Theater Company, Dance Mission and SF Carnaval to select performing artists.\u003c/p>\n\u003cp>YBCA plans to train the Ambassadors to ensure messaging is accurate and consistent. But the artists will have flexibility in how they deliver public health reminders through their chosen form of expression in public places such as Shared Spaces corridors, streets with outdoor restaurants, parks, and other areas with high foot traffic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As far as murals go, Paint the Void will prioritize artists with strong ties to their chosen neighborhoods. An \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSfNEz4Pou6bl25rmcLamo_UwKUbGj3vLvtGaVERsAPIE9gMqQ/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">application\u003c/a> for visual artists is now live.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the spirit of the New Deal, which hired artists for public works projects during the Great Depression, San Francisco Mayor London Breed \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-san-francisco-creative-corps-support-artists-and-promote-public\" rel=\"noopener noreferrer\" target=\"_blank\">announced a new program\u003c/a> that will employ artists to amplify crucial public health reminders this holiday season.\u003c/p>\n\u003cp>With COVID-19 rates up city- and statewide, San Francisco will deploy 30 actors, musicians, dancers and other performing artists as Community Health Ambassadors to promote pandemic safety practices. An additional 30 visual artists will be hired to paint temporary public health-themed murals on boarded-up storefronts.\u003c/p>\n\u003cp>“This new program supports artists financially while also reminding community members to stay safe this holiday season,” Mayor Breed said in a statement. “San Francisco’s artists and cultural organizations are what make our city such a vibrant place, and we need to do all we can to support them. The Creative Corps is an innovate approach to help our artists during this difficult time, and will bring some joy and fun to public spaces throughout the City.”\u003c/p>\n\u003cp>The \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-san-francisco-creative-corps-support-artists-and-promote-public\" target=\"_blank\" rel=\"noopener noreferrer\">Creative Corps\u003c/a> project has a budget of $250,000 from the Office of Economic and Workforce Development. Local organizations Yerba Buena Center for the Arts (YBCA) and Paint the Void will administer the program, and YBCA will collaborate with San Francisco Bay Area Theater Company, Dance Mission and SF Carnaval to select performing artists.\u003c/p>\n\u003cp>YBCA plans to train the Ambassadors to ensure messaging is accurate and consistent. But the artists will have flexibility in how they deliver public health reminders through their chosen form of expression in public places such as Shared Spaces corridors, streets with outdoor restaurants, parks, and other areas with high foot traffic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It has stood for 83 years, redundantly selling the world’s most-advertised soft drink. The Coca-Cola sign is not a symbol of San Francisco any more than the name “Oracle Park” is a symbol of San Francisco, but it’s towered over the city since 1937, visible mainly to the long line of cars slogging through Bay Bridge rush-hour traffic on the raised freeway. \u003c/p>\n\u003cp>And \u003cstrong>now it’s coming down\u003c/strong>. Crews \u003ca href=\"https://twitter.com/scottbudman/status/1320875420405755904\" rel=\"noopener noreferrer\" target=\"_blank\">began dismantling\u003c/a> the Coca-Cola sign yesterday.\u003c/p>\n\u003cp>https://twitter.com/scottbudman/status/1320875420405755904\u003c/p>\n\u003cp>After a small parade of nostalgia and two- to three-word Facebook comments lamenting its disappearance, life in San Francisco will return to normal. But even though it was of no real consequence, the Coca-Cola sign was a thing, in your range of vision, for decades. We get used to the dependable presence of these things, and when they’re gone, like any landmark, disorientation ensues. A brief news item like this appears in order to prepare you for the absence, the next time you drive past.\u003c/p>\n\u003cp>\u003cstrong>The Details\u003c/strong>:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>– The 30-by-70-foot sign was \u003ca href=\"https://brokeassstuart.com/2020/10/26/sfs-iconic-electric-coca-cola-sign-is-being-removed-forever/\" rel=\"noopener noreferrer\" target=\"_blank\">erected in 1937\u003c/a>, shortly after the construction of the Bay Bridge.\u003cbr>\n– Coca-Cola is spending $100,000 to tear it down, with \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Please-don-t-tear-it-down-San-15676669.php\" rel=\"noopener noreferrer\" target=\"_blank\">no plans for preservation\u003c/a>.\u003cbr>\n– A \u003ca href=\"https://tiremeetsroad.com/2020/10/26/historic-san-francisco-coca-cola-sign-above-bryant-st-scheduled-for-removal-after-83-years-of-advertising/\" rel=\"noopener noreferrer\" target=\"_blank\">permit\u003c/a> for the sign’s removal was issued by the City of San Francisco on Oct. 20.\u003cbr>\n– Supervisor Matt Haney is \u003ca href=\"https://twitter.com/MattHaneySF/status/1320929367313108993\" rel=\"noopener noreferrer\" target=\"_blank\">trying to keep it in one piece\u003c/a>, somehow.\u003cbr>\n– \u003ca href=\"https://www.facebook.com/TommysJoynt/posts/5393433154003762\" rel=\"noopener noreferrer\" target=\"_blank\">Tommy’s Joynt is still alive\u003c/a>.\u003c/p>\n\n",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
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