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"content": "\u003cp>In any other year, mini golf would definitely rank pretty low on the list of fright-fueled Halloween activities. But 2020 isn’t a normal year. In the absence of costume parties, movie theater horror marathons, and trick or treating, \u003ca href=\"https://www.stagecoachgreens.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stagecoach Greens\u003c/a> in San Francisco has stepped up and put together a surprisingly perfect way to celebrate the season at a safe social distance.\u003c/p>\n\u003cp>The 18-hole, outdoor attraction in Mission Bay has combined mini golf with Bay Area history ever since it opened in 2018. Ordinarily, the course takes you on a journey from stagecoach to gold rush graveyard, then on through quaking Victorian houses up to modern city landmarks. (Including, brilliantly, the Transamerica Pyramid playing Rock ’Em Sock ’Em with the Salesforce Tower.)\u003c/p>\n\u003cp>Now, inspired by the season, not only has the mini golf course been decked out in Halloween finery (think: witches, ghouls, gravestones and skeletons), it’s sharing \u003ca href=\"https://www.stagecoachgreens.com/cms/boom-and-bust-18-real-sf-ghost-stories/\" target=\"_blank\" rel=\"noopener noreferrer\">real-life horror stories from Bay Area history\u003c/a>. Each tale corresponds with a specific hole on the course—and the attention to detail is magnificent.\u003c/p>\n\u003cfigure id=\"attachment_13888195\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888195\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Stagecoach-Tavern-800x534.jpg\" alt=\"The Barbary Coast Saloon, Hole 2 at San Francisco's Stagecoach Greens.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Stagecoach-Tavern-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Stagecoach-Tavern-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Stagecoach-Tavern-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Stagecoach-Tavern-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Stagecoach-Tavern-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Stagecoach-Tavern-2048x1368.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Stagecoach-Tavern-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">The Barbary Coast Saloon, Hole 2 at San Francisco’s Stagecoach Greens. \u003ccite>(Courtesy of Rachel Rapaport, Stagecoach Greens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For example, at the Barbary Coast Saloon (Hole 2), there’s the tale of Miss Piggott. Legend has it, the gold rush saloon owner would drug young men, hit them over the head, send them through a trap door and then out to sea. At the Sutro Tower (Hole 12), you can read about the suicides that haunted the Sutro Forest early in the 1900s. At the Ocean Beach Bonfire (Hole 15), learn about the \u003ca href=\"https://www.kqed.org/pop/103040/are-the-cliff-house-and-the-sutro-baths-cursed\" target=\"_blank\" rel=\"noopener noreferrer\">ghostly figures\u003c/a> seen within the remains of the Sutro Baths.\u003c/p>\n\u003cp>Since reopening after shelter-in-place restrictions, Stagecoach Greens has been operating at limited capacity and by \u003ca href=\"https://www.stagecoachgreens.com/purchase/index/\" target=\"_blank\" rel=\"noopener noreferrer\">reservation\u003c/a> only, in order to ensure safe, socially distant play. This means booking in advance if you want to partake in the ghostly golf. Handily, this also gives you plenty of time to come up with a costume that corresponds with the course. Think: ghostly gold miners, tricky tavern keepers, or perhaps the White Lady of Stow Lake, currently residing at Hole 13—the Golden Gate Park windmill.\u003c/p>\n\u003cp>Stagecoach Greens resumes normal (non-haunted) activity on Nov. 2. \u003ca href=\"https://www.stagecoachgreens.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In any other year, mini golf would definitely rank pretty low on the list of fright-fueled Halloween activities. But 2020 isn’t a normal year. In the absence of costume parties, movie theater horror marathons, and trick or treating, \u003ca href=\"https://www.stagecoachgreens.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stagecoach Greens\u003c/a> in San Francisco has stepped up and put together a surprisingly perfect way to celebrate the season at a safe social distance.\u003c/p>\n\u003cp>The 18-hole, outdoor attraction in Mission Bay has combined mini golf with Bay Area history ever since it opened in 2018. Ordinarily, the course takes you on a journey from stagecoach to gold rush graveyard, then on through quaking Victorian houses up to modern city landmarks. (Including, brilliantly, the Transamerica Pyramid playing Rock ’Em Sock ’Em with the Salesforce Tower.)\u003c/p>\n\u003cp>Now, inspired by the season, not only has the mini golf course been decked out in Halloween finery (think: witches, ghouls, gravestones and skeletons), it’s sharing \u003ca href=\"https://www.stagecoachgreens.com/cms/boom-and-bust-18-real-sf-ghost-stories/\" target=\"_blank\" rel=\"noopener noreferrer\">real-life horror stories from Bay Area history\u003c/a>. Each tale corresponds with a specific hole on the course—and the attention to detail is magnificent.\u003c/p>\n\u003cfigure id=\"attachment_13888195\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888195\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Stagecoach-Tavern-800x534.jpg\" alt=\"The Barbary Coast Saloon, Hole 2 at San Francisco's Stagecoach Greens.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Stagecoach-Tavern-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Stagecoach-Tavern-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Stagecoach-Tavern-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Stagecoach-Tavern-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Stagecoach-Tavern-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Stagecoach-Tavern-2048x1368.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Stagecoach-Tavern-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">The Barbary Coast Saloon, Hole 2 at San Francisco’s Stagecoach Greens. \u003ccite>(Courtesy of Rachel Rapaport, Stagecoach Greens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For example, at the Barbary Coast Saloon (Hole 2), there’s the tale of Miss Piggott. Legend has it, the gold rush saloon owner would drug young men, hit them over the head, send them through a trap door and then out to sea. At the Sutro Tower (Hole 12), you can read about the suicides that haunted the Sutro Forest early in the 1900s. At the Ocean Beach Bonfire (Hole 15), learn about the \u003ca href=\"https://www.kqed.org/pop/103040/are-the-cliff-house-and-the-sutro-baths-cursed\" target=\"_blank\" rel=\"noopener noreferrer\">ghostly figures\u003c/a> seen within the remains of the Sutro Baths.\u003c/p>\n\u003cp>Since reopening after shelter-in-place restrictions, Stagecoach Greens has been operating at limited capacity and by \u003ca href=\"https://www.stagecoachgreens.com/purchase/index/\" target=\"_blank\" rel=\"noopener noreferrer\">reservation\u003c/a> only, in order to ensure safe, socially distant play. This means booking in advance if you want to partake in the ghostly golf. Handily, this also gives you plenty of time to come up with a costume that corresponds with the course. Think: ghostly gold miners, tricky tavern keepers, or perhaps the White Lady of Stow Lake, currently residing at Hole 13—the Golden Gate Park windmill.\u003c/p>\n\u003cp>Stagecoach Greens resumes normal (non-haunted) activity on Nov. 2. \u003ca href=\"https://www.stagecoachgreens.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "San Francisco Moves Forward with Outdoor Live Music, Entertainment in Shared Spaces",
"headTitle": "San Francisco Moves Forward with Outdoor Live Music, Entertainment in Shared Spaces | KQED",
"content": "\u003cp>San Francisco’s live music scene has technically been on pause since the start of shelter-in-place orders in March, but unofficial concerts and DJ sets have popped up all over the city in parks, beaches and street corners.\u003c/p>\n\u003cp>Over the past several weeks, musicians, theater artists and event presenters have \u003ca href=\"https://www.kqed.org/arts/13885038/sf-venue-owners-musicians-ask-city-to-allow-outdoor-performances\" target=\"_blank\" rel=\"noopener noreferrer\">asked local government\u003c/a> to allow for socially distanced, outdoor performances, arguing that regulated shows would be safer than guerilla-style ones with no rules or guidelines. Not to mention it would provide an economic boost for an industry that’s completely ground to a halt during the pandemic, during which many artists and businesses \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">haven’t qualified for government aid\u003c/a>.\u003c/p>\n\u003cp>Today, Mayor London Breed’s office announced a new permit through the Entertainment Commission that aims to allow live, outdoor music and entertainment on a small scale. The \u003ca href=\"http://sf.gov/jam\" target=\"_blank\" rel=\"noopener noreferrer\">JAM (Just Add Music) permit\u003c/a> offers businesses a way to book DJs, live music (without singing or wind instruments), dance, theater, comedy or film screenings with amplified sound in the city’s existing \u003ca href=\"https://sf.gov/shared-spaces\" target=\"_blank\" rel=\"noopener noreferrer\">Shared Spaces\u003c/a> locations. Those include outdoor dining areas, farmers’ markets, outdoor fitness classes and drive-in theaters that operate in accordance to the city’s social distancing rules, mask mandate and other public health guidelines.\u003c/p>\n\u003cp>The new permit, whose \u003ca href=\"http://sf.gov/jam\" target=\"_blank\" rel=\"noopener noreferrer\">application\u003c/a> is now live, marks the first time San Francisco is formally incorporating live entertainment into the current phase of its reopening plan. With the free permit, restaurants can book DJs in their patios and parklets while avoiding the fees and lengthy, bureaucratic process they would have had to undertake to allow ongoing entertainment or one-time special events before COVID-19. And, perhaps more crucially, music venues and theaters whose income streams have halted now have a pathway to resuming live events. [aside postid='arts_13886828']\u003c/p>\n\u003cp>For a music venue to participate, it can enroll in the city’s \u003ca href=\"https://sf.gov/shared-spaces\" target=\"_blank\" rel=\"noopener noreferrer\">Shared Spaces program\u003c/a>—which opens parklets, sidewalks, parking lots and city streets for socially distanced, outdoor dining—or have access to other authorized outdoor property, such as a patio or rooftop. (The venue must also have a kitchen or partnership with a neighboring restaurant.) Once those requirements are met, the venue can put on a ticketed event under two hours long, as long as food is served.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[The entertainment industry] is not just an afterthought. We can’t be. We have to be part of this right now,” says San Francisco Entertainment Commission Executive Director Maggie Weiland. The JAM permit arrives after the latest wave of reopenings in San Francisco, which allowed indoor hair salons, gyms, museums (with limited capacity) and drive-in movie screenings to begin operating last week.\u003c/p>\n\u003cp>“I think our small, outdoor performances that will be permitted through this program, and in accordance with health rules, are different from large, indoor performances,” says Weiland. “Until now, those venues have only been contemplated in phase four of the reopening plan.” (Phase four would signal the end of shelter-in-place orders, and require the availability of COVID-19 therapeutics or a vaccine.)\u003c/p>\n\u003cp>In August, Fred Barnes, co-founder of advocacy group the \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, piloted a socially distanced, outdoor concert in the parking lot of Mission district concert venue The Chapel, where he is the general manager. The ticketed show featured only instrumental music. Masked diners at distanced tables listened to a band as food was served. For Barnes and his industry peers, the event’s success is a hopeful sign that safe concerts are possible, and that other businesses can follow suit. [aside postid='arts_13885038']\u003c/p>\n\u003cp>“I think one of the things that was really important about that show we did was that a lot of people remarked afterwards that it was the safest spot in the Mission in terms of the public health ordinances really being controlled by security, with temperature taking and all the things that need to be done,” he says.\u003c/p>\n\u003cp>Deanna Sison, owner of the bar \u003ca href=\"http://www.victoryhallsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Victory Hall\u003c/a> and adjoining restaurant \u003ca href=\"http://www.littleskilletsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Little Skillet\u003c/a>, says that the opportunity to offer entertainment will be a boon for businesses like hers. Her street, near Oracle Park, has seen a complete drop off in foot traffic since baseball games aren’t currently open to fans. Through the Shared Spaces program, she has an entire alleyway to seat customers, and she hopes live music can entice them.\u003c/p>\n\u003cp>“We used to host neighborhood block parties,” she says. “In the future, we’re trying to bring back a version of that and doing that as safely as we possibly can.”\u003c/p>\n\u003cp>North Beach bar \u003ca href=\"http://vesuvio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vesuvio\u003c/a>, open since 1948, plans to partner with a neighboring restaurant to operate a Shared Space with live music in the historic Jack Kerouac Alley. Owner Janet Clyde says the JAM permit offers an easier way of doing things for her business, which doesn’t have an entertainment license and previously had to obtain special event permits anytime it wanted to book live music. “Since we’re in the COVID times and our capacity is limited, it’s going to help us be sustainable in some fashion,” she says. [aside postid='arts_13883952']\u003c/p>\n\u003cp>Clyde says that though Vesuvio has remained closed for the past six months, she’s committed to paying musicians. So is Aaron Paul, co-owner of Russian Hill cocktail bar and cafe \u003ca href=\"https://www.macondraysf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Macondray\u003c/a>, who says that even though his revenue is only 30% of what it used to be, artist compensation is one place where he can’t cut costs. “That’s really important and something I’m proud to be able to do,” he says, emphasizing the importance of live music. “It’s a quality thing. People know when they’re listening to a Spotify playlist.”\u003c/p>\n\u003cp>In addition to aiding small businesses in their economic recovery, the Entertainment Commission’s Weiland hopes the JAM program will also offer San Francisco spiritual nourishment, especially after the last few turbulent weeks of wildfire-induced smoke amid the pandemic.\u003c/p>\n\u003cp>“Music is medicine. Art, culture and entertainment are healing,” Weiland says. “And I think our collective community needs this.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was updated to clarify that businesses with Shared Spaces permits or access to other types of authorized outdoor property qualify for the JAM program. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Bars, restaurants and venues with outdoor dining areas can now book bands, DJs, comedians and other entertainment. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s live music scene has technically been on pause since the start of shelter-in-place orders in March, but unofficial concerts and DJ sets have popped up all over the city in parks, beaches and street corners.\u003c/p>\n\u003cp>Over the past several weeks, musicians, theater artists and event presenters have \u003ca href=\"https://www.kqed.org/arts/13885038/sf-venue-owners-musicians-ask-city-to-allow-outdoor-performances\" target=\"_blank\" rel=\"noopener noreferrer\">asked local government\u003c/a> to allow for socially distanced, outdoor performances, arguing that regulated shows would be safer than guerilla-style ones with no rules or guidelines. Not to mention it would provide an economic boost for an industry that’s completely ground to a halt during the pandemic, during which many artists and businesses \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">haven’t qualified for government aid\u003c/a>.\u003c/p>\n\u003cp>Today, Mayor London Breed’s office announced a new permit through the Entertainment Commission that aims to allow live, outdoor music and entertainment on a small scale. The \u003ca href=\"http://sf.gov/jam\" target=\"_blank\" rel=\"noopener noreferrer\">JAM (Just Add Music) permit\u003c/a> offers businesses a way to book DJs, live music (without singing or wind instruments), dance, theater, comedy or film screenings with amplified sound in the city’s existing \u003ca href=\"https://sf.gov/shared-spaces\" target=\"_blank\" rel=\"noopener noreferrer\">Shared Spaces\u003c/a> locations. Those include outdoor dining areas, farmers’ markets, outdoor fitness classes and drive-in theaters that operate in accordance to the city’s social distancing rules, mask mandate and other public health guidelines.\u003c/p>\n\u003cp>The new permit, whose \u003ca href=\"http://sf.gov/jam\" target=\"_blank\" rel=\"noopener noreferrer\">application\u003c/a> is now live, marks the first time San Francisco is formally incorporating live entertainment into the current phase of its reopening plan. With the free permit, restaurants can book DJs in their patios and parklets while avoiding the fees and lengthy, bureaucratic process they would have had to undertake to allow ongoing entertainment or one-time special events before COVID-19. And, perhaps more crucially, music venues and theaters whose income streams have halted now have a pathway to resuming live events. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For a music venue to participate, it can enroll in the city’s \u003ca href=\"https://sf.gov/shared-spaces\" target=\"_blank\" rel=\"noopener noreferrer\">Shared Spaces program\u003c/a>—which opens parklets, sidewalks, parking lots and city streets for socially distanced, outdoor dining—or have access to other authorized outdoor property, such as a patio or rooftop. (The venue must also have a kitchen or partnership with a neighboring restaurant.) Once those requirements are met, the venue can put on a ticketed event under two hours long, as long as food is served.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[The entertainment industry] is not just an afterthought. We can’t be. We have to be part of this right now,” says San Francisco Entertainment Commission Executive Director Maggie Weiland. The JAM permit arrives after the latest wave of reopenings in San Francisco, which allowed indoor hair salons, gyms, museums (with limited capacity) and drive-in movie screenings to begin operating last week.\u003c/p>\n\u003cp>“I think our small, outdoor performances that will be permitted through this program, and in accordance with health rules, are different from large, indoor performances,” says Weiland. “Until now, those venues have only been contemplated in phase four of the reopening plan.” (Phase four would signal the end of shelter-in-place orders, and require the availability of COVID-19 therapeutics or a vaccine.)\u003c/p>\n\u003cp>In August, Fred Barnes, co-founder of advocacy group the \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, piloted a socially distanced, outdoor concert in the parking lot of Mission district concert venue The Chapel, where he is the general manager. The ticketed show featured only instrumental music. Masked diners at distanced tables listened to a band as food was served. For Barnes and his industry peers, the event’s success is a hopeful sign that safe concerts are possible, and that other businesses can follow suit. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think one of the things that was really important about that show we did was that a lot of people remarked afterwards that it was the safest spot in the Mission in terms of the public health ordinances really being controlled by security, with temperature taking and all the things that need to be done,” he says.\u003c/p>\n\u003cp>Deanna Sison, owner of the bar \u003ca href=\"http://www.victoryhallsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Victory Hall\u003c/a> and adjoining restaurant \u003ca href=\"http://www.littleskilletsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Little Skillet\u003c/a>, says that the opportunity to offer entertainment will be a boon for businesses like hers. Her street, near Oracle Park, has seen a complete drop off in foot traffic since baseball games aren’t currently open to fans. Through the Shared Spaces program, she has an entire alleyway to seat customers, and she hopes live music can entice them.\u003c/p>\n\u003cp>“We used to host neighborhood block parties,” she says. “In the future, we’re trying to bring back a version of that and doing that as safely as we possibly can.”\u003c/p>\n\u003cp>North Beach bar \u003ca href=\"http://vesuvio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vesuvio\u003c/a>, open since 1948, plans to partner with a neighboring restaurant to operate a Shared Space with live music in the historic Jack Kerouac Alley. Owner Janet Clyde says the JAM permit offers an easier way of doing things for her business, which doesn’t have an entertainment license and previously had to obtain special event permits anytime it wanted to book live music. “Since we’re in the COVID times and our capacity is limited, it’s going to help us be sustainable in some fashion,” she says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clyde says that though Vesuvio has remained closed for the past six months, she’s committed to paying musicians. So is Aaron Paul, co-owner of Russian Hill cocktail bar and cafe \u003ca href=\"https://www.macondraysf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Macondray\u003c/a>, who says that even though his revenue is only 30% of what it used to be, artist compensation is one place where he can’t cut costs. “That’s really important and something I’m proud to be able to do,” he says, emphasizing the importance of live music. “It’s a quality thing. People know when they’re listening to a Spotify playlist.”\u003c/p>\n\u003cp>In addition to aiding small businesses in their economic recovery, the Entertainment Commission’s Weiland hopes the JAM program will also offer San Francisco spiritual nourishment, especially after the last few turbulent weeks of wildfire-induced smoke amid the pandemic.\u003c/p>\n\u003cp>“Music is medicine. Art, culture and entertainment are healing,” Weiland says. “And I think our collective community needs this.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to clarify that businesses with Shared Spaces permits or access to other types of authorized outdoor property qualify for the JAM program. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ensemble Artists are Ready to BUILD a New World. Is the World Ready to Let Them?",
"headTitle": "Ensemble Artists are Ready to BUILD a New World. Is the World Ready to Let Them? | KQED",
"content": "\u003cp>Normally, every two years, the performance venues located in and around San Francisco’s Project Artaud buzz with activity from a variety of ensemble theater-makers for foolsFURY’s Fury Factory Festival. On any given day of the festival, one might see fragments of works-in-progress, wild forays into the furthest reaches of imagination, reflections on the nature of a mediated existence, works that explore how history and story are shaped, and pieces that thrust the audience into an active, participatory role. It’s a glorious assemblage of collective creation.\u003c/p>\n\u003cp>As a field, ensemble theater has long challenged industry “norms,” often with transformative results. While there are almost as many ways to create as there are ensembles creating it, the process is frequently open-ended. A single work might take years of collaborative, multi-disciplinary endeavor before it’s staged for a particular audience. Characteristics that ensemble artists share include an appetite for exploration, a flexibility of medium, and an ability—even enthusiasm—for adapting to unusual and challenging circumstances.\u003c/p>\n\u003cfigure id=\"attachment_13886297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Build_ClaudiaAlick_DeborahEliezer-800x394.png\" alt=\"\" width=\"800\" height=\"394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Build_ClaudiaAlick_DeborahEliezer-800x394.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Build_ClaudiaAlick_DeborahEliezer-1020x502.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Build_ClaudiaAlick_DeborahEliezer-160x79.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Build_ClaudiaAlick_DeborahEliezer-768x378.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Build_ClaudiaAlick_DeborahEliezer.png 1170w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The BUILD organizers in conversation: Festival Director Claudia Alick and foolsFURY Artistic Director Debórah Eliezer. \u003ccite>(screenshot courtesy of foolsFURY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, foolsFURY got the opportunity to display their own adaptability by postponing this year’s Fury Factory festival to 2021, and instead have reapportioned their energies towards a digital convening for ensemble artists intent on reimagining not only their own work, but the field at large. In the wake of the pandemic shutdown, the pressing calls for racial and economic justice that have entered the national discourse have proliferated in the arts sector as well. And who better to tackle those issues head-on than the artists whose practice frequently asks them to iterate, to challenge, to dismantle, and to reconstruct?\u003c/p>\n\u003cp>So instead of attending the Fury Factory as I’d originally planned, this weekend I attended foolsFURY’s BUILD From Here, a two-day online workshop addressing these exact issues. As foolsFURY artistic director Debórah Eliezer observed in her opening remarks, “ensemble practices have prepared us uniquely for this moment.” And with Guest Festival Director and transmedia specialist Claudia Alick at the helm, it wasn’t just ensemble practices but technological know-how that made foolsFURY’s convening possible, and impactful for participants on both side of the screen.\u003c/p>\n\u003cp>At the core of much of the discourse was the role of artists and arts workers in reshaping not only the way we work, but the cultural landscape, and by extension, the political one as well. And who better to kick off that conversation than the multi-talented performance artist \u003ca href=\"http://kristinawong.com/\">Kristina Wong\u003c/a>, who, rather than embarking on her previously scheduled “political campaign” around the country, was forced to stay home with the rest of us.\u003c/p>\n\u003cfigure id=\"attachment_13886299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BUILD_Brunch-and-Budgets-Dyalekt-and-Pamela-Capalad.-Photo-courtesy-of-Brunch-and-Budget-800x1066.jpg\" alt=\"\" width=\"800\" height=\"1066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Brunch-and-Budgets-Dyalekt-and-Pamela-Capalad.-Photo-courtesy-of-Brunch-and-Budget-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Brunch-and-Budgets-Dyalekt-and-Pamela-Capalad.-Photo-courtesy-of-Brunch-and-Budget-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Brunch-and-Budgets-Dyalekt-and-Pamela-Capalad.-Photo-courtesy-of-Brunch-and-Budget-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Brunch-and-Budgets-Dyalekt-and-Pamela-Capalad.-Photo-courtesy-of-Brunch-and-Budget.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dyalekt and Pamela Capalad of Brunch and Budget, who presented on the racial wealth gap and art shaping culture. \u003ccite>(courtesy of Brunch and Budget)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead of spending time mourning what could have been, Wong pivoted to digital performance, and, more importantly, used her considerable skills as a designer and fabric artist to mastermind a nationwide network of volunteer mask-sewers. Donating PPE to frontline workers and vulnerable populations across the country, the\u003ca href=\"https://www.facebook.com/auntiesewing/\"> Auntie Sewing Squad\u003c/a> (ASS) is but one example of how creative energy can be harnessed to meet societal needs outside of the walls of a “theater.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Culture has the power to organize faster than our politicians,” Wong pointed out, showing off her new home “theater” from which she’s also recently launched a completely-reimagined digital version of her erstwhile “political campaign.”\u003c/p>\n\u003cp>“Art shapes our culture, it shapes our society, and not only that but it shapes policies that we make,” Dyalekt, from the \u003ca href=\"http://dyalekt.com/\">Museum of Dead Words\u003c/a>, emphasized in a later presentation, with wife Pamela Capalad of \u003ca href=\"https://brunchandbudget.com\">Brunch and Budget\u003c/a>. It was a reminder, as Dyalekt said, that “government is run by \u003cem>people\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13886300\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886300\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BUILD_Alison-De-La-Cruz.-Photo-courtesy-of-the-artist-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Alison-De-La-Cruz.-Photo-courtesy-of-the-artist-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Alison-De-La-Cruz.-Photo-courtesy-of-the-artist-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Alison-De-La-Cruz.-Photo-courtesy-of-the-artist-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Alison-De-La-Cruz.-Photo-courtesy-of-the-artist-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Alison-De-La-Cruz.-Photo-courtesy-of-the-artist.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">NET’s Alison De La Cruz, who presented on aesthetic equity. \u003ccite>(courtesy of Alison De La Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the heart of the convening were deep conversations about the matter at hand. Namely, how do we reconfigure the cultural sector to center racial justice, economic equity, accessibility, and care for community in every project and organization? A facilitated conversation about the concept of aesthetic equity led by Alison De La Cruz (representing the \u003ca href=\"https://www.ensembletheaters.net/\">Network of Ensemble Theatres\u003c/a>) generated action steps among the participants. These included changing philanthropic funding criteria, acknowledging the value of lived experience over academic experience, decolonizing the field of criticism, and working to counteract the scarcity model that fosters a climate of competition over limited resources, focusing instead on \u003cem>generation\u003c/em> by pooling together materials, space, skills, and knowledge.\u003c/p>\n\u003cp>On day two, those conversations were expanded and built upon with presentations about alternative economic models and financial acumen, horizontal leadership, the racial wealth divide, and the ways that culture actively shapes society. One of many takeaways being: if creatives are shaping the culture that shapes society, why shouldn’t we put that energy to work in creating the society we want to live in, with the communities we want to be a part of?\u003c/p>\n\u003cp>Panel discussions with members of culturally specific organizations, and ensemble artists who have been discovering new ways to create work both digitally and distanced, bookended the conference with considerations of joyous possibility.\u003c/p>\n\u003cfigure id=\"attachment_13886295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BUILD_Dr.-Ayodele-Nzinga--800x396.png\" alt=\"\" width=\"800\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Dr.-Ayodele-Nzinga--800x396.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Dr.-Ayodele-Nzinga--1020x504.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Dr.-Ayodele-Nzinga--160x79.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Dr.-Ayodele-Nzinga--768x380.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Dr.-Ayodele-Nzinga-.png 1169w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Ayodele Nzinga reflects on creating theater for the now. \u003ccite>(screenshot courtesy of foolsFURY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We learned something really crucial about capital… we are amazingly abundant in terms of \u003cem>relationships\u003c/em>,” remarked Dr. Ayodele Nzinga of Oakland’s Lower Bottom Playaz, who just wrapped up a \u003ca href=\"http://www.bambdfest.com\">digitally reimagined festival of their own\u003c/a>. Inviting collaborators from around the world, BAMBDFEST grew from its initial projection of 2,500 audience members and participants in physical space to over 10,000 in digital space (breaking down barriers of time, space, and budget being several advantages of pandemic producing).\u003c/p>\n\u003cp>Interwoven throughout the weekend were 18 mini-performances created by the companies originally slated for the Fury Factory, giving a real-time snapshot of the various methods other makers are incorporating in their own work now that much of the work has to be recreated or reconfigured for distanced audiences and collaborators. Short films, songs, conversations, clips from past performances, live beatboxing, and even a few familiar Zoom boxes highlighted the many creative problem-solving tools that artists work with every day. The challenge at hand is how to use those tools both to dismantle and to rebuild—in and outside of the performing arts.\u003c/p>\n\u003cfigure id=\"attachment_13886296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886296\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BUILD_Pratik_Motwani-800x396.png\" alt=\"\" width=\"800\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Pratik_Motwani-800x396.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Pratik_Motwani-1020x504.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Pratik_Motwani-160x79.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Pratik_Motwani-768x380.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Pratik_Motwani.png 1167w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performer Pratik Motwani, presenting his artistic manifesto at BUILD From Here. \u003ccite>(screenshot courtesy of foolsFURY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I am beginning to see the shape of that art hammer that has the potential to make that foundational impact,” performer Pratik Motwani declared in his passionate manifesto. “Which nail shall we strike first?”\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>Find out more about foolsFURY and BUILD\u003ca href=\"https://www.foolsfury.org/\"> here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Normally, every two years, the performance venues located in and around San Francisco’s Project Artaud buzz with activity from a variety of ensemble theater-makers for foolsFURY’s Fury Factory Festival. On any given day of the festival, one might see fragments of works-in-progress, wild forays into the furthest reaches of imagination, reflections on the nature of a mediated existence, works that explore how history and story are shaped, and pieces that thrust the audience into an active, participatory role. It’s a glorious assemblage of collective creation.\u003c/p>\n\u003cp>As a field, ensemble theater has long challenged industry “norms,” often with transformative results. While there are almost as many ways to create as there are ensembles creating it, the process is frequently open-ended. A single work might take years of collaborative, multi-disciplinary endeavor before it’s staged for a particular audience. Characteristics that ensemble artists share include an appetite for exploration, a flexibility of medium, and an ability—even enthusiasm—for adapting to unusual and challenging circumstances.\u003c/p>\n\u003cfigure id=\"attachment_13886297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Build_ClaudiaAlick_DeborahEliezer-800x394.png\" alt=\"\" width=\"800\" height=\"394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Build_ClaudiaAlick_DeborahEliezer-800x394.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Build_ClaudiaAlick_DeborahEliezer-1020x502.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Build_ClaudiaAlick_DeborahEliezer-160x79.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Build_ClaudiaAlick_DeborahEliezer-768x378.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Build_ClaudiaAlick_DeborahEliezer.png 1170w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The BUILD organizers in conversation: Festival Director Claudia Alick and foolsFURY Artistic Director Debórah Eliezer. \u003ccite>(screenshot courtesy of foolsFURY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, foolsFURY got the opportunity to display their own adaptability by postponing this year’s Fury Factory festival to 2021, and instead have reapportioned their energies towards a digital convening for ensemble artists intent on reimagining not only their own work, but the field at large. In the wake of the pandemic shutdown, the pressing calls for racial and economic justice that have entered the national discourse have proliferated in the arts sector as well. And who better to tackle those issues head-on than the artists whose practice frequently asks them to iterate, to challenge, to dismantle, and to reconstruct?\u003c/p>\n\u003cp>So instead of attending the Fury Factory as I’d originally planned, this weekend I attended foolsFURY’s BUILD From Here, a two-day online workshop addressing these exact issues. As foolsFURY artistic director Debórah Eliezer observed in her opening remarks, “ensemble practices have prepared us uniquely for this moment.” And with Guest Festival Director and transmedia specialist Claudia Alick at the helm, it wasn’t just ensemble practices but technological know-how that made foolsFURY’s convening possible, and impactful for participants on both side of the screen.\u003c/p>\n\u003cp>At the core of much of the discourse was the role of artists and arts workers in reshaping not only the way we work, but the cultural landscape, and by extension, the political one as well. And who better to kick off that conversation than the multi-talented performance artist \u003ca href=\"http://kristinawong.com/\">Kristina Wong\u003c/a>, who, rather than embarking on her previously scheduled “political campaign” around the country, was forced to stay home with the rest of us.\u003c/p>\n\u003cfigure id=\"attachment_13886299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BUILD_Brunch-and-Budgets-Dyalekt-and-Pamela-Capalad.-Photo-courtesy-of-Brunch-and-Budget-800x1066.jpg\" alt=\"\" width=\"800\" height=\"1066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Brunch-and-Budgets-Dyalekt-and-Pamela-Capalad.-Photo-courtesy-of-Brunch-and-Budget-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Brunch-and-Budgets-Dyalekt-and-Pamela-Capalad.-Photo-courtesy-of-Brunch-and-Budget-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Brunch-and-Budgets-Dyalekt-and-Pamela-Capalad.-Photo-courtesy-of-Brunch-and-Budget-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Brunch-and-Budgets-Dyalekt-and-Pamela-Capalad.-Photo-courtesy-of-Brunch-and-Budget.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dyalekt and Pamela Capalad of Brunch and Budget, who presented on the racial wealth gap and art shaping culture. \u003ccite>(courtesy of Brunch and Budget)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead of spending time mourning what could have been, Wong pivoted to digital performance, and, more importantly, used her considerable skills as a designer and fabric artist to mastermind a nationwide network of volunteer mask-sewers. Donating PPE to frontline workers and vulnerable populations across the country, the\u003ca href=\"https://www.facebook.com/auntiesewing/\"> Auntie Sewing Squad\u003c/a> (ASS) is but one example of how creative energy can be harnessed to meet societal needs outside of the walls of a “theater.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Culture has the power to organize faster than our politicians,” Wong pointed out, showing off her new home “theater” from which she’s also recently launched a completely-reimagined digital version of her erstwhile “political campaign.”\u003c/p>\n\u003cp>“Art shapes our culture, it shapes our society, and not only that but it shapes policies that we make,” Dyalekt, from the \u003ca href=\"http://dyalekt.com/\">Museum of Dead Words\u003c/a>, emphasized in a later presentation, with wife Pamela Capalad of \u003ca href=\"https://brunchandbudget.com\">Brunch and Budget\u003c/a>. It was a reminder, as Dyalekt said, that “government is run by \u003cem>people\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13886300\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886300\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BUILD_Alison-De-La-Cruz.-Photo-courtesy-of-the-artist-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Alison-De-La-Cruz.-Photo-courtesy-of-the-artist-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Alison-De-La-Cruz.-Photo-courtesy-of-the-artist-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Alison-De-La-Cruz.-Photo-courtesy-of-the-artist-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Alison-De-La-Cruz.-Photo-courtesy-of-the-artist-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Alison-De-La-Cruz.-Photo-courtesy-of-the-artist.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">NET’s Alison De La Cruz, who presented on aesthetic equity. \u003ccite>(courtesy of Alison De La Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the heart of the convening were deep conversations about the matter at hand. Namely, how do we reconfigure the cultural sector to center racial justice, economic equity, accessibility, and care for community in every project and organization? A facilitated conversation about the concept of aesthetic equity led by Alison De La Cruz (representing the \u003ca href=\"https://www.ensembletheaters.net/\">Network of Ensemble Theatres\u003c/a>) generated action steps among the participants. These included changing philanthropic funding criteria, acknowledging the value of lived experience over academic experience, decolonizing the field of criticism, and working to counteract the scarcity model that fosters a climate of competition over limited resources, focusing instead on \u003cem>generation\u003c/em> by pooling together materials, space, skills, and knowledge.\u003c/p>\n\u003cp>On day two, those conversations were expanded and built upon with presentations about alternative economic models and financial acumen, horizontal leadership, the racial wealth divide, and the ways that culture actively shapes society. One of many takeaways being: if creatives are shaping the culture that shapes society, why shouldn’t we put that energy to work in creating the society we want to live in, with the communities we want to be a part of?\u003c/p>\n\u003cp>Panel discussions with members of culturally specific organizations, and ensemble artists who have been discovering new ways to create work both digitally and distanced, bookended the conference with considerations of joyous possibility.\u003c/p>\n\u003cfigure id=\"attachment_13886295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BUILD_Dr.-Ayodele-Nzinga--800x396.png\" alt=\"\" width=\"800\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Dr.-Ayodele-Nzinga--800x396.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Dr.-Ayodele-Nzinga--1020x504.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Dr.-Ayodele-Nzinga--160x79.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Dr.-Ayodele-Nzinga--768x380.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Dr.-Ayodele-Nzinga-.png 1169w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Ayodele Nzinga reflects on creating theater for the now. \u003ccite>(screenshot courtesy of foolsFURY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We learned something really crucial about capital… we are amazingly abundant in terms of \u003cem>relationships\u003c/em>,” remarked Dr. Ayodele Nzinga of Oakland’s Lower Bottom Playaz, who just wrapped up a \u003ca href=\"http://www.bambdfest.com\">digitally reimagined festival of their own\u003c/a>. Inviting collaborators from around the world, BAMBDFEST grew from its initial projection of 2,500 audience members and participants in physical space to over 10,000 in digital space (breaking down barriers of time, space, and budget being several advantages of pandemic producing).\u003c/p>\n\u003cp>Interwoven throughout the weekend were 18 mini-performances created by the companies originally slated for the Fury Factory, giving a real-time snapshot of the various methods other makers are incorporating in their own work now that much of the work has to be recreated or reconfigured for distanced audiences and collaborators. Short films, songs, conversations, clips from past performances, live beatboxing, and even a few familiar Zoom boxes highlighted the many creative problem-solving tools that artists work with every day. The challenge at hand is how to use those tools both to dismantle and to rebuild—in and outside of the performing arts.\u003c/p>\n\u003cfigure id=\"attachment_13886296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886296\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BUILD_Pratik_Motwani-800x396.png\" alt=\"\" width=\"800\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Pratik_Motwani-800x396.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Pratik_Motwani-1020x504.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Pratik_Motwani-160x79.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Pratik_Motwani-768x380.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BUILD_Pratik_Motwani.png 1167w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performer Pratik Motwani, presenting his artistic manifesto at BUILD From Here. \u003ccite>(screenshot courtesy of foolsFURY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I am beginning to see the shape of that art hammer that has the potential to make that foundational impact,” performer Pratik Motwani declared in his passionate manifesto. “Which nail shall we strike first?”\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>When the Bay Area woke up this morning, the skies were deep orange. Some saw it as a sign of the apocalypse and went \u003ca href=\"https://twitter.com/Tony_Rotundo/status/1303757877090246656\" target=\"_blank\" rel=\"noopener noreferrer\">back to bed\u003c/a>. Others played \u003ca href=\"https://www.youtube.com/watch?v=AZKcl4-tcuo\" target=\"_blank\" rel=\"noopener noreferrer\">David Bowie\u003c/a> or watched \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=gCcx85zbxz4\" target=\"_blank\" rel=\"noopener noreferrer\">Blade Runner 2049\u003c/a>\u003c/em>. Just about everyone else took \u003ca href=\"https://twitter.com/search?q=%23orangesky&src=typed_query\" target=\"_blank\" rel=\"noopener noreferrer\">photos\u003c/a>.\u003c/p>\n\u003cp>And then there’s the group of surfers at Ocean Beach who said, “You know what? Let’s hit the waves.”\u003c/p>\n\u003cfigure id=\"attachment_13886050\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886050\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1.png\" alt=\"A surfer heads to Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">A surfer heads to Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>KQED photographer Beth LaBerge caught Matt Cowdrey, Mark Paiz and Kyle Ortega in action, surfing under red-orange skies caused by wildfires in Northern California and Oregon.\u003c/p>\n\u003cfigure id=\"attachment_13886047\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886047\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4.png\" alt=\"Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These photos were taken at noon. It was a day like no other for Ocean Beach, the westernmost part of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13886048\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3.png\" alt=\"A surfer rides the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">A surfer rides the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And a day that this group of surfers won’t ever forget.\u003c/p>\n\u003cfigure id=\"attachment_13886046\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886046\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5.png\" alt=\"Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Bay Area woke up this morning, the skies were deep orange. Some saw it as a sign of the apocalypse and went \u003ca href=\"https://twitter.com/Tony_Rotundo/status/1303757877090246656\" target=\"_blank\" rel=\"noopener noreferrer\">back to bed\u003c/a>. Others played \u003ca href=\"https://www.youtube.com/watch?v=AZKcl4-tcuo\" target=\"_blank\" rel=\"noopener noreferrer\">David Bowie\u003c/a> or watched \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=gCcx85zbxz4\" target=\"_blank\" rel=\"noopener noreferrer\">Blade Runner 2049\u003c/a>\u003c/em>. Just about everyone else took \u003ca href=\"https://twitter.com/search?q=%23orangesky&src=typed_query\" target=\"_blank\" rel=\"noopener noreferrer\">photos\u003c/a>.\u003c/p>\n\u003cp>And then there’s the group of surfers at Ocean Beach who said, “You know what? Let’s hit the waves.”\u003c/p>\n\u003cfigure id=\"attachment_13886050\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886050\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1.png\" alt=\"A surfer heads to Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">A surfer heads to Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>KQED photographer Beth LaBerge caught Matt Cowdrey, Mark Paiz and Kyle Ortega in action, surfing under red-orange skies caused by wildfires in Northern California and Oregon.\u003c/p>\n\u003cfigure id=\"attachment_13886047\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886047\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4.png\" alt=\"Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These photos were taken at noon. It was a day like no other for Ocean Beach, the westernmost part of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13886048\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3.png\" alt=\"A surfer rides the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">A surfer rides the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And a day that this group of surfers won’t ever forget.\u003c/p>\n\u003cfigure id=\"attachment_13886046\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886046\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5.png\" alt=\"Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.instagram.com/erinacalejo/\" target=\"_blank\" rel=\"noopener noreferrer\">Erina Alejo\u003c/a> is an educator, artist and cultural artifact keeper. But when asked how they self-identify, Alejo says they’re, a “third-generation renter.”\u003c/p>\n\u003cp>Alejo’s grandaunt immigrated from the Philippines to the Bay Area in \u003cspan style=\"font-weight: 400\">1959. S\u003c/span>oon after, other family members joined. They lived in the East Bay city of Pittsburg, before moving to San Francisco. They’ve been renters the whole time.\u003c/p>\n\u003cp>Now Alejo, who spent their early years in the Mission District before being priced out and moving to the Excelsior, says they’ve been watching the story of gentrification unfold through a unique lens.\u003c/p>\n\u003cfigure id=\"attachment_13885746\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885746\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ScatterPiece_AlejoE_blkbckgrnd-800x600.jpg\" alt=\"A trashcan in the Excelsior Erina has documented for years\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ScatterPiece_AlejoE_blkbckgrnd-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ScatterPiece_AlejoE_blkbckgrnd-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ScatterPiece_AlejoE_blkbckgrnd-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ScatterPiece_AlejoE_blkbckgrnd-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ScatterPiece_AlejoE_blkbckgrnd-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ScatterPiece_AlejoE_blkbckgrnd-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ScatterPiece_AlejoE_blkbckgrnd-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erina Alejo has documented this trashcan in the Excelsior for five years. \u003ccite>(Erina Alejo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alejo is a photographer whose work focuses on the story of housing. One of their passions is taking photos of people awaiting to speak at City Hall in San Francisco. Another is revisiting the same public trashcan every so often, documenting the changing world around it. Alejo is in the process of publishing a book titled, “\u003ca href=\"https://erinacalejo.com/ahxstoryofrenting\" target=\"_blank\" rel=\"noopener noreferrer\">A Hxstory of Renting\u003c/a>,” which highlights this work.\u003c/p>\n\u003cp>In this week’s episode of Rightnowish, you can hear Alejo talk about their work, and the specific story behind \u003ca href=\"https://erinacalejo.com/ahor-blog/scatter-piece\" target=\"_blank\" rel=\"noopener noreferrer\">the trashcan series\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\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=KQINC5549687522&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Erina Alejo. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What’s the value of taking photos of the same object over and over? I know it’s a matter of noticing small differences, but what does that mean? These subtle changes – what do they actually tell you?\u003c/em>\u003c/p>\n\u003cp>Erina: It’s not noticeable across two days that I take a picture of the same trashcan. I can relate it to, say, listening to the same song in different parts of my life, or across seasons. My relationship with that song and those lyrics change. And it’s same for the trashcan. There’s a lot of resilience and power in sitting and listening and watching – which my work is about. I’m not a photographer that puts out my work all the time. I’m really slow. There’s a certain timing to when I realize the relevance of a particular photo or a series.\u003c/p>\n\u003cp>\u003cem>Pen: I got to ask, how is it even possible in this day and age that you can have patience and not post a photo right after taking it? How do you hold on to the photos? How did you develop that practice?\u003c/em>\u003c/p>\n\u003cp>Erina: Sometimes it’s just the issue of being a packrat and realizing that, “Oh, my goodness, I have so many archives”. I think in the long term of how the impact of something that I’ll post will be understood, and how it will be perceived over time. While I do have folks who are like “Erina, where’s the picture you took of us at a community action like five years ago?” I have it. I’m learning how – as an archivist (and I do want to go to school for library sciences) – how do we take time and put grace and care and to how we tell stories. And, sometimes, it takes time.\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>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\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=KQINC5549687522&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Erina Alejo. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What’s the value of taking photos of the same object over and over? I know it’s a matter of noticing small differences, but what does that mean? These subtle changes – what do they actually tell you?\u003c/em>\u003c/p>\n\u003cp>Erina: It’s not noticeable across two days that I take a picture of the same trashcan. I can relate it to, say, listening to the same song in different parts of my life, or across seasons. My relationship with that song and those lyrics change. And it’s same for the trashcan. There’s a lot of resilience and power in sitting and listening and watching – which my work is about. I’m not a photographer that puts out my work all the time. I’m really slow. There’s a certain timing to when I realize the relevance of a particular photo or a series.\u003c/p>\n\u003cp>\u003cem>Pen: I got to ask, how is it even possible in this day and age that you can have patience and not post a photo right after taking it? How do you hold on to the photos? How did you develop that practice?\u003c/em>\u003c/p>\n\u003cp>Erina: Sometimes it’s just the issue of being a packrat and realizing that, “Oh, my goodness, I have so many archives”. I think in the long term of how the impact of something that I’ll post will be understood, and how it will be perceived over time. While I do have folks who are like “Erina, where’s the picture you took of us at a community action like five years ago?” I have it. I’m learning how – as an archivist (and I do want to go to school for library sciences) – how do we take time and put grace and care and to how we tell stories. And, sometimes, it takes time.\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>\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\n\u003c/div>\u003c/p>",
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"title": "SF Announces $12.8 Million in Grants for Arts and Culture Organizations",
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"content": "\u003cp>San Francisco Mayor London Breed announced $12.8 million in grants to 227 arts and culture organizations throughout the city on Wednesday.\u003c/p>\n\u003cp>The funding comes from the city’s \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> (GFTA) program. Unlike the majority of arts grants, it is designed to cover day-to-day operating expenses.\u003c/p>\n\u003cp>Grantees range from small companies like AfroSolo, which received $10,000 in GFTA funding, to major institutions like the San Francisco Opera, with its $600,000 grant. (A full list of grantees \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/GFTA-FY21-Grants-Final-1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">can be viewed here [PDF]\u003c/a>.)\u003c/p>\n\u003cp>Although the more substantial grants have been dispersed, as usual, to the largest and most entrenched organizations, these organizations are seeing slight losses in funding this year. The San Francisco Museum of Modern Art’s grant fell from $423,190 to $400,00 since 2019; the San Francisco Ballet’s from $428,890 to $400,000; and the San Francisco Opera’s from $680,000 to $600,000.\u003c/p>\n\u003cp>Conversely, many of the smaller, equity-focused community organizations are seeing an increase in 2020. Examples include the San Francisco Juneteenth Celebration, whose grant grew from $20,000 to $25,000; Project Level, up from $7,500 to $20,000; and the Transgender Film Festival, which was bumped up from $15,000 to $18,750.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And even though the total pot of money is down around $140,000 over last year, the available funds are being spread more widely, as there are seven more grantees this year. Those include the Clarion Alley Mural Project, Dancing Earth Creation, Art With Elders, the Festival of Latin American Contemporary Choreographers, Kultivate Labs, San Francisco Women Artists, and Youth Art Exchange.\u003c/p>\n\u003cp>City Administrator Naomi Kelly says these adjustments are strategic.\u003c/p>\n\u003cp>“We had a really deep dive into those organizations who tried to look at racial and ethnic equity lines in particular this year, such as the African-American community and the transgender community,” says Kelly. “We wanted to make sure that we are supporting those organizations that have been disproportionately impacted through COVID-19.”\u003c/p>\n\u003cp>At a time when so many cultural organizations have been forced to close their doors permanently or temporarily, or drastically reduce their operations owing to the coronavirus pandemic, such help from the city is a lifeline.\u003c/p>\n\u003cp>“It’s the only operating grant money that we receive,” says Suzanne Cervantes, founding executive director of \u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Precita Eyes Muralists\u003c/a>, a public art education nonprofit based in the Mission District. The company saw a slight increase in GFTA funding from $45,490 in 2019 to $46,350 this year. “So it makes a big difference,” adds Cervantes. “It helps pay for utilities and rent, as well as administrative costs like marketing and website management.”\u003c/p>\n\u003cp>GFTA funding, a portion of which comes from hotel tax revenues, has been in existence since 1961. But starting in the early 2000s, owing to financial issues, the city gradually reduced its arts budget, ultimately repealing the specific allocation altogether in 2013. In 2018, San Francisco residents \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\">approved a ballot measure, Proposition E\u003c/a>, to restore the funding. Since then, 1.5% of the base hotel tax — a 14% tax levied on hotel stays in the city — has been dedicated to supporting arts and culture programs in San Francisco.\u003c/p>\n\u003cp>But COVID-19 has left San Francisco’s hotel industry in tatters. According to \u003ca href=\"https://www.sftravel.com/article/san-francisco-travel-updating-tourism-projections-due-global-covid-19-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">figures released earlier this month by the San Francisco Travel Association\u003c/a>, which markets San Francisco nationally and globally as a tourism and convention destination, the number of visitors to the city are down more than 50% over last year, and their total spending has plummeted nearly 70%.\u003c/p>\n\u003cp>Arts and culture industry workers like Precita Eyes’ Cervantes are worried about what the shortfall might mean for funding in the coming years.\u003c/p>\n\u003cp>“After the 2008 recession, everyone got a cut and we were slowly able to get it back,” says Cervantes. “And now there’s a big question of if we’ll be going back to those harder times.”\u003c/p>\n\u003cp>But the shrinking of hotel tax dollars won’t completely decimate GFTA funding, at least in the near-to-medium-term, thanks to a safeguard written into Proposition E.\u003c/p>\n\u003cp>“In bad years for the hotel tax, as is the case now, we only drop by up to 10% over the previous year, and that would be the case even if hotel tax dollars dwindle to nothing,” says GFTA director Matthew Goudeau.\u003c/p>\n\u003cp>But Goudeau says the reverse is also true.\u003c/p>\n\u003cp>“In years when the hotel tax revenues are strong and growing, our budget can only grow by up to 10% over the previous year, even if, for example, the hotel tax were to grow by something like 25%.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goudeau also says funding for each subsequent year uses the previous fiscal year as a baseline. So if the economy continues to suffer, GFTA arts funding will likely continue to fall — even if only by up to 10% each year.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Mayor London Breed announced $12.8 million in grants to 227 arts and culture organizations throughout the city on Wednesday.\u003c/p>\n\u003cp>The funding comes from the city’s \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> (GFTA) program. Unlike the majority of arts grants, it is designed to cover day-to-day operating expenses.\u003c/p>\n\u003cp>Grantees range from small companies like AfroSolo, which received $10,000 in GFTA funding, to major institutions like the San Francisco Opera, with its $600,000 grant. (A full list of grantees \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/GFTA-FY21-Grants-Final-1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">can be viewed here [PDF]\u003c/a>.)\u003c/p>\n\u003cp>Although the more substantial grants have been dispersed, as usual, to the largest and most entrenched organizations, these organizations are seeing slight losses in funding this year. The San Francisco Museum of Modern Art’s grant fell from $423,190 to $400,00 since 2019; the San Francisco Ballet’s from $428,890 to $400,000; and the San Francisco Opera’s from $680,000 to $600,000.\u003c/p>\n\u003cp>Conversely, many of the smaller, equity-focused community organizations are seeing an increase in 2020. Examples include the San Francisco Juneteenth Celebration, whose grant grew from $20,000 to $25,000; Project Level, up from $7,500 to $20,000; and the Transgender Film Festival, which was bumped up from $15,000 to $18,750.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And even though the total pot of money is down around $140,000 over last year, the available funds are being spread more widely, as there are seven more grantees this year. Those include the Clarion Alley Mural Project, Dancing Earth Creation, Art With Elders, the Festival of Latin American Contemporary Choreographers, Kultivate Labs, San Francisco Women Artists, and Youth Art Exchange.\u003c/p>\n\u003cp>City Administrator Naomi Kelly says these adjustments are strategic.\u003c/p>\n\u003cp>“We had a really deep dive into those organizations who tried to look at racial and ethnic equity lines in particular this year, such as the African-American community and the transgender community,” says Kelly. “We wanted to make sure that we are supporting those organizations that have been disproportionately impacted through COVID-19.”\u003c/p>\n\u003cp>At a time when so many cultural organizations have been forced to close their doors permanently or temporarily, or drastically reduce their operations owing to the coronavirus pandemic, such help from the city is a lifeline.\u003c/p>\n\u003cp>“It’s the only operating grant money that we receive,” says Suzanne Cervantes, founding executive director of \u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Precita Eyes Muralists\u003c/a>, a public art education nonprofit based in the Mission District. The company saw a slight increase in GFTA funding from $45,490 in 2019 to $46,350 this year. “So it makes a big difference,” adds Cervantes. “It helps pay for utilities and rent, as well as administrative costs like marketing and website management.”\u003c/p>\n\u003cp>GFTA funding, a portion of which comes from hotel tax revenues, has been in existence since 1961. But starting in the early 2000s, owing to financial issues, the city gradually reduced its arts budget, ultimately repealing the specific allocation altogether in 2013. In 2018, San Francisco residents \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\">approved a ballot measure, Proposition E\u003c/a>, to restore the funding. Since then, 1.5% of the base hotel tax — a 14% tax levied on hotel stays in the city — has been dedicated to supporting arts and culture programs in San Francisco.\u003c/p>\n\u003cp>But COVID-19 has left San Francisco’s hotel industry in tatters. According to \u003ca href=\"https://www.sftravel.com/article/san-francisco-travel-updating-tourism-projections-due-global-covid-19-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">figures released earlier this month by the San Francisco Travel Association\u003c/a>, which markets San Francisco nationally and globally as a tourism and convention destination, the number of visitors to the city are down more than 50% over last year, and their total spending has plummeted nearly 70%.\u003c/p>\n\u003cp>Arts and culture industry workers like Precita Eyes’ Cervantes are worried about what the shortfall might mean for funding in the coming years.\u003c/p>\n\u003cp>“After the 2008 recession, everyone got a cut and we were slowly able to get it back,” says Cervantes. “And now there’s a big question of if we’ll be going back to those harder times.”\u003c/p>\n\u003cp>But the shrinking of hotel tax dollars won’t completely decimate GFTA funding, at least in the near-to-medium-term, thanks to a safeguard written into Proposition E.\u003c/p>\n\u003cp>“In bad years for the hotel tax, as is the case now, we only drop by up to 10% over the previous year, and that would be the case even if hotel tax dollars dwindle to nothing,” says GFTA director Matthew Goudeau.\u003c/p>\n\u003cp>But Goudeau says the reverse is also true.\u003c/p>\n\u003cp>“In years when the hotel tax revenues are strong and growing, our budget can only grow by up to 10% over the previous year, even if, for example, the hotel tax were to grow by something like 25%.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goudeau also says funding for each subsequent year uses the previous fiscal year as a baseline. So if the economy continues to suffer, GFTA arts funding will likely continue to fall — even if only by up to 10% each year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Club Replacing Slim's is Named YOLO and Won't Have Live Music—Only DJs",
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"content": "\u003cp>Slim’s, the San Francisco nightclub that presented an eclectic array of live rock, blues, jazz, folk, R&B and rap artists for over 30 years, has been sold to new owners promising to book “mostly EDM, Top 40 DJs” and “no live band[s] like what Slim’s had.”\u003c/p>\n\u003cp>The new club in the former Slim’s location at 333 11th Street will be called YOLO, according to a permit application to the City of San Francisco. The application also promises a dress code, ropes or barricades for lines at the front entrance, and security staff in suits and ties. The new owners, Michael Hu and Peter Lin, have been co-owners for the past eight years of \u003ca href=\"https://www.purenightclub408.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pure Nightclub\u003c/a> in downtown Sunnyvale, a lounge concept club with VIP sections and bottle service. It looks like \u003ca href=\"https://www.purenightclub408.com/\" rel=\"noopener noreferrer\" target=\"_blank\">this\u003c/a>.\u003c/p>\n\u003cp>In other words, it’s not at all like Slim’s, whose \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">closure in March\u003c/a> marked the beginning of the pandemic and the end of a Bay Area institution. In its three-decade run, Slim’s hosted a constant stream of live bands, including intimate shows by Radiohead, Prince, Coldplay, Bruno Mars and thousands of others inside its brick walls.\u003c/p>\n\u003cp>That type of booking, which cemented Slim’s as an “iconic space, and historic space,” as entertainment commissioner Steven Lee put it in \u003ca href=\"https://sanfrancisco.granicus.com/MediaPlayer.php?view_id=99&clip_id=36319\" target=\"_blank\" rel=\"noopener noreferrer\">an Aug. 4 permit approval meeting\u003c/a>, does not extend to the club’s new format. YOLO’s booking will tag-team with Pure Nightclub, Wu announced in the permit meeting, with the same DJs playing alternating weekend nights at both clubs.\u003c/p>\n\u003cp>While Top 40 and EDM DJs \u003ca href=\"https://www.purenightclub408.com/hall-of-fame/\" target=\"_blank\" rel=\"noopener noreferrer\">are a staple\u003c/a> at Pure, the club has also held afterparties “hosted” by well-known rappers and R&B stars (past afterparties have included DaBaby, YG, Blueface and Nipsey Hussle)—not so much a full concert but an appearance, during which a small handful of songs might be performed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Central to YOLO’s permit application is the questionable assertion that “the music output from a DJ performance will be much less than a live band,” presumably referring to the greater control a club has over the volume of a DJ, versus a band’s amplifiers and drums.\u003c/p>\n\u003cp>However, as commissioner Laura Thomas pointed out in the meeting, the commission has for years received no sound complaints about Slim’s due to the installation of extensive soundproofing in the building, which YOLO aims to keep in place. The primary issue causing “a long series of complaints,” which other commissioners echoed, has been people congregating around and leaving the street’s clubs and bars loudly at late hours.\u003c/p>\n\u003cp>Wu said he had not yet spoken with any residential neighbors, and was strongly advised by the commission to do so. (Wu also added that, due to the pandemic, “I don’t see us opening anytime soon.”) YOLO is asking to retain the Extended Hours Premises permit granted to Slim’s, which would allow the club to stay open until 4am—an option the owners say they’d like to have, but would not exercise often, claiming that most events would end by 2am.\u003c/p>\n\u003cp>Not discussed during the meeting was the section in the permit application about YOLO’s dress code, which openly states that “our dress code is merely a tool to use to deny unwanted guests,” and bans sports apparel and baggy or oversized clothes. The application also provides that YOLO’s dress code could change based on “the type of events we’ll have.” \u003c/p>\n\u003cp>Just before Wu and Lin received conditional approval for their permits, a lone comment from the public was read: “Would you still have live music like Slim’s did? There aren’t enough rock venues in the city.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question went unanswered, and the meeting moved to the next item on the agenda.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Slim’s, the San Francisco nightclub that presented an eclectic array of live rock, blues, jazz, folk, R&B and rap artists for over 30 years, has been sold to new owners promising to book “mostly EDM, Top 40 DJs” and “no live band[s] like what Slim’s had.”\u003c/p>\n\u003cp>The new club in the former Slim’s location at 333 11th Street will be called YOLO, according to a permit application to the City of San Francisco. The application also promises a dress code, ropes or barricades for lines at the front entrance, and security staff in suits and ties. The new owners, Michael Hu and Peter Lin, have been co-owners for the past eight years of \u003ca href=\"https://www.purenightclub408.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pure Nightclub\u003c/a> in downtown Sunnyvale, a lounge concept club with VIP sections and bottle service. It looks like \u003ca href=\"https://www.purenightclub408.com/\" rel=\"noopener noreferrer\" target=\"_blank\">this\u003c/a>.\u003c/p>\n\u003cp>In other words, it’s not at all like Slim’s, whose \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">closure in March\u003c/a> marked the beginning of the pandemic and the end of a Bay Area institution. In its three-decade run, Slim’s hosted a constant stream of live bands, including intimate shows by Radiohead, Prince, Coldplay, Bruno Mars and thousands of others inside its brick walls.\u003c/p>\n\u003cp>That type of booking, which cemented Slim’s as an “iconic space, and historic space,” as entertainment commissioner Steven Lee put it in \u003ca href=\"https://sanfrancisco.granicus.com/MediaPlayer.php?view_id=99&clip_id=36319\" target=\"_blank\" rel=\"noopener noreferrer\">an Aug. 4 permit approval meeting\u003c/a>, does not extend to the club’s new format. YOLO’s booking will tag-team with Pure Nightclub, Wu announced in the permit meeting, with the same DJs playing alternating weekend nights at both clubs.\u003c/p>\n\u003cp>While Top 40 and EDM DJs \u003ca href=\"https://www.purenightclub408.com/hall-of-fame/\" target=\"_blank\" rel=\"noopener noreferrer\">are a staple\u003c/a> at Pure, the club has also held afterparties “hosted” by well-known rappers and R&B stars (past afterparties have included DaBaby, YG, Blueface and Nipsey Hussle)—not so much a full concert but an appearance, during which a small handful of songs might be performed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Central to YOLO’s permit application is the questionable assertion that “the music output from a DJ performance will be much less than a live band,” presumably referring to the greater control a club has over the volume of a DJ, versus a band’s amplifiers and drums.\u003c/p>\n\u003cp>However, as commissioner Laura Thomas pointed out in the meeting, the commission has for years received no sound complaints about Slim’s due to the installation of extensive soundproofing in the building, which YOLO aims to keep in place. The primary issue causing “a long series of complaints,” which other commissioners echoed, has been people congregating around and leaving the street’s clubs and bars loudly at late hours.\u003c/p>\n\u003cp>Wu said he had not yet spoken with any residential neighbors, and was strongly advised by the commission to do so. (Wu also added that, due to the pandemic, “I don’t see us opening anytime soon.”) YOLO is asking to retain the Extended Hours Premises permit granted to Slim’s, which would allow the club to stay open until 4am—an option the owners say they’d like to have, but would not exercise often, claiming that most events would end by 2am.\u003c/p>\n\u003cp>Not discussed during the meeting was the section in the permit application about YOLO’s dress code, which openly states that “our dress code is merely a tool to use to deny unwanted guests,” and bans sports apparel and baggy or oversized clothes. The application also provides that YOLO’s dress code could change based on “the type of events we’ll have.” \u003c/p>\n\u003cp>Just before Wu and Lin received conditional approval for their permits, a lone comment from the public was read: “Would you still have live music like Slim’s did? There aren’t enough rock venues in the city.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question went unanswered, and the meeting moved to the next item on the agenda.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From West Africa to the West Coast: One SF Griot's Dance of Resistance",
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"content": "\u003cp>“I’m doing a flip off the boat,” said \u003ca href=\"https://www.instagram.com/jarrelmp/\" target=\"_blank\" rel=\"noopener noreferrer\">Jarrel Phillips\u003c/a>, breaking down last year’s performance at \u003cem>\u003ca href=\"https://remembering1619.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Remembering 1619\u003c/a>\u003c/em>, a play directed by Joanna Haigood of Zaccho Dance Theatre, which acknowledges the first shipment of enslaved Africans reaching Virginia 400 years ago.\u003c/p>\n\u003cp>“I’m one of the ones that decides, ‘I’m not having this, yo, I’m out,'” says Jarrel, summarizing his character in the play.\u003c/p>\n\u003cp>His onstage persona is much like Jarrel in real life: acrobatic, resilient and close to his roots. From the stage, Jarrel tells the story of Africans surviving in the Western hemisphere. In real life, Jarrel is part the story of how African Americans have survived on the West Coast of the United States.\u003c/p>\n\u003cp>His grandfather once ran a life insurance business in the heart of the Fillmore, on Fulton Street and Octavia Street; Jarrel and his family still use “the office,” as they call it, to this day.\u003c/p>\n\u003cfigure id=\"attachment_13883453\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Image-from-iOS-12-copy-800x1200.jpg\" alt=\"San Francisco's Jarrel Phillips, dancer, martial arts performer and photographer. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s Jarrel Phillips, dancer, martial arts performer and photographer. \u003ccite>(Jarrel Phillips)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between that office, a few different studios and community centers around the city, Jarrel finds places to practice his work. He’s a multitalented artist who has held \u003ca href=\"https://www.kqed.org/arts/13861969/the-importance-of-recreation-in-jarrel-phillips-how-we-play-exhibition\">photography exhibitions\u003c/a> at the San Francisco Public Library.\u003c/p>\n\u003cp>But our discussion focused on martial arts and modern dance and how he uses capoeira-based dance to tell the story of resilience in the African diaspora, while simultaneously living the latest chapter in the story.\u003c/p>\n\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=KQINC9031314306&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A shorter version of this episode was first broadcast on August 28, 2019. Below is a lightly edited excerpt of my more recent conversation with Jarrel.\u003c/strong>\u003c/p>\n\u003cp>Jarrel: When Covid hit, I just decided I was going to sit down and sit still. Like, we’re always in this rush. And like Capoeira is always going to be there for me, I love capoeira, that’s not going anywhere. So one of my goals was to do a class for Black people. And I’ve been doing it only with my brother and his lady so far, because I want to set the tone, so when people come in there’s a family vibe. I have this idea of how do you respect someone else’s home if you don’t already respect your own? Right and you could tie that to local Black history, since you’re dealing with an art form that has to do with the African diaspora, Black diaspora, but maybe out in Brazil, which is Americas still, but also, to know your own, like exploring your own heritage a little bit.\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I’m doing a flip off the boat,” said \u003ca href=\"https://www.instagram.com/jarrelmp/\" target=\"_blank\" rel=\"noopener noreferrer\">Jarrel Phillips\u003c/a>, breaking down last year’s performance at \u003cem>\u003ca href=\"https://remembering1619.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Remembering 1619\u003c/a>\u003c/em>, a play directed by Joanna Haigood of Zaccho Dance Theatre, which acknowledges the first shipment of enslaved Africans reaching Virginia 400 years ago.\u003c/p>\n\u003cp>“I’m one of the ones that decides, ‘I’m not having this, yo, I’m out,'” says Jarrel, summarizing his character in the play.\u003c/p>\n\u003cp>His onstage persona is much like Jarrel in real life: acrobatic, resilient and close to his roots. From the stage, Jarrel tells the story of Africans surviving in the Western hemisphere. In real life, Jarrel is part the story of how African Americans have survived on the West Coast of the United States.\u003c/p>\n\u003cp>His grandfather once ran a life insurance business in the heart of the Fillmore, on Fulton Street and Octavia Street; Jarrel and his family still use “the office,” as they call it, to this day.\u003c/p>\n\u003cfigure id=\"attachment_13883453\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Image-from-iOS-12-copy-800x1200.jpg\" alt=\"San Francisco's Jarrel Phillips, dancer, martial arts performer and photographer. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s Jarrel Phillips, dancer, martial arts performer and photographer. \u003ccite>(Jarrel Phillips)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between that office, a few different studios and community centers around the city, Jarrel finds places to practice his work. He’s a multitalented artist who has held \u003ca href=\"https://www.kqed.org/arts/13861969/the-importance-of-recreation-in-jarrel-phillips-how-we-play-exhibition\">photography exhibitions\u003c/a> at the San Francisco Public Library.\u003c/p>\n\u003cp>But our discussion focused on martial arts and modern dance and how he uses capoeira-based dance to tell the story of resilience in the African diaspora, while simultaneously living the latest chapter in the story.\u003c/p>\n\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=KQINC9031314306&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A shorter version of this episode was first broadcast on August 28, 2019. Below is a lightly edited excerpt of my more recent conversation with Jarrel.\u003c/strong>\u003c/p>\n\u003cp>Jarrel: When Covid hit, I just decided I was going to sit down and sit still. Like, we’re always in this rush. And like Capoeira is always going to be there for me, I love capoeira, that’s not going anywhere. So one of my goals was to do a class for Black people. And I’ve been doing it only with my brother and his lady so far, because I want to set the tone, so when people come in there’s a family vibe. I have this idea of how do you respect someone else’s home if you don’t already respect your own? Right and you could tie that to local Black history, since you’re dealing with an art form that has to do with the African diaspora, Black diaspora, but maybe out in Brazil, which is Americas still, but also, to know your own, like exploring your own heritage a little bit.\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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"content": "\u003cp>When Sophie Appel and Cole Solinger opened San Francisco’s \u003ca href=\"https://www.instagram.com/delaplanesf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Delaplane\u003c/a> gallery at 483 14th Street, they were unaware the narrow storefront was already a landmark of local art history. Theirs was a new enterprise, exhibiting young and emerging artists, many of them alums of the San Francisco Art Institute. But in the weeks and months that followed their October 2019 inaugural show, Appel and Solinger heard more and more stories from those who’d frequented the same spot in the early ’90s. They learned that Delaplane shared the address, a quarter-century removed, with a space called Kiki Gallery.\u003c/p>\n\u003cp>Despite a short existence, or perhaps because of it, Kiki is the stuff of legend. Founded in 1993 by artist and activist Rick Jacobsen, the gallery was only open for 18 months. During that time, Kiki hosted over 150 artists and performers, among them future international names and beloved Bay Area artists: Lutz Bacher, Nao Bustamante, Jerome Caja, Frances Stark, Chris Johanson, Nayland Blake, Catherine Opie, Rex Ray and \u003ca href=\"https://www.kqed.org/arts/13859939/remembering-kevin-killian-poet-playwright-and-artist-who-gave-us-courage\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Killian\u003c/a>. Arts writer Glen Helfand \u003ca href=\"https://static1.squarespace.com/static/573520facf80a15b05a67492/t/573c1a2ac6fc087da45a5ed2/1463556651523/Helfand+Art+AIDS+America+1st+text.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">remembers the space\u003c/a> as “somewhere between commercial gallery and clubhouse,” a reflection of “Jacobson’s wit, showmanship, and endearing cynicism.”\u003c/p>\n\u003cfigure id=\"attachment_13883067\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg\" alt=\"\" width=\"640\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640-160x232.jpg 160w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Delaplane, Colter Jacobson’s flag residency (left) and Lukaza Branfman-Verissimo, ‘Untitled.’ \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gallery came from Jacobsen’s desire to gather an arts community on his own, rather on behalf of an organization. Faced with his own AIDS diagnosis, he quit his job at a nonprofit and put all his money into the project. “If I couldn’t do anything firsthand about AIDS, I could be at least a motivating force in art—perhaps the next best thing,” he said in a \u003ca href=\"https://www.stretcher.org/features/kiki_exhibitions_bits/\" target=\"_blank\" rel=\"noopener noreferrer\">1994 interview\u003c/a>.\u003c/p>\n\u003cp>The city at the time was devastated by both the epidemic and an economic downturn, but Jacobsen created something vibrant, irreverent and (paradoxically) lasting. The titles of his shows speak volumes: the scatological \u003ci>Caca @ Kiki\u003c/i>; the gallows humor of \u003ci>Sick Joke: Bitterness, Sarcasm, and Irony in the Second AIDS Decade\u003c/i>; and the self-referential artiness of \u003ci>Piece: Nine Artists Consider Yoko Ono\u003c/i>, the gallery’s final exhibition in February 1995. Jacobsen died of AIDS-related lymphoma in 1997.\u003c/p>\n\u003cp>Decades later, in a very different San Francisco, the punny, carefully assembled \u003ci>Peace: Nine Artists Consider Kiki Gallery\u003c/i> honors the site-specific history of 483 14th Street, gathering artists with a direct relationship to Kiki alongside a younger generation now considering its legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show begins outside, where Lukaza Branfman-Verissimo’s window installation speaks directly to Kiki: “27 years / both born in 1993 / celebrating you / who / knew we would / be here in this / way / making a sa / fe space / for the bay / qu / eers.” With this overarching sentiment, \u003ci>Peace\u003c/i> becomes a passing of torches—not just from one group of artists to another, but back and forth, between members of a multigenerational community.\u003c/p>\n\u003cp>For those without firsthand experience of Kiki’s heyday, a booklet put together by Wayne Smith includes ephemera and pictures of individual artworks, installations and performances. (Smith encourages viewers to visit the James C. Hormel LGBTQIA Center at the San Francisco Public Library for more of the gallery’s \u003ca href=\"https://sfpl.bibliocommons.com/item/show/2108471093\" target=\"_blank\" rel=\"noopener noreferrer\">ephemera\u003c/a>.) Additional archival material comes in Delaplane’s back room, where a vitrine displays the spread-out contents of \u003ci>Kikibox\u003c/i>, a 1994 kit of editioned objects by gallery-affiliated artists.\u003c/p>\n\u003cfigure id=\"attachment_13883063\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Kikibox.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kikibox,’ 1994. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is not the first time an exhibition has been organized in memory of Kiki Gallery—Ratio 3 hosted \u003ci>\u003ca href=\"https://www.ratio3.org/exhibitions/kiki-the-proof-is-in-the-pudding/installation\" target=\"_blank\" rel=\"noopener noreferrer\">The Proof is in the Pudding\u003c/a>\u003c/i>, curated by Colter Jacobsen and Kevin Killian, in 2008. But it is the first time the honoring has happened on-site, and the shape of the space lends \u003ci>Peace\u003c/i> a special resonance.\u003c/p>\n\u003cp>The younger artists in the show respond as much to Kiki as they do the similar conditions of both galleries’ temporal surroundings: a pandemic, widespread unemployment, experiences of injustice, isolation and despair. In Kennedy Morgan’s very vertical panting (an homage to a Jim Winters screen print) \u003ci>After the Parakeet Attack\u003c/i>, a scratched and bleeding green hand draws back a curtain to reveal what looks to be a solid, impassable surface.\u003c/p>\n\u003cp>rel robinson (who has written for KQED Arts) contributes a textile piece dotted with some of the most indelible images of the last four months: the \u003ca href=\"https://www.nytimes.com/2020/03/14/technology/coronavirus-purell-wipes-amazon-sellers.html\" target=\"_blank\" rel=\"noopener noreferrer\">sanitizer stockpile\u003c/a>; the \u003ca href=\"https://www.dispatch.com/news/20200413/gop-lawmakers-protesters-call-on-dewine-to-begin-re-opening-ohio\" target=\"_blank\" rel=\"noopener noreferrer\">Ohio zombies\u003c/a>; \u003ca href=\"https://www.instagram.com/p/B9w3JvYjQ5S/\" target=\"_blank\" rel=\"noopener noreferrer\">penguins\u003c/a> freed from their aquarium bounds. The application of digital images onto tangible, domestic materials conjures a vision of a feed scrolled while propped up in bed—a new world experienced through one’s screen.\u003c/p>\n\u003cfigure id=\"attachment_13883062\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_install_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Peace’: Kennedy Morgan, ‘After the Parakeet Attack (left); Ocean Escalanti, ‘Hole in the Wall,’ 2020 (right); D-L Alvarez, ‘Scar,’ 2020 (above). \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite plenty of reasons for despair, some of the artists in \u003ci>Peace\u003c/i> do find—well, \u003ci>peace\u003c/i>. In Ocean Escalanti’s small acrylic painting \u003ci>Hole in the Wall\u003c/i>, lush greenery and peeping eyes surround a vignette of two heads close together, a perfect depiction of the safe space described by Branfman-Verissimo’s installation. And back outside, Delaplane’s “flag residency” hoists a charming banner by Colter Jacobsen that resembles a giant, almost empty roll of polka-dotted toilet paper. (\u003ci>Caca @ Kiki\u003c/i>, indeed.)\u003c/p>\n\u003cp>Representing the original members of the Kiki scene, D-L Alvarez, Cliff Hengst, Scott Hewicker and Jennifer Locke present works that reference both then and now. Alvarez’s delicate graphite-on-paper works, collectively titled \u003ci>Peanut\u003c/i>, carry weight without explaining themselves, personal scraps of memory and influence that sit comfortably above Smith’s booklet, itself a Kiki scrapbook.\u003c/p>\n\u003cp>Next on the wall, Hengst’s untitled painting, reading “IT IS HER,” references a voicemail Yoko Ono herself left at the gallery, on the occasion of Kiki’s final show. The slight pink tinge at the upper right corner of the canvas is a nice echo of Alvarez’s other contribution to \u003ci>Peace\u003c/i>, a dotted line of plaster and pigment that traces the shape of Kiki’s former loft at the back of the main gallery.\u003c/p>\n\u003cfigure id=\"attachment_13883166\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Locke_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13883166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Jennifer Locke, ‘Séance for R.J. (Candle, Rubber, Levitation, Blood),’ 2020. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a narrow hallway between the front and back spaces, a video by Locke fits snugly into an odd little corner, playing a short loop of repeated rituals—a seance for Jacobsen, but also an evocation of life under shelter in place. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Locke_1200.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">A scene\u003c/a> of a condom rolled over a dildo is nicely matched by Hewicker’s sex toy still life.)\u003c/p>\n\u003cp>The exhibition’s parting elements come from Sahar Khoury, in a stacked floor sculpture of boxes and a mixed media textile piece made out of an SFMOMA tote bag. “I like everything about you but you,” the modified canvas bag reads, a fitting comment on the museum’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" target=\"_blank\" rel=\"noopener noreferrer\">recent inability\u003c/a> to take a stance on racial justice.\u003c/p>\n\u003cp>There’s nothing monumental in \u003ci>Peace\u003c/i>. Most of the work is small-scale, provisional, made with materials that don’t fit many definitions of “high art.” And yet in these artworks, the principles for which Kiki stood, the ideas that compelled Jacobsen to open its doors in the first place, persist. \u003ci>Peace\u003c/i> underscores the importance of making art in difficult times—as a way of documenting, but also transcending. 483 14th Street is once again a space for the exchange of artistic ideas; in this case, a conversation that spans at least one participant’s entire lifetime. And until we can gather for events that might live up to Kiki’s legendary status, those exchanges will happen one viewer at a time, in half-hour increments.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Peace: Nine Artists Consider Kiki Gallery’ is on view though July 25 at Delaplane (483 14th Street, San Francisco). Open by appointment, \u003ca href=\"https://calendly.com/delaplane\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Sophie Appel and Cole Solinger opened San Francisco’s \u003ca href=\"https://www.instagram.com/delaplanesf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Delaplane\u003c/a> gallery at 483 14th Street, they were unaware the narrow storefront was already a landmark of local art history. Theirs was a new enterprise, exhibiting young and emerging artists, many of them alums of the San Francisco Art Institute. But in the weeks and months that followed their October 2019 inaugural show, Appel and Solinger heard more and more stories from those who’d frequented the same spot in the early ’90s. They learned that Delaplane shared the address, a quarter-century removed, with a space called Kiki Gallery.\u003c/p>\n\u003cp>Despite a short existence, or perhaps because of it, Kiki is the stuff of legend. Founded in 1993 by artist and activist Rick Jacobsen, the gallery was only open for 18 months. During that time, Kiki hosted over 150 artists and performers, among them future international names and beloved Bay Area artists: Lutz Bacher, Nao Bustamante, Jerome Caja, Frances Stark, Chris Johanson, Nayland Blake, Catherine Opie, Rex Ray and \u003ca href=\"https://www.kqed.org/arts/13859939/remembering-kevin-killian-poet-playwright-and-artist-who-gave-us-courage\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Killian\u003c/a>. Arts writer Glen Helfand \u003ca href=\"https://static1.squarespace.com/static/573520facf80a15b05a67492/t/573c1a2ac6fc087da45a5ed2/1463556651523/Helfand+Art+AIDS+America+1st+text.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">remembers the space\u003c/a> as “somewhere between commercial gallery and clubhouse,” a reflection of “Jacobson’s wit, showmanship, and endearing cynicism.”\u003c/p>\n\u003cfigure id=\"attachment_13883067\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg\" alt=\"\" width=\"640\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Lukaza_Colter_640-160x232.jpg 160w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Delaplane, Colter Jacobson’s flag residency (left) and Lukaza Branfman-Verissimo, ‘Untitled.’ \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gallery came from Jacobsen’s desire to gather an arts community on his own, rather on behalf of an organization. Faced with his own AIDS diagnosis, he quit his job at a nonprofit and put all his money into the project. “If I couldn’t do anything firsthand about AIDS, I could be at least a motivating force in art—perhaps the next best thing,” he said in a \u003ca href=\"https://www.stretcher.org/features/kiki_exhibitions_bits/\" target=\"_blank\" rel=\"noopener noreferrer\">1994 interview\u003c/a>.\u003c/p>\n\u003cp>The city at the time was devastated by both the epidemic and an economic downturn, but Jacobsen created something vibrant, irreverent and (paradoxically) lasting. The titles of his shows speak volumes: the scatological \u003ci>Caca @ Kiki\u003c/i>; the gallows humor of \u003ci>Sick Joke: Bitterness, Sarcasm, and Irony in the Second AIDS Decade\u003c/i>; and the self-referential artiness of \u003ci>Piece: Nine Artists Consider Yoko Ono\u003c/i>, the gallery’s final exhibition in February 1995. Jacobsen died of AIDS-related lymphoma in 1997.\u003c/p>\n\u003cp>Decades later, in a very different San Francisco, the punny, carefully assembled \u003ci>Peace: Nine Artists Consider Kiki Gallery\u003c/i> honors the site-specific history of 483 14th Street, gathering artists with a direct relationship to Kiki alongside a younger generation now considering its legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show begins outside, where Lukaza Branfman-Verissimo’s window installation speaks directly to Kiki: “27 years / both born in 1993 / celebrating you / who / knew we would / be here in this / way / making a sa / fe space / for the bay / qu / eers.” With this overarching sentiment, \u003ci>Peace\u003c/i> becomes a passing of torches—not just from one group of artists to another, but back and forth, between members of a multigenerational community.\u003c/p>\n\u003cp>For those without firsthand experience of Kiki’s heyday, a booklet put together by Wayne Smith includes ephemera and pictures of individual artworks, installations and performances. (Smith encourages viewers to visit the James C. Hormel LGBTQIA Center at the San Francisco Public Library for more of the gallery’s \u003ca href=\"https://sfpl.bibliocommons.com/item/show/2108471093\" target=\"_blank\" rel=\"noopener noreferrer\">ephemera\u003c/a>.) Additional archival material comes in Delaplane’s back room, where a vitrine displays the spread-out contents of \u003ci>Kikibox\u003c/i>, a 1994 kit of editioned objects by gallery-affiliated artists.\u003c/p>\n\u003cfigure id=\"attachment_13883063\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Kikibox.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_Kikibox-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kikibox,’ 1994. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is not the first time an exhibition has been organized in memory of Kiki Gallery—Ratio 3 hosted \u003ci>\u003ca href=\"https://www.ratio3.org/exhibitions/kiki-the-proof-is-in-the-pudding/installation\" target=\"_blank\" rel=\"noopener noreferrer\">The Proof is in the Pudding\u003c/a>\u003c/i>, curated by Colter Jacobsen and Kevin Killian, in 2008. But it is the first time the honoring has happened on-site, and the shape of the space lends \u003ci>Peace\u003c/i> a special resonance.\u003c/p>\n\u003cp>The younger artists in the show respond as much to Kiki as they do the similar conditions of both galleries’ temporal surroundings: a pandemic, widespread unemployment, experiences of injustice, isolation and despair. In Kennedy Morgan’s very vertical panting (an homage to a Jim Winters screen print) \u003ci>After the Parakeet Attack\u003c/i>, a scratched and bleeding green hand draws back a curtain to reveal what looks to be a solid, impassable surface.\u003c/p>\n\u003cp>rel robinson (who has written for KQED Arts) contributes a textile piece dotted with some of the most indelible images of the last four months: the \u003ca href=\"https://www.nytimes.com/2020/03/14/technology/coronavirus-purell-wipes-amazon-sellers.html\" target=\"_blank\" rel=\"noopener noreferrer\">sanitizer stockpile\u003c/a>; the \u003ca href=\"https://www.dispatch.com/news/20200413/gop-lawmakers-protesters-call-on-dewine-to-begin-re-opening-ohio\" target=\"_blank\" rel=\"noopener noreferrer\">Ohio zombies\u003c/a>; \u003ca href=\"https://www.instagram.com/p/B9w3JvYjQ5S/\" target=\"_blank\" rel=\"noopener noreferrer\">penguins\u003c/a> freed from their aquarium bounds. The application of digital images onto tangible, domestic materials conjures a vision of a feed scrolled while propped up in bed—a new world experienced through one’s screen.\u003c/p>\n\u003cfigure id=\"attachment_13883062\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_install_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Peace_install_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Peace’: Kennedy Morgan, ‘After the Parakeet Attack (left); Ocean Escalanti, ‘Hole in the Wall,’ 2020 (right); D-L Alvarez, ‘Scar,’ 2020 (above). \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite plenty of reasons for despair, some of the artists in \u003ci>Peace\u003c/i> do find—well, \u003ci>peace\u003c/i>. In Ocean Escalanti’s small acrylic painting \u003ci>Hole in the Wall\u003c/i>, lush greenery and peeping eyes surround a vignette of two heads close together, a perfect depiction of the safe space described by Branfman-Verissimo’s installation. And back outside, Delaplane’s “flag residency” hoists a charming banner by Colter Jacobsen that resembles a giant, almost empty roll of polka-dotted toilet paper. (\u003ci>Caca @ Kiki\u003c/i>, indeed.)\u003c/p>\n\u003cp>Representing the original members of the Kiki scene, D-L Alvarez, Cliff Hengst, Scott Hewicker and Jennifer Locke present works that reference both then and now. Alvarez’s delicate graphite-on-paper works, collectively titled \u003ci>Peanut\u003c/i>, carry weight without explaining themselves, personal scraps of memory and influence that sit comfortably above Smith’s booklet, itself a Kiki scrapbook.\u003c/p>\n\u003cp>Next on the wall, Hengst’s untitled painting, reading “IT IS HER,” references a voicemail Yoko Ono herself left at the gallery, on the occasion of Kiki’s final show. The slight pink tinge at the upper right corner of the canvas is a nice echo of Alvarez’s other contribution to \u003ci>Peace\u003c/i>, a dotted line of plaster and pigment that traces the shape of Kiki’s former loft at the back of the main gallery.\u003c/p>\n\u003cfigure id=\"attachment_13883166\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Locke_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13883166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Locke_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Jennifer Locke, ‘Séance for R.J. (Candle, Rubber, Levitation, Blood),’ 2020. \u003ccite>(Delaplane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a narrow hallway between the front and back spaces, a video by Locke fits snugly into an odd little corner, playing a short loop of repeated rituals—a seance for Jacobsen, but also an evocation of life under shelter in place. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Peace_Locke_1200.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">A scene\u003c/a> of a condom rolled over a dildo is nicely matched by Hewicker’s sex toy still life.)\u003c/p>\n\u003cp>The exhibition’s parting elements come from Sahar Khoury, in a stacked floor sculpture of boxes and a mixed media textile piece made out of an SFMOMA tote bag. “I like everything about you but you,” the modified canvas bag reads, a fitting comment on the museum’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" target=\"_blank\" rel=\"noopener noreferrer\">recent inability\u003c/a> to take a stance on racial justice.\u003c/p>\n\u003cp>There’s nothing monumental in \u003ci>Peace\u003c/i>. Most of the work is small-scale, provisional, made with materials that don’t fit many definitions of “high art.” And yet in these artworks, the principles for which Kiki stood, the ideas that compelled Jacobsen to open its doors in the first place, persist. \u003ci>Peace\u003c/i> underscores the importance of making art in difficult times—as a way of documenting, but also transcending. 483 14th Street is once again a space for the exchange of artistic ideas; in this case, a conversation that spans at least one participant’s entire lifetime. And until we can gather for events that might live up to Kiki’s legendary status, those exchanges will happen one viewer at a time, in half-hour increments.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Peace: Nine Artists Consider Kiki Gallery’ is on view though July 25 at Delaplane (483 14th Street, San Francisco). Open by appointment, \u003ca href=\"https://calendly.com/delaplane\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mural Painting in SF’s Chinatown in Solidarity with Black Lives Matter",
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"content": "\u003cp>In solidarity with the Black Lives Matter movement, San Francisco’s \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a> has organized a day of painting in Portsmouth Square.\u003c/p>\n\u003cp>On Saturday, June 20, 11am–2pm, artists and volunteers, led by artist Vida Kuang, will paint messages in support of racial justice in the historic gathering place, continuing the square’s legacy as a site of actions, protests and resistance to white supremacy.\u003c/p>\n\u003cp>Members of the public are invited to join in the project, which will render messages in both English and Chinese. The CCC will provide painting supplies, gloves, hand-sanitizer and instructions. Volunteers are asked to bring “mess-friendly clothing” and open minds.\u003c/p>\n\u003cp>The event is timed to coincide with \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth\u003c/a> celebrations honoring Black freedom and resistance.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/1661384060682427/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In solidarity with the Black Lives Matter movement, San Francisco’s \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a> has organized a day of painting in Portsmouth Square.\u003c/p>\n\u003cp>On Saturday, June 20, 11am–2pm, artists and volunteers, led by artist Vida Kuang, will paint messages in support of racial justice in the historic gathering place, continuing the square’s legacy as a site of actions, protests and resistance to white supremacy.\u003c/p>\n\u003cp>Members of the public are invited to join in the project, which will render messages in both English and Chinese. The CCC will provide painting supplies, gloves, hand-sanitizer and instructions. Volunteers are asked to bring “mess-friendly clothing” and open minds.\u003c/p>\n\u003cp>The event is timed to coincide with \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth\u003c/a> celebrations honoring Black freedom and resistance.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/1661384060682427/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Haunted House on Lombard Street That Left a Trail of Tragedy",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>at Montandon’s ordeal began at her own party. It was 1968 and the socialite had invited the glitterati of San Francisco to her home at 1000 Lombard Street. The theme was astrology; guests were paired up according to zodiac sign and offered psychic readings from a palmist, a crystal-ball gazer, an astrologer and a tarot reader. At the end of the night, buoyed by compliments from her guests, Montandon felt certain that the party had been a “brilliant success.” Two years later, she recognized it as the start of an unyielding nightmare.\u003c/p>\n\u003cp>Montandon, then 39, was a columnist for the \u003cem>Examiner\u003c/em>, a popular host on the local TV station KGO and the author of a book inspired by her legendary soirée-throwing skills, \u003ca href=\"https://www.goodreads.com/book/show/1638162.How_To_Be_A_Party_Girl\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>How To Be A Party Girl\u003c/em>\u003c/a>. She was vivacious, beautiful and her life was positively enviable … until all of a sudden, it wasn’t.\u003c/p>\n\u003cp>The night of the astrology party, the tarot reader flew into a rage after Montandon forgot to bring him a drink. In \u003ca href=\"https://www.goodreads.com/book/show/1075886.The_Intruders\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Intruders\u003c/em>\u003c/a>, her incredible 1975 book about the events that followed, she wrote:\u003c/p>\n\u003cblockquote>\u003cp>Quivering with rage, he directed a stream of abuse at me: He had never been treated so rudely, I was an insufferable, ungracious hostess, he was leaving, but not before he made certain I would never have any happy moments in that house again. He fixed me with a glare, his face puffed and distorted. ‘I lay a curse upon you and this house. I do not forget, and I do not forgive. Remember that!’\u003c/p>\u003c/blockquote>\n\u003cp>Within weeks, Montandon’s life was falling apart. At home, she was subjected to paranormal events so relentless, they quickly transformed her from a skeptic into a believer. She was plagued by locked doors and windows opening themselves, and freezing temperatures that persisted despite a thermostat turned up to 90 degrees. She was routinely awoken at two in the morning, and she heard strange footsteps and music—specifically a song called “\u003ca href=\"https://www.youtube.com/watch?v=g0OSRuaKKig\" target=\"_blank\" rel=\"noopener noreferrer\">Mockin’ Bird Hill\u003c/a>,” on repeat. [aside postid='arts_13892672']\u003c/p>\n\u003cp>Her home was broken into and ransacked. Her car was destroyed. When she tried to throw another party, a mysterious fire broke out. She was physically assaulted by a date who had to be forcibly removed from the house by police. She was threatened by her new neighbors, a gang of drug dealers. She was forced to give up her beloved Lhasa Apso who developed sores and became so fearful inside the house that he started pulling his own fur out. (The dog returned to full health as soon as he was re-homed.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While in the house, Montandon suffered bouts of dizziness, headaches and disorientation. One night, these symptoms became so severe, she almost overdosed on medication. Worst of all, within three years of the tarot reader’s curse, three of the women closest to her—all young and healthy, all of whom had resided in the house for short stints after the astrology party—were dead.\u003c/p>\n\u003cp>Two of them, Montandon’s cousin Carolyn and a young assistant named Vera Scott (both of whom had been terrified by the house while living there) died by suicide. The third woman, Montandon’s best friend and secretary Mary Lou Ward, died in the home under circumstances so mysterious, a cause of death has never been determined.\u003c/p>\n\u003cp>Here’s what happened. In May 1969, Montandon abandoned the house to live with her new husband, Alfred Wilsey, who moved the date of their wedding up in an effort to loose her from the building’s clutches even faster. Montandon was unable to get out of her lease, and the Lombard Street house sat empty for weeks until Ward asked if she might stay there—she was looking to give her own newlywed daughter and son-in-law some space to themselves in her home. Montandon agreed, but recalls saying: “You’re sure you’re not afraid? I wouldn’t go back on a bet.”\u003c/p>\n\u003cp>One week later, after flames were spotted by a neighbor, Ward was found face down on the bed in Montandon’s bedroom, severely burned. All of the windows and doors to the room were locked. At the inquest, it was determined that the 47-year-old had died before the fire started, but no one could figure out how or why.\u003c/p>\n\u003cp>Coroner Dr. Henry W. Turkel stated:\u003c/p>\n\u003cblockquote>\u003cp>I should explain to you … that we have examined Mary Louise Ward as carefully as we know how and at great length, and we cannot establish any reason for her death. We don’t know why she died.\u003c/p>\u003c/blockquote>\n\u003cp>George Lucas, an inspector from the SFFD who also worked on the case, was equally confounded about the fire’s origin, especially since it broke out \u003cem>after\u003c/em> Ward died and she was home alone. He later wrote to Montandon:\u003c/p>\n\u003cblockquote>\u003cp>I personally went back to that apartment on my own several times to try to solve the mystery there. In my 22 years as a member of the fire department, I have had lots of experiences of death by fire. There was something about this one that just wasn’t right.\u003c/p>\u003c/blockquote>\n\u003cp>Tortured by the fact that the investigation into Ward’s death created more questions than answers, Montandon went about doing her own detective work. Before her death, Ward had told Montandon she didn’t think the tarot reader’s curse was entirely to blame for the run of strange activity that followed. “I think it was already there,” she told Montandon. “Maybe his influence just called it out.”\u003c/p>\n\u003cp>Montandon’s investigation seemed to back up Ward’s theory. She discovered that former tenants of 1000 Lombard Street had uncommonly high rates of both divorce and alcohol dependency. One complained of developing a puzzling illness while living there that she never entirely got rid of, even years after leaving. [aside postid='pop_103040']\u003c/p>\n\u003cp>In addition, at least one woman had died by suicide in the house. Neighbors who knew the deceased later told Montandon that, before the former resident took her life, she listened to music at all hours of the day and night—specifically the song “Mockin’ Bird Hill.” Before her suicide, Montandon’s cousin Carolyn confessed she continued to hear the song even after she moved away from Lombard Street.\u003c/p>\n\u003cp>After Montandon’s ex-landlord sold the building in 1973, he told the writer: “That building surely was a voodoo for me. It had a hex on it. I had more trouble there than I’ve ever had in my life. It was hard to unload.” And in a later letter, he wrote, “I was glad when I finally sold it in 1973.” He got $150,000 for the property.\u003c/p>\n\u003cp>In 2019, 1000 Lombard Street sold for the first time since. And though initially listed for $7,850,000, it ended up selling for \u003ca href=\"https://www.realtor.com/realestateandhomes-detail/1000-Lombard-St_San-Francisco_CA_94109_M10037-31155\" target=\"_blank\" rel=\"noopener noreferrer\">$5,100,000\u003c/a>. Which, for a 12-room, 3-story home with breathtaking views of the Bay and a prime position at the bottom of the Lombard Street wiggle, seems fairly cheap by San Francisco standards. (There are currently 5-bedroom homes in the neighborhood on the market \u003ca href=\"https://www.redfin.com/neighborhood/2352/CA/San-Francisco/Russian-Hill/filter/viewport=37.80419:37.79803:-122.41312:-122.42467?\" target=\"_blank\" rel=\"noopener noreferrer\">for more\u003c/a>.)\u003c/p>\n\u003cp>Pat Montandon sent two psychics to investigate 1000 Lombard Street in 1973. They emerged with strange photographs that seemed to change over time, and an ominous analysis of the spiritual state of the home. Though efforts were made to shield Montandon from the things she had experienced there, the paranormal experts were unable to clear the house of the unusual activity that plagued it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One of the investigators, Frank R. Nocerino, wrote a summary for Montandon afterwards. “You are and will be protected from anything in the house by an exorcism that my group and I have done from a distance, and from symbols left behind in the house itself,” he told her. “I can only again suggest that you do not go there if at all possible. In particular, never go alone.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>at Montandon’s ordeal began at her own party. It was 1968 and the socialite had invited the glitterati of San Francisco to her home at 1000 Lombard Street. The theme was astrology; guests were paired up according to zodiac sign and offered psychic readings from a palmist, a crystal-ball gazer, an astrologer and a tarot reader. At the end of the night, buoyed by compliments from her guests, Montandon felt certain that the party had been a “brilliant success.” Two years later, she recognized it as the start of an unyielding nightmare.\u003c/p>\n\u003cp>Montandon, then 39, was a columnist for the \u003cem>Examiner\u003c/em>, a popular host on the local TV station KGO and the author of a book inspired by her legendary soirée-throwing skills, \u003ca href=\"https://www.goodreads.com/book/show/1638162.How_To_Be_A_Party_Girl\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>How To Be A Party Girl\u003c/em>\u003c/a>. She was vivacious, beautiful and her life was positively enviable … until all of a sudden, it wasn’t.\u003c/p>\n\u003cp>The night of the astrology party, the tarot reader flew into a rage after Montandon forgot to bring him a drink. In \u003ca href=\"https://www.goodreads.com/book/show/1075886.The_Intruders\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Intruders\u003c/em>\u003c/a>, her incredible 1975 book about the events that followed, she wrote:\u003c/p>\n\u003cblockquote>\u003cp>Quivering with rage, he directed a stream of abuse at me: He had never been treated so rudely, I was an insufferable, ungracious hostess, he was leaving, but not before he made certain I would never have any happy moments in that house again. He fixed me with a glare, his face puffed and distorted. ‘I lay a curse upon you and this house. I do not forget, and I do not forgive. Remember that!’\u003c/p>\u003c/blockquote>\n\u003cp>Within weeks, Montandon’s life was falling apart. At home, she was subjected to paranormal events so relentless, they quickly transformed her from a skeptic into a believer. She was plagued by locked doors and windows opening themselves, and freezing temperatures that persisted despite a thermostat turned up to 90 degrees. She was routinely awoken at two in the morning, and she heard strange footsteps and music—specifically a song called “\u003ca href=\"https://www.youtube.com/watch?v=g0OSRuaKKig\" target=\"_blank\" rel=\"noopener noreferrer\">Mockin’ Bird Hill\u003c/a>,” on repeat. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her home was broken into and ransacked. Her car was destroyed. When she tried to throw another party, a mysterious fire broke out. She was physically assaulted by a date who had to be forcibly removed from the house by police. She was threatened by her new neighbors, a gang of drug dealers. She was forced to give up her beloved Lhasa Apso who developed sores and became so fearful inside the house that he started pulling his own fur out. (The dog returned to full health as soon as he was re-homed.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While in the house, Montandon suffered bouts of dizziness, headaches and disorientation. One night, these symptoms became so severe, she almost overdosed on medication. Worst of all, within three years of the tarot reader’s curse, three of the women closest to her—all young and healthy, all of whom had resided in the house for short stints after the astrology party—were dead.\u003c/p>\n\u003cp>Two of them, Montandon’s cousin Carolyn and a young assistant named Vera Scott (both of whom had been terrified by the house while living there) died by suicide. The third woman, Montandon’s best friend and secretary Mary Lou Ward, died in the home under circumstances so mysterious, a cause of death has never been determined.\u003c/p>\n\u003cp>Here’s what happened. In May 1969, Montandon abandoned the house to live with her new husband, Alfred Wilsey, who moved the date of their wedding up in an effort to loose her from the building’s clutches even faster. Montandon was unable to get out of her lease, and the Lombard Street house sat empty for weeks until Ward asked if she might stay there—she was looking to give her own newlywed daughter and son-in-law some space to themselves in her home. Montandon agreed, but recalls saying: “You’re sure you’re not afraid? I wouldn’t go back on a bet.”\u003c/p>\n\u003cp>One week later, after flames were spotted by a neighbor, Ward was found face down on the bed in Montandon’s bedroom, severely burned. All of the windows and doors to the room were locked. At the inquest, it was determined that the 47-year-old had died before the fire started, but no one could figure out how or why.\u003c/p>\n\u003cp>Coroner Dr. Henry W. Turkel stated:\u003c/p>\n\u003cblockquote>\u003cp>I should explain to you … that we have examined Mary Louise Ward as carefully as we know how and at great length, and we cannot establish any reason for her death. We don’t know why she died.\u003c/p>\u003c/blockquote>\n\u003cp>George Lucas, an inspector from the SFFD who also worked on the case, was equally confounded about the fire’s origin, especially since it broke out \u003cem>after\u003c/em> Ward died and she was home alone. He later wrote to Montandon:\u003c/p>\n\u003cblockquote>\u003cp>I personally went back to that apartment on my own several times to try to solve the mystery there. In my 22 years as a member of the fire department, I have had lots of experiences of death by fire. There was something about this one that just wasn’t right.\u003c/p>\u003c/blockquote>\n\u003cp>Tortured by the fact that the investigation into Ward’s death created more questions than answers, Montandon went about doing her own detective work. Before her death, Ward had told Montandon she didn’t think the tarot reader’s curse was entirely to blame for the run of strange activity that followed. “I think it was already there,” she told Montandon. “Maybe his influence just called it out.”\u003c/p>\n\u003cp>Montandon’s investigation seemed to back up Ward’s theory. She discovered that former tenants of 1000 Lombard Street had uncommonly high rates of both divorce and alcohol dependency. One complained of developing a puzzling illness while living there that she never entirely got rid of, even years after leaving. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition, at least one woman had died by suicide in the house. Neighbors who knew the deceased later told Montandon that, before the former resident took her life, she listened to music at all hours of the day and night—specifically the song “Mockin’ Bird Hill.” Before her suicide, Montandon’s cousin Carolyn confessed she continued to hear the song even after she moved away from Lombard Street.\u003c/p>\n\u003cp>After Montandon’s ex-landlord sold the building in 1973, he told the writer: “That building surely was a voodoo for me. It had a hex on it. I had more trouble there than I’ve ever had in my life. It was hard to unload.” And in a later letter, he wrote, “I was glad when I finally sold it in 1973.” He got $150,000 for the property.\u003c/p>\n\u003cp>In 2019, 1000 Lombard Street sold for the first time since. And though initially listed for $7,850,000, it ended up selling for \u003ca href=\"https://www.realtor.com/realestateandhomes-detail/1000-Lombard-St_San-Francisco_CA_94109_M10037-31155\" target=\"_blank\" rel=\"noopener noreferrer\">$5,100,000\u003c/a>. Which, for a 12-room, 3-story home with breathtaking views of the Bay and a prime position at the bottom of the Lombard Street wiggle, seems fairly cheap by San Francisco standards. (There are currently 5-bedroom homes in the neighborhood on the market \u003ca href=\"https://www.redfin.com/neighborhood/2352/CA/San-Francisco/Russian-Hill/filter/viewport=37.80419:37.79803:-122.41312:-122.42467?\" target=\"_blank\" rel=\"noopener noreferrer\">for more\u003c/a>.)\u003c/p>\n\u003cp>Pat Montandon sent two psychics to investigate 1000 Lombard Street in 1973. They emerged with strange photographs that seemed to change over time, and an ominous analysis of the spiritual state of the home. Though efforts were made to shield Montandon from the things she had experienced there, the paranormal experts were unable to clear the house of the unusual activity that plagued it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003cstrong>UPDATE, 1:30pm\u003c/strong>: The sound is intentional. See below.\u003c/em>\u003c/p>\n\u003cp>If you are anywhere in the vicinity of the Golden Gate Bridge right now, you are probably asking yourself: What in the world is that sound? A long, loud hum from a deep sea creature? Alien frequencies from outer space? An enormous sigh from San Francisco’s greatest landmark, finally registering its dismay at the state of the world?\u003c/p>\n\u003cp>Nope—the eerie sound you’re hearing from the Golden Gate Bridge is in fact the result of \u003ca href=\"https://twitter.com/SF311/status/1269143762225238016\" target=\"_blank\" rel=\"noopener noreferrer\">new sidewalk railing slats\u003c/a>, just installed, meant to better handle the wind. Funny thing about wind: when it passes through certain open spaces, it creates a hum. This is how all reed instruments work, and because it spans a very windy gap across the Bay, the Golden Gate Bridge is now effectively a giant orange wheezing kazoo.\u003c/p>\n\u003cp>https://twitter.com/chilibrianno/status/1269136076196601856\u003c/p>\n\u003cp>It’s something that the engineers of said sidewalk panels \u003cdel datetime=\"2020-06-06T20:24:44+00:00\">\u003ca href=\"https://twitter.com/SF311/status/1269143762225238016\" target=\"_blank\" rel=\"noopener noreferrer\">apparently forgot\u003c/a> to take into consideration\u003c/del>. \u003cstrong>UPDATE: The sound is intentional\u003c/strong>. Or, at least, known about in advance.\u003c/p>\n\u003cp>According to a statement Saturday morning by Paolo Cosulich-Schwartz of the Bridge District, “The Golden Gate Bridge has started to sing. The new musical tones coming from the bridge are a known and inevitable phenomenon that stem from our wind retrofit during very high winds.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosulich-Schwartz adds: “As part of the design process, the District did extensive studies on the impacts of the project, including wind tunnel testing of a scale model of the Golden Gate Bridge under high winds.” Those tests, \u003ca href=\"https://youtu.be/PYS6Z3pbmsA\" target=\"_blank\" rel=\"noopener noreferrer\">seen in a video here\u003c/a>, showed that the bridge “would begin to hum” when air passed through it more freely.\u003c/p>\n\u003cp>And it looks like the strange sound is here to stay. The aerodynamic retrofit, on the western, bike-lane side of the bridge, is “necessary to ensure the safety and structural integrity of the bridge for generations to come,” Cosulich-Schwartz says.\u003c/p>\n\u003cp>Which means: goodbye fog horns, hello \u003cem>HOOOOOOOOOWWWWWWWWWWHHHHHHHHHHOOOOOOOOOMMMMMMMMMMAAAAAUUUUHH\u003c/em>.\u003c/p>\n\u003cp>https://twitter.com/RaemondBW/status/1269110206161547265\u003c/p>\n\u003cp>This is… going to drive everyone crazy?\u003c/p>\n\u003cp>https://youtu.be/IfsZ585gTnE\u003c/p>\n\u003cp>And, since the sound can be heard from miles away, the city is now one big David Lynch movie.\u003c/p>\n\u003cp>https://twitter.com/Shirin_Jnk/status/1269143410268467200\u003c/p>\n\u003cp>Hooray for us, San Francisco! We’ve managed to add one more completely bonkers thing to the year 2020.\u003c/p>\n\u003cp>https://twitter.com/gmeline/status/1269316331716833282\u003c/p>\n\u003cp>(Want to tell the city that, like, you dig Brian Eno and everything, but you don’t really need to hear ambient drones day and night? \u003ca href=\"https://twitter.com/SF311/status/1269170943257202691\" target=\"_blank\" rel=\"noopener noreferrer\">Here’s how to get in touch with the right people\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>UPDATE, 1:30pm\u003c/strong>: The sound is intentional. See below.\u003c/em>\u003c/p>\n\u003cp>If you are anywhere in the vicinity of the Golden Gate Bridge right now, you are probably asking yourself: What in the world is that sound? A long, loud hum from a deep sea creature? Alien frequencies from outer space? An enormous sigh from San Francisco’s greatest landmark, finally registering its dismay at the state of the world?\u003c/p>\n\u003cp>Nope—the eerie sound you’re hearing from the Golden Gate Bridge is in fact the result of \u003ca href=\"https://twitter.com/SF311/status/1269143762225238016\" target=\"_blank\" rel=\"noopener noreferrer\">new sidewalk railing slats\u003c/a>, just installed, meant to better handle the wind. Funny thing about wind: when it passes through certain open spaces, it creates a hum. This is how all reed instruments work, and because it spans a very windy gap across the Bay, the Golden Gate Bridge is now effectively a giant orange wheezing kazoo.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It’s something that the engineers of said sidewalk panels \u003cdel datetime=\"2020-06-06T20:24:44+00:00\">\u003ca href=\"https://twitter.com/SF311/status/1269143762225238016\" target=\"_blank\" rel=\"noopener noreferrer\">apparently forgot\u003c/a> to take into consideration\u003c/del>. \u003cstrong>UPDATE: The sound is intentional\u003c/strong>. Or, at least, known about in advance.\u003c/p>\n\u003cp>According to a statement Saturday morning by Paolo Cosulich-Schwartz of the Bridge District, “The Golden Gate Bridge has started to sing. The new musical tones coming from the bridge are a known and inevitable phenomenon that stem from our wind retrofit during very high winds.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cosulich-Schwartz adds: “As part of the design process, the District did extensive studies on the impacts of the project, including wind tunnel testing of a scale model of the Golden Gate Bridge under high winds.” Those tests, \u003ca href=\"https://youtu.be/PYS6Z3pbmsA\" target=\"_blank\" rel=\"noopener noreferrer\">seen in a video here\u003c/a>, showed that the bridge “would begin to hum” when air passed through it more freely.\u003c/p>\n\u003cp>And it looks like the strange sound is here to stay. The aerodynamic retrofit, on the western, bike-lane side of the bridge, is “necessary to ensure the safety and structural integrity of the bridge for generations to come,” Cosulich-Schwartz says.\u003c/p>\n\u003cp>Which means: goodbye fog horns, hello \u003cem>HOOOOOOOOOWWWWWWWWWWHHHHHHHHHHOOOOOOOOOMMMMMMMMMMAAAAAUUUUHH\u003c/em>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This is… going to drive everyone crazy?\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IfsZ585gTnE'\n title='//www.youtube.com/embed/IfsZ585gTnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And, since the sound can be heard from miles away, the city is now one big David Lynch movie.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Hooray for us, San Francisco! We’ve managed to add one more completely bonkers thing to the year 2020.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>(Want to tell the city that, like, you dig Brian Eno and everything, but you don’t really need to hear ambient drones day and night? \u003ca href=\"https://twitter.com/SF311/status/1269170943257202691\" target=\"_blank\" rel=\"noopener noreferrer\">Here’s how to get in touch with the right people\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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