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"content": "\u003cp>Everyone could tell that Kristina Moreno was uncomfortable. Her chair obviously didn’t fit her body well. And everybody wanted to help.\u003c/p>\n\n\n\n\u003cp>“Did you get that through insurance?” someone asked. The answer was far more complicated.\u003c/p>\n\n\n\n\u003cp>For the past week, Moreno had been using a powerchair her unhoused neighbor left behind when an ambulance took him away during a health crisis. She only knew his first name, but every night, Moreno charged the man’s chair inside her apartment. She was there when he suddenly needed medical care one afternoon. \u003c/p>\n\n\n\n\u003cp>While Moreno supported him that day, a passerby stole her chair, so she felt she had no choice but to use her neighbor’s much smaller one. Every day since, she’s wondered when he might return and whether she can finally convince Medi-Cal to replace her stolen chair before that happens.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-14-MC-KQED.jpg\" alt=\"\" class=\"wp-image-13992446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-14-MC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-14-MC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-14-MC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-14-MC-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Olga Prilepova adjusts the armrest height of Kristina Moreno’s borrowed powerchair at the Grassroots Open Assistive Tech Tune Up Tuesday event at the San Francisco Disability Cultural Center on August 4, 2026, in San Francisco. (Miles Cull/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Discussing difficult experiences while tending to equipment repairs is at the core of \u003ca href=\"https://disabilityculturalcenter.org/event/tune-up-sept2026/\">Tune-Up Tuesdays\u003c/a>. The monthly repair event is held at San Francisco’s Disability Cultural Center, or DCC. Tune-Up Tuesdays are organized by \u003ca href=\"https://www.openassistivetech.org\">Grassroots Open Assistive Tech\u003c/a>, or GOAT, a nonprofit working on projects at the intersection of do-it-yourself repair and reuse, open source hardware and software, and disability justice. In addition to the DCC, GOAT partners with regional organizations serving similar needs, such as the Independent Living Resource Center of San Francisco (ILRCSF).\u003c/p>\n\n\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13978766/disability-cultural-center-open-san-francisco\">Since opening last summer\u003c/a>, the DCC has offered a staggering array of eclectic near-daily programming, both onsite and virtually, from drag shows to craft circles to discussion groups. The DCC is the nation’s first publicly funded disability center focused on disabled culture and arts, and its unremarkable entrance on Grove Street obscures its inviting indoor-outdoor space. The bright interior courtyard is filled with small trees and plants, plus movable chairs and tables with wide sun umbrellas. Like the rest of the center, the space and its features are designed to adapt to a variety of needs, such as a mobility aid repair clinic.\u003c/p>\n\n\n\n\u003cp>On a recent sunny Tuesday, Rena Fischer was one of the first people through the door. Fischer has been a San Francisco resident since 1993 and has used a wheelchair for six years. She needed a taller side barrier on her footrest to keep her left foot from sliding off the platform, which in the past caused severe injuries requiring hospitalization. A useful modification would likely be a small custom job, possibly 3D-printed. \u003c/p>\n\n\n\n\u003cp>“We like to think that we’re doing trauma-informed repair,” said GOAT founder Liz Henry. Rather than taking someone’s chair into a mysterious back room, Tune-Up Tuesdays provide space to talk through a problem and consent to working collaboratively to fix it.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" data-id=\"13992443\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-05-MC-KQED.jpg\" alt=\"\" class=\"wp-image-13992443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-05-MC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-05-MC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-05-MC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-05-MC-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">GOAT executive director Liz Henry (right) speaks with Rena Fischer (left) about her powerchair at the Grassroots Open Assistive Tech Tune Up Tuesday event at the San Francisco Disability Cultural Center on August 4, 2026, in San Francisco. (Miles Cull/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" data-id=\"13992444\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-07-MC-KQED.jpg\" alt=\"\" class=\"wp-image-13992444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-07-MC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-07-MC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-07-MC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-07-MC-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Olga Prilepova measures the footrest of Rena Fischer’s powerchair to make a modification at the Grassroots Open Assistive Tech Tune Up Tuesday event at the San Francisco Disability Cultural Center on August 4, 2026, in San Francisco. (Miles Cull/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp>The same ethos powers GOAT’s physical space in downtown Oakland, which is now open weekdays 10 a.m.–4 p.m. Tucked behind The Bookmark Bookstore, the GOAT space serves as a storage area and distribution center for free devices and accessories, as well as a workshop for maintenance and enhancements. Henry urged Fischer to visit the following week, to discuss her footrest modification and to volunteer. Fischer insisted she would. “I’m useful,” she emphasized.\u003c/p>\n\n\n\n\u003cp>On her way out, Fischer picked up one of GOAT’s free toolkits. The take-home kit includes tools for simple upkeep and to prevent anyone from becoming stranded if their device malfunctions or breaks. Every colorful fabric pouch contains small wrenches, a tiny bottle of machine oil for lubricating wheels and bearings, and fasteners including cable ties, strong paracord and sturdy tape. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-04-MC-KQED.jpg\" alt=\"\" class=\"wp-image-13992442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-04-MC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-04-MC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-04-MC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-04-MC-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">GOAT executive director Liz Henry displays customizations to their powerchair at the Grassroots Open Assistive Tech Tune Up Tuesday event at the San Francisco Disability Cultural Center on August 4, 2026, in San Francisco. (Miles Cull/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Tune-Up Tuesdays are delightfully focused yet totally unpredictable. In June, about 25 attendees came through, some lining up starting at noon for the 1:30 p.m. event. August drew a smaller but no less soulful group, with participants seeking maintenance support for loose armrests and low tire pressure and asking questions about where to test mobility equipment.\u003c/p>\n\n\n\n\u003cp>Jen Holthaus took time off work to attend. She’s at the beginning of her wheelchair journey and didn’t know any other disabled people, so she asked Henry how to begin researching chair options. As Henry described how the West Oakland Center for Independent Living’s \u003ca href=\"https://thecil.org/wheelhouse/\">Wheelhouse\u003c/a> offers a variety of demonstration chairs, they moved onto a plush loveseat so that Holthaus could take a spin in Henry’s powerchair. \u003c/p>\n\n\n\n\u003cp>“Being here is how I move from feeling stuck to having a direction,” Holthaus explained, noting she gained practical tips and also felt less alone.\u003c/p>\n\n\n\n\u003cp>Henry remembers that isolation. “I had a lot of trouble in my early twenties,” they said, noting that even though the Bay Area has a rich history of disabled advocacy, they initially connected with other disabled people on Usenet forums and got around in a wheelchair stolen by necessity from a hospital. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-26-MC-KQED.jpg\" alt=\"\" class=\"wp-image-13992448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-26-MC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-26-MC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-26-MC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-26-MC-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">GOAT member Vincent Lopez finds out that the left castor wheel bearings of Kristina Moreno’s borrowed powerchair are completely gone at the Grassroots Open Assistive Tech Tune Up Tuesday event at the San Francisco Disability Cultural Center on August 4, 2026, in San Francisco. (Miles Cull/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>ILRCSF mobility device technician Vince Lopez arrived on a red scooter and pulled up a seat next to Moreno to talk through the features she might consider in selecting a better chair for her body: seat style, motor type and rear-, mid- or front-wheel drive. Last year, before getting a chair through Medi-Cal, Moreno was stranded in her apartment for months. She’s afraid she could get stuck again when her neighbor is discharged from the hospital and reclaims his chair. While they talked through options, several attendees helped themselves to hot tea, and a young couple arrived to get their rollators serviced.\u003c/p>\n\n\n\n\u003cp>In a shady area of the courtyard nearby, GOAT’s Olga Prilepova used pliers and a wire brush to clean Fred Lopez’s suitcase wheels, which collect debris as he moves around the city on public transit. Lopez, who lives in SoMa and has low vision, travels to the San Francisco Public Library main branch most days to read in the Talking Books and Braille Center. When grimy, the wheels on his green fabric suitcase jam. Dirty wheels also squeak loudly, which he finds embarrassing. He’s become a regular at Tune-Up Tuesdays, relying on practical support while savoring the socializing.\u003c/p>\n\n\n\n\u003cp>“It’s too bad this is only once a month,” he murmured before pulling his serviced suitcase onto quiet, well-working wheels and heading across Civic Center to the library.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The next \u003ca href=\"https://disabilityculturalcenter.org/event/tune-up-sept2026/\">Tune-Up Tuesday\u003c/a> takes place at the Disability Cultural Center (165 Grove Street, San Francisco) on Sept. 1, 1:30–4:30 p.m.\u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Discussing difficult experiences while tending to equipment repairs is at the core of \u003ca href=\"https://disabilityculturalcenter.org/event/tune-up-sept2026/\">Tune-Up Tuesdays\u003c/a>. The monthly repair event is held at San Francisco’s Disability Cultural Center, or DCC. Tune-Up Tuesdays are organized by \u003ca href=\"https://www.openassistivetech.org\">Grassroots Open Assistive Tech\u003c/a>, or GOAT, a nonprofit working on projects at the intersection of do-it-yourself repair and reuse, open source hardware and software, and disability justice. In addition to the DCC, GOAT partners with regional organizations serving similar needs, such as the Independent Living Resource Center of San Francisco (ILRCSF).\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13978766/disability-cultural-center-open-san-francisco\">Since opening last summer\u003c/a>, the DCC has offered a staggering array of eclectic near-daily programming, both onsite and virtually, from drag shows to craft circles to discussion groups. The DCC is the nation’s first publicly funded disability center focused on disabled culture and arts, and its unremarkable entrance on Grove Street obscures its inviting indoor-outdoor space. The bright interior courtyard is filled with small trees and plants, plus movable chairs and tables with wide sun umbrellas. Like the rest of the center, the space and its features are designed to adapt to a variety of needs, such as a mobility aid repair clinic.\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-05-MC-KQED.jpg\" alt=\"\" class=\"wp-image-13992443\" />\u003cfigcaption class=\"wp-element-caption\">GOAT executive director Liz Henry (right) speaks with Rena Fischer (left) about her powerchair at the Grassroots Open Assistive Tech Tune Up Tuesday event at the San Francisco Disability Cultural Center on August 4, 2026, in San Francisco.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>The same ethos powers GOAT’s physical space in downtown Oakland, which is now open weekdays 10 a.m.–4 p.m. Tucked behind The Bookmark Bookstore, the GOAT space serves as a storage area and distribution center for free devices and accessories, as well as a workshop for maintenance and enhancements. Henry urged Fischer to visit the following week, to discuss her footrest modification and to volunteer. Fischer insisted she would. “I’m useful,” she emphasized.\u003c/p>\n",
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"innerHTML": "\n\u003cp>On her way out, Fischer picked up one of GOAT’s free toolkits. The take-home kit includes tools for simple upkeep and to prevent anyone from becoming stranded if their device malfunctions or breaks. Every colorful fabric pouch contains small wrenches, a tiny bottle of machine oil for lubricating wheels and bearings, and fasteners including cable ties, strong paracord and sturdy tape. \u003c/p>\n",
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"\n\u003cp>On her way out, Fischer picked up one of GOAT’s free toolkits. The take-home kit includes tools for simple upkeep and to prevent anyone from becoming stranded if their device malfunctions or breaks. Every colorful fabric pouch contains small wrenches, a tiny bottle of machine oil for lubricating wheels and bearings, and fasteners including cable ties, strong paracord and sturdy tape. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Tune-Up Tuesdays are delightfully focused yet totally unpredictable. In June, about 25 attendees came through, some lining up starting at noon for the 1:30 p.m. event. August drew a smaller but no less soulful group, with participants seeking maintenance support for loose armrests and low tire pressure and asking questions about where to test mobility equipment.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Jen Holthaus took time off work to attend. She’s at the beginning of her wheelchair journey and didn’t know any other disabled people, so she asked Henry how to begin researching chair options. As Henry described how the West Oakland Center for Independent Living’s \u003ca href=\"https://thecil.org/wheelhouse/\">Wheelhouse\u003c/a> offers a variety of demonstration chairs, they moved onto a plush loveseat so that Holthaus could take a spin in Henry’s powerchair. \u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-26-MC-KQED.jpg\" alt=\"\" class=\"wp-image-13992448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-26-MC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-26-MC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-26-MC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-26-MC-KQED-1536x1025.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">GOAT member Vincent Lopez finds out that the left castor wheel bearings of Kristina Moreno’s borrowed powerchair are completely gone at the Grassroots Open Assistive Tech Tune Up Tuesday event at the San Francisco Disability Cultural Center on August 4, 2026, in San Francisco.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>ILRCSF mobility device technician Vince Lopez arrived on a red scooter and pulled up a seat next to Moreno to talk through the features she might consider in selecting a better chair for her body: seat style, motor type and rear-, mid- or front-wheel drive. Last year, before getting a chair through Medi-Cal, Moreno was stranded in her apartment for months. She’s afraid she could get stuck again when her neighbor is discharged from the hospital and reclaims his chair. While they talked through options, several attendees helped themselves to hot tea, and a young couple arrived to get their rollators serviced.\u003c/p>\n",
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"\n\u003cp>ILRCSF mobility device technician Vince Lopez arrived on a red scooter and pulled up a seat next to Moreno to talk through the features she might consider in selecting a better chair for her body: seat style, motor type and rear-, mid- or front-wheel drive. Last year, before getting a chair through Medi-Cal, Moreno was stranded in her apartment for months. She’s afraid she could get stuck again when her neighbor is discharged from the hospital and reclaims his chair. While they talked through options, several attendees helped themselves to hot tea, and a young couple arrived to get their rollators serviced.\u003c/p>\n"
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"innerHTML": "\n\u003cp>In a shady area of the courtyard nearby, GOAT’s Olga Prilepova used pliers and a wire brush to clean Fred Lopez’s suitcase wheels, which collect debris as he moves around the city on public transit. Lopez, who lives in SoMa and has low vision, travels to the San Francisco Public Library main branch most days to read in the Talking Books and Braille Center. When grimy, the wheels on his green fabric suitcase jam. Dirty wheels also squeak loudly, which he finds embarrassing. He’s become a regular at Tune-Up Tuesdays, relying on practical support while savoring the socializing.\u003c/p>\n",
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"\n\u003cp>In a shady area of the courtyard nearby, GOAT’s Olga Prilepova used pliers and a wire brush to clean Fred Lopez’s suitcase wheels, which collect debris as he moves around the city on public transit. Lopez, who lives in SoMa and has low vision, travels to the San Francisco Public Library main branch most days to read in the Talking Books and Braille Center. When grimy, the wheels on his green fabric suitcase jam. Dirty wheels also squeak loudly, which he finds embarrassing. He’s become a regular at Tune-Up Tuesdays, relying on practical support while savoring the socializing.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“It’s too bad this is only once a month,” he murmured before pulling his serviced suitcase onto quiet, well-working wheels and heading across Civic Center to the library.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>The next \u003ca href=\"https://disabilityculturalcenter.org/event/tune-up-sept2026/\">Tune-Up Tuesday\u003c/a> takes place at the Disability Cultural Center (165 Grove Street, San Francisco) on Sept. 1, 1:30–4:30 p.m.\u003c/em>\u003c/p>\n",
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"excerpt": "People come to fix loose armrests and squeaky wheels. They often leave with a newfound sense of community.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Everyone could tell that Kristina Moreno was uncomfortable. Her chair obviously didn’t fit her body well. And everybody wanted to help.\u003c/p>\n\n\n\n\u003cp>“Did you get that through insurance?” someone asked. The answer was far more complicated.\u003c/p>\n\n\n\n\u003cp>For the past week, Moreno had been using a powerchair her unhoused neighbor left behind when an ambulance took him away during a health crisis. She only knew his first name, but every night, Moreno charged the man’s chair inside her apartment. She was there when he suddenly needed medical care one afternoon. \u003c/p>\n\n\n\n\u003cp>While Moreno supported him that day, a passerby stole her chair, so she felt she had no choice but to use her neighbor’s much smaller one. Every day since, she’s wondered when he might return and whether she can finally convince Medi-Cal to replace her stolen chair before that happens.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-14-MC-KQED.jpg\" alt=\"\" class=\"wp-image-13992446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-14-MC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-14-MC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-14-MC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-14-MC-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Olga Prilepova adjusts the armrest height of Kristina Moreno’s borrowed powerchair at the Grassroots Open Assistive Tech Tune Up Tuesday event at the San Francisco Disability Cultural Center on August 4, 2026, in San Francisco. (Miles Cull/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Discussing difficult experiences while tending to equipment repairs is at the core of \u003ca href=\"https://disabilityculturalcenter.org/event/tune-up-sept2026/\">Tune-Up Tuesdays\u003c/a>. The monthly repair event is held at San Francisco’s Disability Cultural Center, or DCC. Tune-Up Tuesdays are organized by \u003ca href=\"https://www.openassistivetech.org\">Grassroots Open Assistive Tech\u003c/a>, or GOAT, a nonprofit working on projects at the intersection of do-it-yourself repair and reuse, open source hardware and software, and disability justice. In addition to the DCC, GOAT partners with regional organizations serving similar needs, such as the Independent Living Resource Center of San Francisco (ILRCSF).\u003c/p>\n\n\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13978766/disability-cultural-center-open-san-francisco\">Since opening last summer\u003c/a>, the DCC has offered a staggering array of eclectic near-daily programming, both onsite and virtually, from drag shows to craft circles to discussion groups. The DCC is the nation’s first publicly funded disability center focused on disabled culture and arts, and its unremarkable entrance on Grove Street obscures its inviting indoor-outdoor space. The bright interior courtyard is filled with small trees and plants, plus movable chairs and tables with wide sun umbrellas. Like the rest of the center, the space and its features are designed to adapt to a variety of needs, such as a mobility aid repair clinic.\u003c/p>\n\n\n\n\u003cp>On a recent sunny Tuesday, Rena Fischer was one of the first people through the door. Fischer has been a San Francisco resident since 1993 and has used a wheelchair for six years. She needed a taller side barrier on her footrest to keep her left foot from sliding off the platform, which in the past caused severe injuries requiring hospitalization. A useful modification would likely be a small custom job, possibly 3D-printed. \u003c/p>\n\n\n\n\u003cp>“We like to think that we’re doing trauma-informed repair,” said GOAT founder Liz Henry. Rather than taking someone’s chair into a mysterious back room, Tune-Up Tuesdays provide space to talk through a problem and consent to working collaboratively to fix it.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" data-id=\"13992443\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-05-MC-KQED.jpg\" alt=\"\" class=\"wp-image-13992443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-05-MC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-05-MC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-05-MC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-05-MC-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">GOAT executive director Liz Henry (right) speaks with Rena Fischer (left) about her powerchair at the Grassroots Open Assistive Tech Tune Up Tuesday event at the San Francisco Disability Cultural Center on August 4, 2026, in San Francisco. (Miles Cull/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" data-id=\"13992444\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-07-MC-KQED.jpg\" alt=\"\" class=\"wp-image-13992444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-07-MC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-07-MC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-07-MC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-07-MC-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Olga Prilepova measures the footrest of Rena Fischer’s powerchair to make a modification at the Grassroots Open Assistive Tech Tune Up Tuesday event at the San Francisco Disability Cultural Center on August 4, 2026, in San Francisco. (Miles Cull/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp>The same ethos powers GOAT’s physical space in downtown Oakland, which is now open weekdays 10 a.m.–4 p.m. Tucked behind The Bookmark Bookstore, the GOAT space serves as a storage area and distribution center for free devices and accessories, as well as a workshop for maintenance and enhancements. Henry urged Fischer to visit the following week, to discuss her footrest modification and to volunteer. Fischer insisted she would. “I’m useful,” she emphasized.\u003c/p>\n\n\n\n\u003cp>On her way out, Fischer picked up one of GOAT’s free toolkits. The take-home kit includes tools for simple upkeep and to prevent anyone from becoming stranded if their device malfunctions or breaks. Every colorful fabric pouch contains small wrenches, a tiny bottle of machine oil for lubricating wheels and bearings, and fasteners including cable ties, strong paracord and sturdy tape. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-04-MC-KQED.jpg\" alt=\"\" class=\"wp-image-13992442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-04-MC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-04-MC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-04-MC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-04-MC-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">GOAT executive director Liz Henry displays customizations to their powerchair at the Grassroots Open Assistive Tech Tune Up Tuesday event at the San Francisco Disability Cultural Center on August 4, 2026, in San Francisco. (Miles Cull/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Tune-Up Tuesdays are delightfully focused yet totally unpredictable. In June, about 25 attendees came through, some lining up starting at noon for the 1:30 p.m. event. August drew a smaller but no less soulful group, with participants seeking maintenance support for loose armrests and low tire pressure and asking questions about where to test mobility equipment.\u003c/p>\n\n\n\n\u003cp>Jen Holthaus took time off work to attend. She’s at the beginning of her wheelchair journey and didn’t know any other disabled people, so she asked Henry how to begin researching chair options. As Henry described how the West Oakland Center for Independent Living’s \u003ca href=\"https://thecil.org/wheelhouse/\">Wheelhouse\u003c/a> offers a variety of demonstration chairs, they moved onto a plush loveseat so that Holthaus could take a spin in Henry’s powerchair. \u003c/p>\n\n\n\n\u003cp>“Being here is how I move from feeling stuck to having a direction,” Holthaus explained, noting she gained practical tips and also felt less alone.\u003c/p>\n\n\n\n\u003cp>Henry remembers that isolation. “I had a lot of trouble in my early twenties,” they said, noting that even though the Bay Area has a rich history of disabled advocacy, they initially connected with other disabled people on Usenet forums and got around in a wheelchair stolen by necessity from a hospital. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-26-MC-KQED.jpg\" alt=\"\" class=\"wp-image-13992448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-26-MC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-26-MC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-26-MC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/080426-TUNEUPTUESDAY-26-MC-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">GOAT member Vincent Lopez finds out that the left castor wheel bearings of Kristina Moreno’s borrowed powerchair are completely gone at the Grassroots Open Assistive Tech Tune Up Tuesday event at the San Francisco Disability Cultural Center on August 4, 2026, in San Francisco. (Miles Cull/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>ILRCSF mobility device technician Vince Lopez arrived on a red scooter and pulled up a seat next to Moreno to talk through the features she might consider in selecting a better chair for her body: seat style, motor type and rear-, mid- or front-wheel drive. Last year, before getting a chair through Medi-Cal, Moreno was stranded in her apartment for months. She’s afraid she could get stuck again when her neighbor is discharged from the hospital and reclaims his chair. While they talked through options, several attendees helped themselves to hot tea, and a young couple arrived to get their rollators serviced.\u003c/p>\n\n\n\n\u003cp>In a shady area of the courtyard nearby, GOAT’s Olga Prilepova used pliers and a wire brush to clean Fred Lopez’s suitcase wheels, which collect debris as he moves around the city on public transit. Lopez, who lives in SoMa and has low vision, travels to the San Francisco Public Library main branch most days to read in the Talking Books and Braille Center. When grimy, the wheels on his green fabric suitcase jam. Dirty wheels also squeak loudly, which he finds embarrassing. He’s become a regular at Tune-Up Tuesdays, relying on practical support while savoring the socializing.\u003c/p>\n\n\n\n\u003cp>“It’s too bad this is only once a month,” he murmured before pulling his serviced suitcase onto quiet, well-working wheels and heading across Civic Center to the library.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The next \u003ca href=\"https://disabilityculturalcenter.org/event/tune-up-sept2026/\">Tune-Up Tuesday\u003c/a> takes place at the Disability Cultural Center (165 Grove Street, San Francisco) on Sept. 1, 1:30–4:30 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "aids-memorial-quilt-photography-redigitization-san-leandro",
"title": "How a Small Team Is Bringing the AIDS Memorial Quilt into Sharp Focus",
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"headTitle": "How a Small Team Is Bringing the AIDS Memorial Quilt into Sharp Focus | KQED",
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"content": "\u003cp>On a recent morning in an unmarked, unfinished San Leandro storefront, Michael Berg and Will Roczkos crouch over a bright blue block of \u003ca href=\"https://www.aidsmemorial.org/quilt\">AIDS Memorial Quilt\u003c/a> panels. Each of the eight panels in the block, made by people to honor their loved ones, contains an impressive array of creative embellishments: spray paint, rhinestones, intricate hand-stitching, and photos — inside plastic sleeves or printed right into the fabric.\u003c/p>\n\u003cp>Berg and Roczkos are the first two volunteers working on a redigitization project with Roddy Williams, the manager of the 54-ton quilt. The process includes photographing every block, entering metadata, and redesigning the current database. Funded by a grant from the Jonathan Logan Family Foundation, Williams expects the project to take eight months.\u003c/p>\n\u003cp>In much the same way that the HIV/AIDS pandemic has had a rolling, unending impact on millions worldwide since HIV was identified in 1981, the influence of the 500,000-panel quilt continues to evolve. Conceived by San Francisco activist \u003ca href=\"https://www.kqed.org/news/11950268/still-under-threat-on-harvey-milk-day-leading-activist-says-lgbtq-leaders-face-dangers-decades-after-assassination\">Cleve Jones\u003c/a>, the first AIDS Memorial Quilt panels were made in 1987. Each panel measures three by six feet, roughly the size of a human grave. \u003c/p>\n\u003cfigure id=\"attachment_13989055\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed.jpg\" alt=\"view into storage space with folded quilts stacked high on shelves\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13989055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">A San Leandro warehouse houses the AIDS Memorial Quilt. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Panels are then sewn into 12-by-12-foot blocks by Gert McMullin, the so-called \u003ca href=\"https://www.aidsmemorial.org/post/gert-mcmullin\">mother of the quilt\u003c/a>, who thoughtfully creates a miniature crazy quilt in every block, joining panels with similar colors and patterns. When publicly displayed, viewers can read panels from any side of the block.\u003c/p>\n\u003cp>While sections are always loaned out for public displays, most of the quilt is stored in a warehouse a 10-minute drive from the makeshift photography studio. Heavy quilt blocks catalogued and carefully folded sit in stacks on ceiling-high shelves. A few requisite ladders are scattered throughout the skylight-lit space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Survivors continue to make and send new quilt panels to the warehouse all the time. It’s also common for families cleaning out an attic to find a panel made many years ago and to contribute it now, including in the parcel notes and ephemera about the person who died of AIDS. \u003c/p>\n\u003cfigure id=\"attachment_13989060\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed.jpg\" alt=\"handwritten note from son to father on part of quilt, red hearts below\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A detail on a panel of the AIDS Memorial Quilt before it is photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams notes that some families make multiple panels for their loved one, like John Politano Jr.’s parents. Politano died of AIDS in 1986 at age 25, and his parents made a second panel in the late 1990s to continue his legacy. Currently, details on the second panel appear blurry online. But once new photos are taken and uploaded, anyone will be able to read their open letter to their child, which includes a moving description of the impact of public quilt exhibitions. \u003c/p>\n\u003cp>“Your first panel has faded through constant use, and that is okay. You see, if your panel did not get used, or was not seen by people from all over the country, then the message would not get out,” it reads. “AIDS is real, and real people die from AIDS. This new panel that Ma and I have made for you is different from the first, but the message is the same. \u003cem>You are our son, and we love you!\u003c/em>”\u003c/p>\n\u003ch2>An unfolding project\u003c/h2>\n\u003cp>Williams became the quilt’s manager 23 years ago in Atlanta, Georgia, where it was housed from 2001 until it returned to the Bay Area in 2021. The Library of Congress \u003ca href=\"https://blogs.loc.gov/folklife/2019/11/afc-is-acquiring-the-archival-collections-of-the-names-project-aids-memorial-quilt/\">assumed responsibility\u003c/a> for the over 200,000 photos, letters, news clippings, and other mementos that loved ones included when sending panels to the quilt caretakers.\u003c/p>\n\u003cp>In the U.S., more than 630,000 individuals have died of AIDS. Globally, the disease has killed 40 million people, with an additional estimated 40 million living with HIV. \u003c/p>\n\u003cp>In the past year, President Trump obliterated major global HIV/AIDS prevention and care programs by \u003ca href=\"https://www.npr.org/sections/goats-and-soda/2025/07/01/nx-s1-5452513/trump-usaid-foreign-aid-deaths\">shuttering USAID\u003c/a> and freezing foreign aid, which \u003ca href=\"https://www.npr.org/2026/04/23/g-s1-118221/hiv-aids-pepfar-trump-foreign-aid\">impacts projects like PEPFAR\u003c/a> (the President’s Emergency Plan for AIDS Relief), instituted in 2003. \u003c/p>\n\u003cfigure id=\"attachment_13989053\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed.jpg\" alt=\"older white man kneels and reaches across quilt\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Will Roczkos, with the National AIDS Memorial, helps clean panels of the AIDS Memorial Quilt before they are photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Quilt volunteer Roczkos noted that because of the current administration’s devastating actions, preserving the quilt and increasing accessibility to its handmade tributes feels more urgent than ever. “More people will die now,” he says, gesturing at a panel he’s gently cleaning with a tape roller, readying it for a photo.\u003c/p>\n\u003cp>Since its inception nearly 40 years ago, the quilt has been thoroughly documented, both the individual panels and the increasingly large-scale public displays. Even if someone has never seen the quilt panels on display, they may have a mental image of blocks spread across the National Mall in Washington, D.C. \u003c/p>\n\u003cp>During the first years of the COVID-19 pandemic, when physical exhibitions were suspended, database searches skyrocketed, with survivors of a new plague looking to the quilt for solace. (In 2020, McMullin and volunteers even \u003ca href=\"https://www.nbcnews.com/feature/nbc-out/extra-fabric-aids-memorial-quilt-used-coronavirus-masks-n1183501\">sewed cloth masks\u003c/a> using fabric leftover from quilt panels.)\u003c/p>\n\u003cp>Berg is one steward who’s worked on the project from the beginning. Over nearly 40 years, he’s held a variety of roles, including president of the board of directors for the NAMES Project, the quilt’s original moniker. He even photographed the quilt back in the late 1980s. \u003c/p>\n\u003cp>“Of course, the technology has improved,” he muses.\u003c/p>\n\u003cfigure id=\"attachment_13989058\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed.jpg\" alt=\"older white man kneels beside quilt with lint roller\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Berg, a volunteer, helps clean panels of the AIDS Memorial Quilt before they are photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, Williams has received several emails every week asking for high-quality photos of a loved one’s panel. While every panel is technically viewable online, small details are often blurry; the images were taken long ago, with lower-resolution cameras. \u003c/p>\n\u003cp>One evocative email from a parent asked whether Williams could share high-resolution photos from a quilt panel because a house fire had destroyed all other remaining photos of their son. Williams individually responds to every request by physically climbing a tall ladder, carrying a block to the floor, gently unfolding it, and photographing the desired panel.\u003c/p>\n\u003ch2>A stitched-together story\u003c/h2>\n\u003cp>To replace all of the images currently online with higher-resolution photos, Williams is \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSemDi4I0pS4mVBFM-M_LvI7zKgZARvEd1gG-h701y3S0wIvGw/viewform\">actively seeking support\u003c/a>. Volunteers work in pairs to clean each block and mount it vertically to be photographed. The work requires a lot of physicality, both kneeling over a block placed on an enormous stress mat, and moving around its circumference, bending and stretching to remove stray threads or tidy up the endless messiness of glitter. \u003c/p>\n\u003cp>Blocks with felt embellishments are managed separately, as pressed wool collects extensive debris, especially when displayed outdoors or on a lawn, and requires intensive cleaning.\u003c/p>\n\u003cfigure id=\"attachment_13989054\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed.jpg\" alt=\"photo flash umbrellas surround a large-scale quilt hanging on wall\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A panel of the AIDS Memorial Quilt hangs to be photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once a block is ready to be photographed, a cord is pulled taut through its grommets to vertically position it against a thick black background panel. Four large white numbers attached to one side of the backing panel are changed out, depicting each block number, the cataloging system for a project of this magnitude. Caretakers remove any last bits of dust or debris with yet another tape roller on a comically long-armed handle. \u003c/p>\n\u003cp>As seasoned volunteers like Berg and Roczkos fall into a rhythm, the entire per-block process can drop to between three and six minutes. Over two recent days at the studio space, the two men cleaned and mounted 90 blocks for photos.\u003c/p>\n\u003cp>This massive undertaking ensures that the physical panels, and all the lives they honor, will be preserved and accessible to all, for all time. \u003c/p>\n\u003cp>“This is how volunteers help tell the story of the quilt,” Williams says. \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>To volunteer with the AIDS Memorial Quilt redigitization project, \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSemDi4I0pS4mVBFM-M_LvI7zKgZARvEd1gG-h701y3S0wIvGw/viewform\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Nearly 40 years after the project started, volunteers are rephotographing the 500,000-panel collaborative artwork.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent morning in an unmarked, unfinished San Leandro storefront, Michael Berg and Will Roczkos crouch over a bright blue block of \u003ca href=\"https://www.aidsmemorial.org/quilt\">AIDS Memorial Quilt\u003c/a> panels. Each of the eight panels in the block, made by people to honor their loved ones, contains an impressive array of creative embellishments: spray paint, rhinestones, intricate hand-stitching, and photos — inside plastic sleeves or printed right into the fabric.\u003c/p>\n\u003cp>Berg and Roczkos are the first two volunteers working on a redigitization project with Roddy Williams, the manager of the 54-ton quilt. The process includes photographing every block, entering metadata, and redesigning the current database. Funded by a grant from the Jonathan Logan Family Foundation, Williams expects the project to take eight months.\u003c/p>\n\u003cp>In much the same way that the HIV/AIDS pandemic has had a rolling, unending impact on millions worldwide since HIV was identified in 1981, the influence of the 500,000-panel quilt continues to evolve. Conceived by San Francisco activist \u003ca href=\"https://www.kqed.org/news/11950268/still-under-threat-on-harvey-milk-day-leading-activist-says-lgbtq-leaders-face-dangers-decades-after-assassination\">Cleve Jones\u003c/a>, the first AIDS Memorial Quilt panels were made in 1987. Each panel measures three by six feet, roughly the size of a human grave. \u003c/p>\n\u003cfigure id=\"attachment_13989055\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed.jpg\" alt=\"view into storage space with folded quilts stacked high on shelves\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13989055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-19-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">A San Leandro warehouse houses the AIDS Memorial Quilt. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Panels are then sewn into 12-by-12-foot blocks by Gert McMullin, the so-called \u003ca href=\"https://www.aidsmemorial.org/post/gert-mcmullin\">mother of the quilt\u003c/a>, who thoughtfully creates a miniature crazy quilt in every block, joining panels with similar colors and patterns. When publicly displayed, viewers can read panels from any side of the block.\u003c/p>\n\u003cp>While sections are always loaned out for public displays, most of the quilt is stored in a warehouse a 10-minute drive from the makeshift photography studio. Heavy quilt blocks catalogued and carefully folded sit in stacks on ceiling-high shelves. A few requisite ladders are scattered throughout the skylight-lit space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Survivors continue to make and send new quilt panels to the warehouse all the time. It’s also common for families cleaning out an attic to find a panel made many years ago and to contribute it now, including in the parcel notes and ephemera about the person who died of AIDS. \u003c/p>\n\u003cfigure id=\"attachment_13989060\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed.jpg\" alt=\"handwritten note from son to father on part of quilt, red hearts below\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-31-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A detail on a panel of the AIDS Memorial Quilt before it is photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams notes that some families make multiple panels for their loved one, like John Politano Jr.’s parents. Politano died of AIDS in 1986 at age 25, and his parents made a second panel in the late 1990s to continue his legacy. Currently, details on the second panel appear blurry online. But once new photos are taken and uploaded, anyone will be able to read their open letter to their child, which includes a moving description of the impact of public quilt exhibitions. \u003c/p>\n\u003cp>“Your first panel has faded through constant use, and that is okay. You see, if your panel did not get used, or was not seen by people from all over the country, then the message would not get out,” it reads. “AIDS is real, and real people die from AIDS. This new panel that Ma and I have made for you is different from the first, but the message is the same. \u003cem>You are our son, and we love you!\u003c/em>”\u003c/p>\n\u003ch2>An unfolding project\u003c/h2>\n\u003cp>Williams became the quilt’s manager 23 years ago in Atlanta, Georgia, where it was housed from 2001 until it returned to the Bay Area in 2021. The Library of Congress \u003ca href=\"https://blogs.loc.gov/folklife/2019/11/afc-is-acquiring-the-archival-collections-of-the-names-project-aids-memorial-quilt/\">assumed responsibility\u003c/a> for the over 200,000 photos, letters, news clippings, and other mementos that loved ones included when sending panels to the quilt caretakers.\u003c/p>\n\u003cp>In the U.S., more than 630,000 individuals have died of AIDS. Globally, the disease has killed 40 million people, with an additional estimated 40 million living with HIV. \u003c/p>\n\u003cp>In the past year, President Trump obliterated major global HIV/AIDS prevention and care programs by \u003ca href=\"https://www.npr.org/sections/goats-and-soda/2025/07/01/nx-s1-5452513/trump-usaid-foreign-aid-deaths\">shuttering USAID\u003c/a> and freezing foreign aid, which \u003ca href=\"https://www.npr.org/2026/04/23/g-s1-118221/hiv-aids-pepfar-trump-foreign-aid\">impacts projects like PEPFAR\u003c/a> (the President’s Emergency Plan for AIDS Relief), instituted in 2003. \u003c/p>\n\u003cfigure id=\"attachment_13989053\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed.jpg\" alt=\"older white man kneels and reaches across quilt\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-34-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Will Roczkos, with the National AIDS Memorial, helps clean panels of the AIDS Memorial Quilt before they are photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Quilt volunteer Roczkos noted that because of the current administration’s devastating actions, preserving the quilt and increasing accessibility to its handmade tributes feels more urgent than ever. “More people will die now,” he says, gesturing at a panel he’s gently cleaning with a tape roller, readying it for a photo.\u003c/p>\n\u003cp>Since its inception nearly 40 years ago, the quilt has been thoroughly documented, both the individual panels and the increasingly large-scale public displays. Even if someone has never seen the quilt panels on display, they may have a mental image of blocks spread across the National Mall in Washington, D.C. \u003c/p>\n\u003cp>During the first years of the COVID-19 pandemic, when physical exhibitions were suspended, database searches skyrocketed, with survivors of a new plague looking to the quilt for solace. (In 2020, McMullin and volunteers even \u003ca href=\"https://www.nbcnews.com/feature/nbc-out/extra-fabric-aids-memorial-quilt-used-coronavirus-masks-n1183501\">sewed cloth masks\u003c/a> using fabric leftover from quilt panels.)\u003c/p>\n\u003cp>Berg is one steward who’s worked on the project from the beginning. Over nearly 40 years, he’s held a variety of roles, including president of the board of directors for the NAMES Project, the quilt’s original moniker. He even photographed the quilt back in the late 1980s. \u003c/p>\n\u003cp>“Of course, the technology has improved,” he muses.\u003c/p>\n\u003cfigure id=\"attachment_13989058\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed.jpg\" alt=\"older white man kneels beside quilt with lint roller\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-27-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Berg, a volunteer, helps clean panels of the AIDS Memorial Quilt before they are photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, Williams has received several emails every week asking for high-quality photos of a loved one’s panel. While every panel is technically viewable online, small details are often blurry; the images were taken long ago, with lower-resolution cameras. \u003c/p>\n\u003cp>One evocative email from a parent asked whether Williams could share high-resolution photos from a quilt panel because a house fire had destroyed all other remaining photos of their son. Williams individually responds to every request by physically climbing a tall ladder, carrying a block to the floor, gently unfolding it, and photographing the desired panel.\u003c/p>\n\u003ch2>A stitched-together story\u003c/h2>\n\u003cp>To replace all of the images currently online with higher-resolution photos, Williams is \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSemDi4I0pS4mVBFM-M_LvI7zKgZARvEd1gG-h701y3S0wIvGw/viewform\">actively seeking support\u003c/a>. Volunteers work in pairs to clean each block and mount it vertically to be photographed. The work requires a lot of physicality, both kneeling over a block placed on an enormous stress mat, and moving around its circumference, bending and stretching to remove stray threads or tidy up the endless messiness of glitter. \u003c/p>\n\u003cp>Blocks with felt embellishments are managed separately, as pressed wool collects extensive debris, especially when displayed outdoors or on a lawn, and requires intensive cleaning.\u003c/p>\n\u003cfigure id=\"attachment_13989054\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed.jpg\" alt=\"photo flash umbrellas surround a large-scale quilt hanging on wall\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260415-AIDSMemorialQuilt-26-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A panel of the AIDS Memorial Quilt hangs to be photographed for an archiving project at a warehouse in San Leandro on April 15, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once a block is ready to be photographed, a cord is pulled taut through its grommets to vertically position it against a thick black background panel. Four large white numbers attached to one side of the backing panel are changed out, depicting each block number, the cataloging system for a project of this magnitude. Caretakers remove any last bits of dust or debris with yet another tape roller on a comically long-armed handle. \u003c/p>\n\u003cp>As seasoned volunteers like Berg and Roczkos fall into a rhythm, the entire per-block process can drop to between three and six minutes. Over two recent days at the studio space, the two men cleaned and mounted 90 blocks for photos.\u003c/p>\n\u003cp>This massive undertaking ensures that the physical panels, and all the lives they honor, will be preserved and accessible to all, for all time. \u003c/p>\n\u003cp>“This is how volunteers help tell the story of the quilt,” Williams says. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>To volunteer with the AIDS Memorial Quilt redigitization project, \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSemDi4I0pS4mVBFM-M_LvI7zKgZARvEd1gG-h701y3S0wIvGw/viewform\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "art-museum-from-bed-m-eilo-san-francisco-accessibility-disability",
"title": "With ‘Art Museum From Bed,’ M Eilo Loans Sculptures to Disabled San Franciscans",
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"headTitle": "With ‘Art Museum From Bed,’ M Eilo Loans Sculptures to Disabled San Franciscans | KQED",
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"content": "\u003cp>If you’re a disabled San Franciscan who can’t make it to a museum, art can come to you thanks to \u003ca href=\"https://www.blinkpopshift.com/project-pages/art-museum-from-bed\">Art Museum From Bed\u003c/a> by M Eilo.\u003c/p>\n\u003cp>Eilo loans out interactive sculptures, or \u003cem>Sensation Models\u003c/em>, that one can hug and cuddle. Most of them engage multiple senses. And if you accidentally drop your art piece, or your pet or child knocks it over, no problem. Eilo designed it with the realities of home display in mind.\u003c/p>\n\u003cp>Eilo is a disabled San Francisco artist who lives with autism and chronic illnesses, and their work centers disabled audiences. They’re known for using artificial intelligence to build computational prosthetics, wearable art pieces that perform social and bodily tasks like smiling or logging memories. They also run an online series called \u003ca href=\"https://www.blinkpopshift.com/project-pages/art-school-from-bed\">Art School From Bed\u003c/a>, short videos about art history and technique specifically for other artists who are chronically ill.\u003c/p>\n\u003cfigure id=\"attachment_13974864\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974864\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-14-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-14-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-14-KQED-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-14-KQED-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-14-KQED-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-14-KQED-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-14-KQED-1536x1010.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-14-KQED-1920x1262.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">M Eilo’s ‘Sensation Models,’ made of reclaimed fiber and rope, at their home and studio in San Francisco on April 17, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eilo has been making textile sculptures — from handheld to furniture-scale pieces — for nearly 20 years. To create art in the shape and texture of their chronic hemiplegic migraines, they began crocheting sofa-size sculptures in 2006. During the 2010s, they shifted to making \u003cem>Wearable Pillows\u003c/em>, accessories that are both decorative and supportive of their body when passing through harsh and inaccessible spaces.\u003c/p>\n\u003cp>Two years ago, Eilo began experimenting with \u003cem>Sensation Models\u003c/em>. Made from an assortment of reclaimed materials including used rope and unraveled knitwear, the semi-soft, semi-flexible, amorphous forms arose out of Eilo’s desire to get beyond pain scales that doctors often use. Like many, Eilo feels constrained by charts and questions such as, “On a scale of 1-10, how much does it hurt?” Instead, they imagine alternative methods for expressing the sensations their body enjoys and endures. Lumpy purple tentacles and pink patchwork blobs feel much more expressive.\u003c/p>\n\u003cfigure id=\"attachment_13974863\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974863\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-12-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-12-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">M Eilo holds ‘Art Snacks,’ which they give away for free, at their home in San Francisco on April 17, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I started \u003cem>Sensation Models\u003c/em>, I challenged myself to expand beyond my own body and make works for the homes, bodies and lives of my disabled neighbors across the Bay Area,” Eilo explains. From the beginning, the idea was to lend these pieces out. After they return to Eilo, they are cleaned and quarantined before they move to the next home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though Eilo previously experimented with loaning out and giving away pieces to low-income community members, the logistics in running Art Museum From Bed have been an unexpected challenge for someone with \u003ca href=\"https://health.clevelandclinic.org/spoon-theory-chronic-illness\">low spoons\u003c/a>. It may seem simple enough to exchange a few emails, deliver a piece and pick it up again. But as they note, “It turns out this level of social coordination uses up a lot of energy!”\u003c/p>\n\u003cfigure id=\"attachment_13974867\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974867\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-28-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-28-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-28-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-28-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-28-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-28-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-28-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-28-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">M Eilo holds quilt pieces at their home in San Francisco on April 17, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes borrowers come directly to them. On a recent Sunday afternoon, Eilo presented \u003cem>Sensation Models\u003c/em> to a small group gathered for a \u003ca href=\"https://fullytactileartsf.org/\">Fully Tactile Art\u003c/a> salon. Through intermittent public talks and a semi-annual gathering, the small tactile art consortium encourages local art that is first and foremost physically felt.\u003c/p>\n\u003cp>“I rarely have the opportunity to directly engage with creations,” says Jerry Kuns, Fully Tactile’s co-founder and accessibility consultant. Kuns is blind, and he notes that spoken or written descriptions are a poor substitute for the experience of feeling texture and shape.\u003c/p>\n\u003cfigure id=\"attachment_13974866\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974866\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-20-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-20-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-20-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-20-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-20-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-20-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-20-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-20-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">M Eilo plays with their four-year-old dog Omelet at their home and studio in San Francisco on April 17, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My perspective is that most art forms are multidimensional, and should be handled as well as viewed,” he adds, “in order to be appreciated and understood by the general public.” [aside postid='arts_13972628,arts_13971906' label='More Accessible Art']\u003c/p>\n\u003cp>By lending out work, Eilo turns borrowers into curators as they show the art to loved ones and encourage visitors to interact with the work in their homes. After all, they spend more time with \u003cem>Sensation Models\u003c/em> than museumgoers passing through a gallery, which offers a chance to contemplate how they feel.\u003c/p>\n\u003cp>“Hosts have told me stories of how the sculptures map to their own disabled experiences,” Eilo says, “how a specific spike, arm or twisted section of a sculpture, when felt in their hands, made them feel more connected to specific parts of their body.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And isn’t that the radical potential of evocative works, wherever we encounter them? Feeling more connected to ourselves, and others, may be the highest form of art appreciation.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re a disabled San Franciscan who can’t make it to a museum, art can come to you thanks to \u003ca href=\"https://www.blinkpopshift.com/project-pages/art-museum-from-bed\">Art Museum From Bed\u003c/a> by M Eilo.\u003c/p>\n\u003cp>Eilo loans out interactive sculptures, or \u003cem>Sensation Models\u003c/em>, that one can hug and cuddle. Most of them engage multiple senses. And if you accidentally drop your art piece, or your pet or child knocks it over, no problem. Eilo designed it with the realities of home display in mind.\u003c/p>\n\u003cp>Eilo is a disabled San Francisco artist who lives with autism and chronic illnesses, and their work centers disabled audiences. They’re known for using artificial intelligence to build computational prosthetics, wearable art pieces that perform social and bodily tasks like smiling or logging memories. They also run an online series called \u003ca href=\"https://www.blinkpopshift.com/project-pages/art-school-from-bed\">Art School From Bed\u003c/a>, short videos about art history and technique specifically for other artists who are chronically ill.\u003c/p>\n\u003cfigure id=\"attachment_13974864\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974864\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-14-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-14-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-14-KQED-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-14-KQED-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-14-KQED-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-14-KQED-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-14-KQED-1536x1010.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-14-KQED-1920x1262.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">M Eilo’s ‘Sensation Models,’ made of reclaimed fiber and rope, at their home and studio in San Francisco on April 17, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eilo has been making textile sculptures — from handheld to furniture-scale pieces — for nearly 20 years. To create art in the shape and texture of their chronic hemiplegic migraines, they began crocheting sofa-size sculptures in 2006. During the 2010s, they shifted to making \u003cem>Wearable Pillows\u003c/em>, accessories that are both decorative and supportive of their body when passing through harsh and inaccessible spaces.\u003c/p>\n\u003cp>Two years ago, Eilo began experimenting with \u003cem>Sensation Models\u003c/em>. Made from an assortment of reclaimed materials including used rope and unraveled knitwear, the semi-soft, semi-flexible, amorphous forms arose out of Eilo’s desire to get beyond pain scales that doctors often use. Like many, Eilo feels constrained by charts and questions such as, “On a scale of 1-10, how much does it hurt?” Instead, they imagine alternative methods for expressing the sensations their body enjoys and endures. Lumpy purple tentacles and pink patchwork blobs feel much more expressive.\u003c/p>\n\u003cfigure id=\"attachment_13974863\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974863\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-12-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-12-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">M Eilo holds ‘Art Snacks,’ which they give away for free, at their home in San Francisco on April 17, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I started \u003cem>Sensation Models\u003c/em>, I challenged myself to expand beyond my own body and make works for the homes, bodies and lives of my disabled neighbors across the Bay Area,” Eilo explains. From the beginning, the idea was to lend these pieces out. After they return to Eilo, they are cleaned and quarantined before they move to the next home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though Eilo previously experimented with loaning out and giving away pieces to low-income community members, the logistics in running Art Museum From Bed have been an unexpected challenge for someone with \u003ca href=\"https://health.clevelandclinic.org/spoon-theory-chronic-illness\">low spoons\u003c/a>. It may seem simple enough to exchange a few emails, deliver a piece and pick it up again. But as they note, “It turns out this level of social coordination uses up a lot of energy!”\u003c/p>\n\u003cfigure id=\"attachment_13974867\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974867\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-28-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-28-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-28-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-28-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-28-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-28-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-28-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-28-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">M Eilo holds quilt pieces at their home in San Francisco on April 17, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes borrowers come directly to them. On a recent Sunday afternoon, Eilo presented \u003cem>Sensation Models\u003c/em> to a small group gathered for a \u003ca href=\"https://fullytactileartsf.org/\">Fully Tactile Art\u003c/a> salon. Through intermittent public talks and a semi-annual gathering, the small tactile art consortium encourages local art that is first and foremost physically felt.\u003c/p>\n\u003cp>“I rarely have the opportunity to directly engage with creations,” says Jerry Kuns, Fully Tactile’s co-founder and accessibility consultant. Kuns is blind, and he notes that spoken or written descriptions are a poor substitute for the experience of feeling texture and shape.\u003c/p>\n\u003cfigure id=\"attachment_13974866\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974866\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-20-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-20-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-20-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-20-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-20-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-20-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-20-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250417_MEILO_GC-20-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">M Eilo plays with their four-year-old dog Omelet at their home and studio in San Francisco on April 17, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My perspective is that most art forms are multidimensional, and should be handled as well as viewed,” he adds, “in order to be appreciated and understood by the general public.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By lending out work, Eilo turns borrowers into curators as they show the art to loved ones and encourage visitors to interact with the work in their homes. After all, they spend more time with \u003cem>Sensation Models\u003c/em> than museumgoers passing through a gallery, which offers a chance to contemplate how they feel.\u003c/p>\n\u003cp>“Hosts have told me stories of how the sculptures map to their own disabled experiences,” Eilo says, “how a specific spike, arm or twisted section of a sculpture, when felt in their hands, made them feel more connected to specific parts of their body.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And isn’t that the radical potential of evocative works, wherever we encounter them? Feeling more connected to ourselves, and others, may be the highest form of art appreciation.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s a little after 7 p.m. on a cool January night in Oakland. At \u003ca href=\"https://wyldflowrarts.com/\">Wyldflowr Arts\u003c/a>, an inviting new arts space with cozy thrifted sofas, everyone in the 40-person audience has a signature look — a favorite respirator mask, that is. A white 3M Aura N95 with a decorative chain draped over the front. A neon orange KF94. A black Moldex Airwave N95 that resembles an armadillo.\u003c/p>\n\u003cp>On a table by the door, \u003ca href=\"https://www.instagram.com/mask4mask.bay.area/\">Mask 4 Mask Bay Area\u003c/a> displays free harm reduction supplies, including rapid antigen tests and more respirators, many equipped with airtight valves so concert-goers can consume bar drinks through a straw without unmasking. Around the room, four air purifiers quietly whirr.\u003c/p>\n\u003cp>The performers, some of whom unmask to sing or play wind instruments, have all taken a \u003ca href=\"https://covid19testingtoolkit.centerforhealthsecurity.org/basics/types-of-covid-19-tests/diagnostic-tests/molecular-tests\">molecular test for COVID-19\u003c/a>. That includes the opener, multigenre chanteuse \u003ca href=\"https://www.angeladedokun.com/\">Angel Adedokun\u003c/a>, and members of the headlining jazz fusion band \u003ca href=\"http://rebirthcanal.com/\">Rebirth Canal\u003c/a>, with Camille Mai on vocals and piano and her partner, \u003ca href=\"https://www.danielrieramusic.com/\">Daniel Riera\u003c/a>, on EWI (electronic wind instrument) and flute. Mai proudly notes she connected with drummer Shawn Myers and bassist Kevin Goldberg through the so-called COVID-cautious community, one of several terms for a loose, varied conglomerate of people who regularly mask and take other precautions against the spread of COVID and other airborne illnesses.\u003c/p>\n\u003cfigure id=\"attachment_13972640\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972640\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-scaled.jpg\" alt=\"A singer wearing a mask looks out onto the audience while her band sets up. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Camille Mai of Rebirth Canal makes an opening announcement. \u003ccite>(Jennifer Jupiter Benorden )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rebirth Canal and Adedokun will return to Wyldflower Arts for \u003ca href=\"https://www.eventbrite.com/e/rebirth-canal-angel-adedokun-a-covid-conscious-concert-tickets-1266881319129\">another COVID-conscious concert on April 27\u003c/a>. Their sold-out January performance attracted a wide array of fans. One attendee traveled from Davis for the show, while a couple living a few blocks away was able to attend due to the venue’s proximity to their home, even though one of them is otherwise mostly housebound due to disabilities. Another Oakland couple, who introduced themselves as Cal and Grant, are both high school teachers who mask and run air purifiers in their classrooms. They studied jazz and miss shows where they aren’t the only masked attendees.\u003c/p>\n\u003cp>“If I make a connection here and we want to try to be friends, I know we’re working from the same reality,” Cal explains while Grant sips his bottled Modelo through a straw, using the valve installed in his mask.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Camille Mai has long been \u003ca href=\"https://www.berkeleyside.org/2019/10/31/camille-mays-band-rebirth-canal-plays-the-back-room\">open about her chronic pain\u003c/a>. She also endured two difficult COVID infections that each left her in recovery for about three months. Mai’s soulful performances include subtle adaptations for her disabilities, such as beautiful piano solos between singing so she can catch her breath.\u003c/p>\n\u003cp>“I resigned myself to only playing outdoor shows until they invent PrEP for COVID,” she says, referencing the HIV-prevention drug.\u003c/p>\n\u003cfigure id=\"attachment_13972641\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972641\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-scaled.jpg\" alt=\"An audience at a small concert wears N95 masks. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Masks-required shows have an enthusiastic following of health-conscious music fans, some of whom are immunocompromised. \u003ccite>(Jennifer Jupiter Benorden )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although COVID transmission \u003ca href=\"https://www.mayoclinic.org/diseases-conditions/coronavirus/in-depth/safe-activities-during-covid19/art-20489385\">occurs outdoors\u003c/a>, better airflow and wind can lower the risk. But outdoor venues aren’t always an option, so at indoor shows it’s up to the audience to protect performers by masking. “For a while, I didn’t have any community on the same page with me,” Mai adds.\u003c/p>\n\u003cp>Slowly, though, like-minded musicians are finding one another. Noticing that Adedokun popped on a mask every time she rehearsed with Mai’s partner Riera, Mai asked her to join the bill for this latest show. Adedokun, whose soul-driven set featured Prince covers and original songs, says testing and masking is basic consideration of others’ safety. “Even if you may not care about COVID and how it affects your body, many people still do,” she explains. [aside postid='arts_13971906']\u003c/p>\n\u003cp>Mai started more actively seeking out other COVID-informed musicians after a \u003ca href=\"https://www.instagram.com/p/DBeOVOzPoY_/\">sold-out 2024 Halloween show\u003c/a> with \u003ca href=\"https://www.jiintodaybreak.com/\">Jiinto Daybreak\u003c/a>, an indie band that formed in early 2020, shortly before stay-at-home orders went into effect in San Francisco. Nao Luka, Jiinto Daybreak’s frontwoman, wasn’t sure if or how her band would ever perform publicly. She says it’s difficult as it is to be an independent musician, without these additional safety considerations. But after years of managing her own health conditions, she realized protecting her health is crucial for the longevity of her career.\u003c/p>\n\u003cp>“It’s really sad to hear about so many performers no longer being able to perform because of long COVID or other health issues that they developed after having COVID, as well as canceled shows and tours,” Luka explains. “I think most non-COVID-cautious musicians think about COVID precautions only being for the sake of disabled and immunocompromised folks, and don’t realize that these are real issues that the musicians themselves can be impacted by and are all at risk for.” [aside postid='arts_13961701']\u003c/p>\n\u003cp>While small collectives like the \u003ca href=\"https://www.kqed.org/arts/13961701/diy-museum-queer-collective-oakland-accessibilitiy\">DIY Museum\u003c/a> and large institutions like the Berkeley Repertory Theatre offer mask-required events, musicians have little to no institutional support. In the past year, local COVID-aware acts have assembled their own lineups for outdoor venues like \u003ca href=\"https://www.thenewfarmsf.org/\">The New Farm\u003c/a> and organized backyard and house shows that typically sold out within days. Last summer, on a short nationwide tour, singer-songwriter \u003ca href=\"https://zeoboekbinder.com/\">Zoe Boekbinder\u003c/a> booked COVID-safer venues and required masks. They played three nights at Bay Area venues, including an East Oakland private yard and in an alley behind a San Mateo music school run by a vocal coach who requires masks.\u003c/p>\n\u003cfigure id=\"attachment_13972642\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972642\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-scaled.jpg\" alt=\"A close-up of a table with zines, COVID tests and other supplies.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Mask 4 Mask offered free COVID tests, informational zines, masks and other supplies at Rebirth Canal’s January show at Wyldflower Arts. \u003ccite>(Britta Shoot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Boekbinder’s success was built in part on another masks-required tour by Seattle math rock band \u003ca href=\"https://glassbeach.band/\">Glass Beach\u003c/a>. When Glass Beach performed at San Francisco’s The Independent in April 2024, the band’s mask request was supported by a local mask bloc, \u003ca href=\"https://thesicktimes.org/2024/03/12/how-mask-blocs-are-keeping-communities-safe-with-neglected-government-stockpiles/\">a type of mutual aid group\u003c/a> that distributes free high-filtration masks. (Full disclosure: the reporter is part of \u003ca href=\"https://www.instagram.com/maskblocsunsetsf/#\">local groups that distributes free masks\u003c/a>, which supported the Glass Beach concert.)\u003c/p>\n\u003cp>Observing the unwavering demand for safer shows, Mai is pondering a bigger series, potentially featuring performers who might not take everyday precautions against airborne viruses but would be willing to take a molecular test to perform maskless for a wider audience. “There are world-class musicians whose shows aren’t accessible to us,” she says. “I’d love to bring them to this community.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Rebirth Canal and Angel Adedokun return to Wyldflower Arts in Oakland for a COVID-cautious concert on April 27. \u003ca href=\"https://www.eventbrite.com/e/rebirth-canal-angel-adedokun-a-covid-conscious-concert-tickets-1266881319129\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a little after 7 p.m. on a cool January night in Oakland. At \u003ca href=\"https://wyldflowrarts.com/\">Wyldflowr Arts\u003c/a>, an inviting new arts space with cozy thrifted sofas, everyone in the 40-person audience has a signature look — a favorite respirator mask, that is. A white 3M Aura N95 with a decorative chain draped over the front. A neon orange KF94. A black Moldex Airwave N95 that resembles an armadillo.\u003c/p>\n\u003cp>On a table by the door, \u003ca href=\"https://www.instagram.com/mask4mask.bay.area/\">Mask 4 Mask Bay Area\u003c/a> displays free harm reduction supplies, including rapid antigen tests and more respirators, many equipped with airtight valves so concert-goers can consume bar drinks through a straw without unmasking. Around the room, four air purifiers quietly whirr.\u003c/p>\n\u003cp>The performers, some of whom unmask to sing or play wind instruments, have all taken a \u003ca href=\"https://covid19testingtoolkit.centerforhealthsecurity.org/basics/types-of-covid-19-tests/diagnostic-tests/molecular-tests\">molecular test for COVID-19\u003c/a>. That includes the opener, multigenre chanteuse \u003ca href=\"https://www.angeladedokun.com/\">Angel Adedokun\u003c/a>, and members of the headlining jazz fusion band \u003ca href=\"http://rebirthcanal.com/\">Rebirth Canal\u003c/a>, with Camille Mai on vocals and piano and her partner, \u003ca href=\"https://www.danielrieramusic.com/\">Daniel Riera\u003c/a>, on EWI (electronic wind instrument) and flute. Mai proudly notes she connected with drummer Shawn Myers and bassist Kevin Goldberg through the so-called COVID-cautious community, one of several terms for a loose, varied conglomerate of people who regularly mask and take other precautions against the spread of COVID and other airborne illnesses.\u003c/p>\n\u003cfigure id=\"attachment_13972640\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972640\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-scaled.jpg\" alt=\"A singer wearing a mask looks out onto the audience while her band sets up. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Camille Mai of Rebirth Canal makes an opening announcement. \u003ccite>(Jennifer Jupiter Benorden )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rebirth Canal and Adedokun will return to Wyldflower Arts for \u003ca href=\"https://www.eventbrite.com/e/rebirth-canal-angel-adedokun-a-covid-conscious-concert-tickets-1266881319129\">another COVID-conscious concert on April 27\u003c/a>. Their sold-out January performance attracted a wide array of fans. One attendee traveled from Davis for the show, while a couple living a few blocks away was able to attend due to the venue’s proximity to their home, even though one of them is otherwise mostly housebound due to disabilities. Another Oakland couple, who introduced themselves as Cal and Grant, are both high school teachers who mask and run air purifiers in their classrooms. They studied jazz and miss shows where they aren’t the only masked attendees.\u003c/p>\n\u003cp>“If I make a connection here and we want to try to be friends, I know we’re working from the same reality,” Cal explains while Grant sips his bottled Modelo through a straw, using the valve installed in his mask.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Camille Mai has long been \u003ca href=\"https://www.berkeleyside.org/2019/10/31/camille-mays-band-rebirth-canal-plays-the-back-room\">open about her chronic pain\u003c/a>. She also endured two difficult COVID infections that each left her in recovery for about three months. Mai’s soulful performances include subtle adaptations for her disabilities, such as beautiful piano solos between singing so she can catch her breath.\u003c/p>\n\u003cp>“I resigned myself to only playing outdoor shows until they invent PrEP for COVID,” she says, referencing the HIV-prevention drug.\u003c/p>\n\u003cfigure id=\"attachment_13972641\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972641\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-scaled.jpg\" alt=\"An audience at a small concert wears N95 masks. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Masks-required shows have an enthusiastic following of health-conscious music fans, some of whom are immunocompromised. \u003ccite>(Jennifer Jupiter Benorden )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although COVID transmission \u003ca href=\"https://www.mayoclinic.org/diseases-conditions/coronavirus/in-depth/safe-activities-during-covid19/art-20489385\">occurs outdoors\u003c/a>, better airflow and wind can lower the risk. But outdoor venues aren’t always an option, so at indoor shows it’s up to the audience to protect performers by masking. “For a while, I didn’t have any community on the same page with me,” Mai adds.\u003c/p>\n\u003cp>Slowly, though, like-minded musicians are finding one another. Noticing that Adedokun popped on a mask every time she rehearsed with Mai’s partner Riera, Mai asked her to join the bill for this latest show. Adedokun, whose soul-driven set featured Prince covers and original songs, says testing and masking is basic consideration of others’ safety. “Even if you may not care about COVID and how it affects your body, many people still do,” she explains. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mai started more actively seeking out other COVID-informed musicians after a \u003ca href=\"https://www.instagram.com/p/DBeOVOzPoY_/\">sold-out 2024 Halloween show\u003c/a> with \u003ca href=\"https://www.jiintodaybreak.com/\">Jiinto Daybreak\u003c/a>, an indie band that formed in early 2020, shortly before stay-at-home orders went into effect in San Francisco. Nao Luka, Jiinto Daybreak’s frontwoman, wasn’t sure if or how her band would ever perform publicly. She says it’s difficult as it is to be an independent musician, without these additional safety considerations. But after years of managing her own health conditions, she realized protecting her health is crucial for the longevity of her career.\u003c/p>\n\u003cp>“It’s really sad to hear about so many performers no longer being able to perform because of long COVID or other health issues that they developed after having COVID, as well as canceled shows and tours,” Luka explains. “I think most non-COVID-cautious musicians think about COVID precautions only being for the sake of disabled and immunocompromised folks, and don’t realize that these are real issues that the musicians themselves can be impacted by and are all at risk for.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While small collectives like the \u003ca href=\"https://www.kqed.org/arts/13961701/diy-museum-queer-collective-oakland-accessibilitiy\">DIY Museum\u003c/a> and large institutions like the Berkeley Repertory Theatre offer mask-required events, musicians have little to no institutional support. In the past year, local COVID-aware acts have assembled their own lineups for outdoor venues like \u003ca href=\"https://www.thenewfarmsf.org/\">The New Farm\u003c/a> and organized backyard and house shows that typically sold out within days. Last summer, on a short nationwide tour, singer-songwriter \u003ca href=\"https://zeoboekbinder.com/\">Zoe Boekbinder\u003c/a> booked COVID-safer venues and required masks. They played three nights at Bay Area venues, including an East Oakland private yard and in an alley behind a San Mateo music school run by a vocal coach who requires masks.\u003c/p>\n\u003cfigure id=\"attachment_13972642\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972642\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-scaled.jpg\" alt=\"A close-up of a table with zines, COVID tests and other supplies.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Mask 4 Mask offered free COVID tests, informational zines, masks and other supplies at Rebirth Canal’s January show at Wyldflower Arts. \u003ccite>(Britta Shoot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Boekbinder’s success was built in part on another masks-required tour by Seattle math rock band \u003ca href=\"https://glassbeach.band/\">Glass Beach\u003c/a>. When Glass Beach performed at San Francisco’s The Independent in April 2024, the band’s mask request was supported by a local mask bloc, \u003ca href=\"https://thesicktimes.org/2024/03/12/how-mask-blocs-are-keeping-communities-safe-with-neglected-government-stockpiles/\">a type of mutual aid group\u003c/a> that distributes free high-filtration masks. (Full disclosure: the reporter is part of \u003ca href=\"https://www.instagram.com/maskblocsunsetsf/#\">local groups that distributes free masks\u003c/a>, which supported the Glass Beach concert.)\u003c/p>\n\u003cp>Observing the unwavering demand for safer shows, Mai is pondering a bigger series, potentially featuring performers who might not take everyday precautions against airborne viruses but would be willing to take a molecular test to perform maskless for a wider audience. “There are world-class musicians whose shows aren’t accessible to us,” she says. “I’d love to bring them to this community.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Rebirth Canal and Angel Adedokun return to Wyldflower Arts in Oakland for a COVID-cautious concert on April 27. \u003ca href=\"https://www.eventbrite.com/e/rebirth-canal-angel-adedokun-a-covid-conscious-concert-tickets-1266881319129\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Filmmaker Jenni Olson Is Bringing Landmark Queer Films Back to Screens",
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"content": "\u003cp>Like most good stories about underappreciated artists, filmmaker Arthur J. Bressan Jr.’s revival begins with a pile of cardboard boxes. Specifically, crates of scripts, correspondence and film reels sitting in a \u003ca href=\"https://www.frameline.org\">Frameline\u003c/a> office in 1992. In that pile, Jenni Olson, Bay Area filmmaker, curator, archivist, online pioneer and then-Frameline festival co-director, discovered what would become one of her biggest undertakings: bringing Bressan’s work back to audiences.\u003c/p>\n\u003cp>[aside postID='arts_13970047,arts_13970799']As with many tales of this kind, even after the physical media was rediscovered, copyright issues kept Bressan’s films in limbo for several more decades. Only recently has his powerful oeuvre begun to receive the praise it deserves, thanks to \u003ca href=\"https://bressanproject.wixsite.com/website\">The Bressan Project\u003c/a>, an ongoing effort by Olson and Bressan’s sister, Roe Bressan, to preserve, restore and distribute the work of the late filmmaker. \u003c/p>\n\u003cp>Before he died of AIDS in 1987, at age 44, Bressan was a filmmaker’s filmmaker, creating a vivid range of work including documentaries, narrative-driven pornography, and his 1985 landmark feature, \u003cem>Buddies\u003c/em>, the first dramatic film to focus on the HIV/AIDS pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13970983\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop.jpg\" alt=\"man in hospital smock and mask looks down at man on hospital bed\" width=\"1500\" height=\"1124\" class=\"size-full wp-image-13970983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-768x575.jpg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A still from Arthur J. Bressan’s ‘Buddies,’ 1985, screening at the Roxie on Feb. 22, 2025 as part of ’40 Years of Queer.’ \u003ccite>(Courtesy of Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was very proud that he made all kinds of movies. He felt it was all part of filmmaking,” Olson explains. “All of his work is instilled with a gay liberation ethos, even the porn films.” In the adult film \u003cem>Passing Strangers\u003c/em>, the characters march down Polk Street in the real-life 1974 Gay Freedom Day parade.\u003c/p>\n\u003cp>In Bressan’s commitment to depictions of joyful queer life set in San Francisco, Olson has an antecedent. Her own multihyphenate career is as much about preserving and presenting the work of others as it is about creating what she describes as “urban landscape essay films,” most of which feature San Francisco or California history as a character all its own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I always say my films are about a butch dyke pining over unavailable women, and some other topic,” she laughs.\u003c/p>\n\u003cp>In addition to spearheading Bressan’s revival, Olson is enjoying several retrospectives of her own work — both feature and short films — while curating multiple series on both sides of the Bay. Over the next few months, both filmmakers are getting their due, and local audiences are getting a chance to take in rare and important examples of queer cinema at the Berkeley Art Museum and Pacific Film Archive, the Roxie and 4 Star Theater. \u003c/p>\n\u003cfigure id=\"attachment_13970796\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000.jpg\" alt=\"portrait of person in plaid shirt with short gray hair, hand on chin\" width=\"2000\" height=\"2500\" class=\"size-full wp-image-13970796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1920x2400.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker, curator, archivist and online pioneer Jenni Olson is the force behind much of the queer cinema gracing Bay Area screens this winter and spring. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Queer film in the spotlight\u003c/h2>\n\u003cp>Through Feb. 23, BAMPFA is presenting the Olson-curated series \u003ca href=\"https://bampfa.org/program/masc-ii\">Masc II: Mascs plus Muchachas\u003c/a>, a celebration of masc, butch, and trans-focused films (a follow-up to \u003ca href=\"https://www.kqed.org/arts/13950600/bampfa-film-masc-trans-men-butch-dykes-gender-nonconforming-heroes\">last year’s Masc series\u003c/a>, co-curated by Olson). \u003c/p>\n\u003cp>This year’s lineup includes several remarkable rarities, including Shusuke Kaneko’s 1988 soft-focus fantasy \u003cem>Summer Vacation 1999\u003c/em>, a gender-bending melodrama that largely fell out of circulation in the past three decades. And screening in the Bay Area for the first time in 74 years, \u003cem>Muchachas de uniforme\u003c/em> is a 1951 Mexico remake of \u003cem>Mädchen in Uniform\u003c/em>, a cult classic considered the first openly lesbian film.\u003c/p>\n\u003cp>On Monday, Feb. 24 — the day after the BAMPFA series wraps — the 4 Star Theater screens \u003cem>\u003ca href=\"https://www.4-star-movies.com/calendar-of-events/juice-7-pm-a-post-screening-discussion-with-queer-archivistfilmmaker-jenni-olson\">Juice\u003c/a>\u003c/em>, Bressan’s final adult film, to an audience 18 and over. (Yes, attendees will be carded.) Olson will introduce and then lead a post-screening discussion.\u003c/p>\n\u003cfigure id=\"attachment_13970793\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004.jpg\" alt=\"a person in a uniform sits on a windowsill reading\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13970793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Shusuke Kaneko’s 1988 film ‘Summer Vacation 1999.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And starting Feb. 16 and spanning several months this spring, moviegoers have the opportunity to take in Olson’s exciting lineup, \u003ca href=\"https://roxie.com/series/40-years-of-queer/\">40 Years of Queer\u003c/a>, co-curated with Roxie Executive Director Lex Sloan. Included in the program is Bressan’s \u003cem>Buddies\u003c/em>.\u003c/p>\n\u003cp>Centered on two gay men who connect through an HIV hospice support program, \u003cem>Buddies\u003c/em> feels like both a time capsule and timeless. It’s a beautifully simple narrative film with an invaluable premise: We can and do change one another’s lives, especially when pandemics force us to face our own purpose and mortality. (If you miss the Roxie screening, \u003cem>Buddies\u003c/em> is currently on the \u003ca href=\"https://www.criterionchannel.com/buddies\">Criterion Channel\u003c/a>, and the San Francisco Public Library has both the DVD and Blu-ray discs.)\u003c/p>\n\u003cp>The Roxie series is rounded out with April screenings of Olson’s own lyrical features, \u003cem>\u003ca href=\"https://roxie.com/film/the-royal-road-2015-575-castro-st-2008/\">The Royal Road\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://roxie.com/film/the-joy-of-life-2005-blue-diary-1998/\">The Joy of Life\u003c/a>\u003c/em>. Each is paired with a short film, \u003cem>575 Castro Street\u003c/em> and \u003cem>Blue Diary\u003c/em>, respectively, the latter featuring notable time markers such as sub-$2-a-gallon fuel prices and the \u003ca href=\"https://www.foundsf.org/index.php?title=17_Reasons_Remembered\">17 Reasons Why! sign\u003c/a>, formerly located at 17th and Mission.\u003c/p>\n\u003cfigure id=\"attachment_13970981\" class=\"wp-caption aligncenter\" style=\"max-width: 1435px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson.png\" alt=\"San Francisco city street in shadow with '17 Reasons Why!' sign at center\" width=\"1435\" height=\"1075\" class=\"size-full wp-image-13970981\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson.png 1435w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-800x599.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-1020x764.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-768x575.png 768w\" sizes=\"auto, (max-width: 1435px) 100vw, 1435px\">\u003cfigcaption class=\"wp-caption-text\">A production still from Jenni Olson’s short film ‘Blue Diary,’ 1998. \u003ccite>(Courtesy of Jenni Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A filmmaking conversation across time\u003c/h2>\n\u003cp>Olson has been shooting 16mm film in the Bay Area since 1997. Her films draw on a rich reservoir of hyperlocal landmarks and iconography, so similar to the way Bressan pulled from elements of queer life in real time. \u003c/p>\n\u003cp>“My work is so anchored in the Bay Area, so I’m particularly excited for my films to show at the Roxie and BAMPFA and connect with audiences who appreciate this is the \u003cem>real\u003c/em> Bay Area,” Olson says. These screenings and Q&As may double as gentle promotion for her next feature, \u003cem>\u003ca href=\"https://tellmeeverythingwillbeokay.weebly.com\">Tell Me Everything Will Be Okay\u003c/a>\u003c/em>, currently in the early stages of production.\u003c/p>\n\u003cp>Thanks to Olson’s stewardship, the contents of those once-neglected boxes found in the Frameline offices have joined proper archives, with Bressan’s papers now part of Cornell University’s \u003ca href=\"https://rare.library.cornell.edu/human-sexuality-collection/\">Human Sexuality Collection\u003c/a>, and his films preserved and restored by the \u003ca href=\"https://www.cinema.ucla.edu\">UCLA Film and Television Archive\u003c/a>. \u003c/p>\n\u003cp>https://vimeo.com/444287121\u003c/p>\n\u003cp>Increasingly, his films are moving onto digital platforms and reaching even more audiences. The Criterion Channel is currently streaming the restored documentary \u003cem>\u003ca href=\"https://www.criterionchannel.com/gay-usa\">Gay USA\u003c/a>\u003c/em>, a 72-minute collage of 1977 Gay Freedom Day march footage from six cities, including evocative and delightful interviews set against San Francisco’s Market Street and Civic Center.\u003c/p>\n\u003cp>Even though they never met, Olson’s and Bressan’s films speak to each other. Both draw inspiration from Frank Capra melodramas, but their work commits to a sincerity that makes audiences feel deeply. Neither veers into maudlin territory. \u003c/p>\n\u003cp>“My work is very engaged with vulnerability on a lot of levels, and in that way it is ambitious and courageous,” Olson explains. Similarly, Bressan’s films are boldly queer-positive and earnestly romantic, especially his plot-driven adult films. It’s no surprise that audiences, including Olson, connect deeply with his work. \u003c/p>\n\u003cp>As Olson says, “I never knew Arthur, but I feel so close to him.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/program/masc-ii\">Masc II: Mascs plus Muchachas\u003c/a>,’ a film series curated by Jenni Olson, continues at the Berkeley Art Museum and Pacific Film Archive through Feb. 23. Arthur J. Bressan Jr.’s ‘\u003ca href=\"https://www.4-star-movies.com/calendar-of-events/juice-jenni-olson\">Juice\u003c/a>’ plays at the 4 Star Theater with a post-screening conversation with Olson on Feb. 24. ‘\u003ca href=\"https://roxie.com/series/40-years-of-queer/\">40 Years of Queer\u003c/a>’ plays at the Roxie Theater Feb. 16–April 8.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like most good stories about underappreciated artists, filmmaker Arthur J. Bressan Jr.’s revival begins with a pile of cardboard boxes. Specifically, crates of scripts, correspondence and film reels sitting in a \u003ca href=\"https://www.frameline.org\">Frameline\u003c/a> office in 1992. In that pile, Jenni Olson, Bay Area filmmaker, curator, archivist, online pioneer and then-Frameline festival co-director, discovered what would become one of her biggest undertakings: bringing Bressan’s work back to audiences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As with many tales of this kind, even after the physical media was rediscovered, copyright issues kept Bressan’s films in limbo for several more decades. Only recently has his powerful oeuvre begun to receive the praise it deserves, thanks to \u003ca href=\"https://bressanproject.wixsite.com/website\">The Bressan Project\u003c/a>, an ongoing effort by Olson and Bressan’s sister, Roe Bressan, to preserve, restore and distribute the work of the late filmmaker. \u003c/p>\n\u003cp>Before he died of AIDS in 1987, at age 44, Bressan was a filmmaker’s filmmaker, creating a vivid range of work including documentaries, narrative-driven pornography, and his 1985 landmark feature, \u003cem>Buddies\u003c/em>, the first dramatic film to focus on the HIV/AIDS pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13970983\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop.jpg\" alt=\"man in hospital smock and mask looks down at man on hospital bed\" width=\"1500\" height=\"1124\" class=\"size-full wp-image-13970983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-768x575.jpg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A still from Arthur J. Bressan’s ‘Buddies,’ 1985, screening at the Roxie on Feb. 22, 2025 as part of ’40 Years of Queer.’ \u003ccite>(Courtesy of Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was very proud that he made all kinds of movies. He felt it was all part of filmmaking,” Olson explains. “All of his work is instilled with a gay liberation ethos, even the porn films.” In the adult film \u003cem>Passing Strangers\u003c/em>, the characters march down Polk Street in the real-life 1974 Gay Freedom Day parade.\u003c/p>\n\u003cp>In Bressan’s commitment to depictions of joyful queer life set in San Francisco, Olson has an antecedent. Her own multihyphenate career is as much about preserving and presenting the work of others as it is about creating what she describes as “urban landscape essay films,” most of which feature San Francisco or California history as a character all its own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I always say my films are about a butch dyke pining over unavailable women, and some other topic,” she laughs.\u003c/p>\n\u003cp>In addition to spearheading Bressan’s revival, Olson is enjoying several retrospectives of her own work — both feature and short films — while curating multiple series on both sides of the Bay. Over the next few months, both filmmakers are getting their due, and local audiences are getting a chance to take in rare and important examples of queer cinema at the Berkeley Art Museum and Pacific Film Archive, the Roxie and 4 Star Theater. \u003c/p>\n\u003cfigure id=\"attachment_13970796\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000.jpg\" alt=\"portrait of person in plaid shirt with short gray hair, hand on chin\" width=\"2000\" height=\"2500\" class=\"size-full wp-image-13970796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1920x2400.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker, curator, archivist and online pioneer Jenni Olson is the force behind much of the queer cinema gracing Bay Area screens this winter and spring. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Queer film in the spotlight\u003c/h2>\n\u003cp>Through Feb. 23, BAMPFA is presenting the Olson-curated series \u003ca href=\"https://bampfa.org/program/masc-ii\">Masc II: Mascs plus Muchachas\u003c/a>, a celebration of masc, butch, and trans-focused films (a follow-up to \u003ca href=\"https://www.kqed.org/arts/13950600/bampfa-film-masc-trans-men-butch-dykes-gender-nonconforming-heroes\">last year’s Masc series\u003c/a>, co-curated by Olson). \u003c/p>\n\u003cp>This year’s lineup includes several remarkable rarities, including Shusuke Kaneko’s 1988 soft-focus fantasy \u003cem>Summer Vacation 1999\u003c/em>, a gender-bending melodrama that largely fell out of circulation in the past three decades. And screening in the Bay Area for the first time in 74 years, \u003cem>Muchachas de uniforme\u003c/em> is a 1951 Mexico remake of \u003cem>Mädchen in Uniform\u003c/em>, a cult classic considered the first openly lesbian film.\u003c/p>\n\u003cp>On Monday, Feb. 24 — the day after the BAMPFA series wraps — the 4 Star Theater screens \u003cem>\u003ca href=\"https://www.4-star-movies.com/calendar-of-events/juice-7-pm-a-post-screening-discussion-with-queer-archivistfilmmaker-jenni-olson\">Juice\u003c/a>\u003c/em>, Bressan’s final adult film, to an audience 18 and over. (Yes, attendees will be carded.) Olson will introduce and then lead a post-screening discussion.\u003c/p>\n\u003cfigure id=\"attachment_13970793\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004.jpg\" alt=\"a person in a uniform sits on a windowsill reading\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13970793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Shusuke Kaneko’s 1988 film ‘Summer Vacation 1999.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And starting Feb. 16 and spanning several months this spring, moviegoers have the opportunity to take in Olson’s exciting lineup, \u003ca href=\"https://roxie.com/series/40-years-of-queer/\">40 Years of Queer\u003c/a>, co-curated with Roxie Executive Director Lex Sloan. Included in the program is Bressan’s \u003cem>Buddies\u003c/em>.\u003c/p>\n\u003cp>Centered on two gay men who connect through an HIV hospice support program, \u003cem>Buddies\u003c/em> feels like both a time capsule and timeless. It’s a beautifully simple narrative film with an invaluable premise: We can and do change one another’s lives, especially when pandemics force us to face our own purpose and mortality. (If you miss the Roxie screening, \u003cem>Buddies\u003c/em> is currently on the \u003ca href=\"https://www.criterionchannel.com/buddies\">Criterion Channel\u003c/a>, and the San Francisco Public Library has both the DVD and Blu-ray discs.)\u003c/p>\n\u003cp>The Roxie series is rounded out with April screenings of Olson’s own lyrical features, \u003cem>\u003ca href=\"https://roxie.com/film/the-royal-road-2015-575-castro-st-2008/\">The Royal Road\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://roxie.com/film/the-joy-of-life-2005-blue-diary-1998/\">The Joy of Life\u003c/a>\u003c/em>. Each is paired with a short film, \u003cem>575 Castro Street\u003c/em> and \u003cem>Blue Diary\u003c/em>, respectively, the latter featuring notable time markers such as sub-$2-a-gallon fuel prices and the \u003ca href=\"https://www.foundsf.org/index.php?title=17_Reasons_Remembered\">17 Reasons Why! sign\u003c/a>, formerly located at 17th and Mission.\u003c/p>\n\u003cfigure id=\"attachment_13970981\" class=\"wp-caption aligncenter\" style=\"max-width: 1435px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson.png\" alt=\"San Francisco city street in shadow with '17 Reasons Why!' sign at center\" width=\"1435\" height=\"1075\" class=\"size-full wp-image-13970981\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson.png 1435w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-800x599.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-1020x764.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-768x575.png 768w\" sizes=\"auto, (max-width: 1435px) 100vw, 1435px\">\u003cfigcaption class=\"wp-caption-text\">A production still from Jenni Olson’s short film ‘Blue Diary,’ 1998. \u003ccite>(Courtesy of Jenni Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A filmmaking conversation across time\u003c/h2>\n\u003cp>Olson has been shooting 16mm film in the Bay Area since 1997. Her films draw on a rich reservoir of hyperlocal landmarks and iconography, so similar to the way Bressan pulled from elements of queer life in real time. \u003c/p>\n\u003cp>“My work is so anchored in the Bay Area, so I’m particularly excited for my films to show at the Roxie and BAMPFA and connect with audiences who appreciate this is the \u003cem>real\u003c/em> Bay Area,” Olson says. These screenings and Q&As may double as gentle promotion for her next feature, \u003cem>\u003ca href=\"https://tellmeeverythingwillbeokay.weebly.com\">Tell Me Everything Will Be Okay\u003c/a>\u003c/em>, currently in the early stages of production.\u003c/p>\n\u003cp>Thanks to Olson’s stewardship, the contents of those once-neglected boxes found in the Frameline offices have joined proper archives, with Bressan’s papers now part of Cornell University’s \u003ca href=\"https://rare.library.cornell.edu/human-sexuality-collection/\">Human Sexuality Collection\u003c/a>, and his films preserved and restored by the \u003ca href=\"https://www.cinema.ucla.edu\">UCLA Film and Television Archive\u003c/a>. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Increasingly, his films are moving onto digital platforms and reaching even more audiences. The Criterion Channel is currently streaming the restored documentary \u003cem>\u003ca href=\"https://www.criterionchannel.com/gay-usa\">Gay USA\u003c/a>\u003c/em>, a 72-minute collage of 1977 Gay Freedom Day march footage from six cities, including evocative and delightful interviews set against San Francisco’s Market Street and Civic Center.\u003c/p>\n\u003cp>Even though they never met, Olson’s and Bressan’s films speak to each other. Both draw inspiration from Frank Capra melodramas, but their work commits to a sincerity that makes audiences feel deeply. Neither veers into maudlin territory. \u003c/p>\n\u003cp>“My work is very engaged with vulnerability on a lot of levels, and in that way it is ambitious and courageous,” Olson explains. Similarly, Bressan’s films are boldly queer-positive and earnestly romantic, especially his plot-driven adult films. It’s no surprise that audiences, including Olson, connect deeply with his work. \u003c/p>\n\u003cp>As Olson says, “I never knew Arthur, but I feel so close to him.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/program/masc-ii\">Masc II: Mascs plus Muchachas\u003c/a>,’ a film series curated by Jenni Olson, continues at the Berkeley Art Museum and Pacific Film Archive through Feb. 23. Arthur J. Bressan Jr.’s ‘\u003ca href=\"https://www.4-star-movies.com/calendar-of-events/juice-jenni-olson\">Juice\u003c/a>’ plays at the 4 Star Theater with a post-screening conversation with Olson on Feb. 24. ‘\u003ca href=\"https://roxie.com/series/40-years-of-queer/\">40 Years of Queer\u003c/a>’ plays at the Roxie Theater Feb. 16–April 8.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How a Queer Art Collective Built a Truly Accessible DIY Scene",
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"content": "\u003cp>Maybe on a long Sunday summer evening, you’ve seen the capes fluttering by Lake Merritt. Sometimes attendees join in, getting up to perform during the open drag set portion of Queer Mythos, the monthly lakeside drag show. It’s one of many events staged by \u003ca href=\"https://linktr.ee/diymuseum\">DIY Museum\u003c/a>, a Bay Area queer arts collective.\u003c/p>\n\u003cp>To be clear, DIY Museum is not a permanent physical gallery space. It’s a quietly radical art and event collective dedicated to fostering community and welcoming all, with a focus on prioritizing access for the most marginalized folks.\u003c/p>\n\u003cp>An outdoor drag show is a perfect example of the group’s commitment to accessibility and inclusion, words that often get tossed around in theory but are less frequently put into practice. Most DIY Museum events are entirely free of charge or low-cost ($10 or less). The collective partners with venues that are wheelchair accessible and easily reached by public transit, such as Oakland’s \u003ca href=\"https://www.rpscollective.org/\">Rock Paper Scissors Collective\u003c/a>, where many of the group’s 2024 events have been held so far. \u003c/p>\n\u003cfigure id=\"attachment_13961520\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-41-BL-KQED.jpg\" alt=\"Person stands with hands on hips in front of graffitied storefront\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13961520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-41-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-41-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-41-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-41-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-41-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-41-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-41-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">B Thompson brought the beginning elements of DIY Museum with them to the Bay Area when they moved from LA in 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Members of the collective, which now numbers over a dozen, organize events based on their own interests, and whatever they feel is missing from the arts community — whether that’s a creating exclusive designs for the second annual \u003ca href=\"https://www.eventbrite.com/e/sticker-faire-tickets-954429994807\">Sticker Faire\u003c/a> (coming up on Aug. 3) or holding a discussion on mutual aid.\u003c/p>\n\u003ch2>‘Can we start an art collective?’\u003c/h2>\n\u003cp>Founder B Thompson first had the idea for DIY Museum while studying at UCLA a few years ago. They started co-organizing events at the now-defunct \u003ca href=\"https://www.instagram.com/noustousla/\">Nous Tous Gallery\u003c/a>, including one called “Community Gatherings,” offline meet-ups organized around a theme like belonging or queerness and fluidity. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, Community Gatherings are a staple of DIY Museum’s programming, held every Wednesday evening. Starting in August, they’ll be at a new venue: Oakland’s \u003ca href=\"https://www.instagram.com/crisisclubgallery/?hl=en\">Crisis Club Gallery\u003c/a>. \u003c/p>\n\u003cp>Despite having deep roots in Los Angeles, the cost of going between Northern and Southern California became too great for Thompson. So in 2023, they settled permanently in the East Bay, working as a substitute teacher and focusing on building out DIY here. \u003c/p>\n\u003cfigure id=\"attachment_13961522\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-53-BL-KQED.jpg\" alt=\"Person stands on street corner in all-black outfit\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13961522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-53-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-53-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-53-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-53-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-53-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-53-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-53-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Piper, a member of the DIY Museum collective. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With collective member Ruby Piper, they met Mel Zaballos, who was already organizing monthly craft hang-outs in various San Francisco parks. “We can call it whatever, but can we start an art collective?” Thompson asked their friends. They all agreed to keep the name.\u003c/p>\n\u003cp>DIY Museum hosts open mic nights and organizes workshops on a wide variety of art practices, like papermaking, bookbinding and kandi bracelet-making. For those seeking likeminded company, “Do It Together” are low-key gatherings where anyone can show up with their own art supplies and make work while socializing. In addition to weekly Community Gatherings, the collective stages an average of \u003ca href=\"https://calendar.google.com/calendar/u/0/embed?src=cfeff5ce86a309147938375c1d95310d2eb2f53b0c2064b8657e7958958b2e24@group.calendar.google.com&ctz=America/Los_Angeles&pli=1\">half a dozen events\u003c/a> every month.\u003c/p>\n\u003ch2>Prioritizing accessibility\u003c/h2>\n\u003cp>As the frequency of events increased last fall, it became clear that accessibility would be a core value of their work. “Accessibility — especially COVID accessibility — is and has been really important to me because I’m immunocompromised. I also have a disability that limits my movement and general \u003ca href=\"https://www.psychologytoday.com/us/blog/full-catastrophe-parenting/202403/what-is-spoon-theory-and-why-is-it-important\">spoon levels\u003c/a>,” Piper explains. “I was so tired of missing out on events because they were not physically accessible to me. All I wanted for so long was community.”\u003c/p>\n\u003cfigure id=\"attachment_13961521\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-46-BL-KQED.jpg\" alt=\"Person poses smiling in front of window\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13961521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-46-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-46-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-46-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-46-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-46-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-46-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-46-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DIY Museum collective member Mel Zaballos. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In October 2023, pro-Palestinian protests were also raising awareness about the importance of masking, both to counter surveillance and protect people from airborne diseases. “Mask culture was starting to be normalized, and thankfully, we had people in our community who were outspoken in advocating for masks and accessibility,” Zaballos notes. “It’s nice to have a safe space for people where they know that we care.” \u003c/p>\n\u003cp>Thompson adds that accessibility — physically accessible spaces and requiring and providing high-quality masks such as KN95s with the support of \u003ca href=\"https://www.instagram.com/maskbloceastbay/\">Mask Bloc East Bay\u003c/a> — simply brings in bigger crowds. “People come to our events and say, ‘I wouldn’t have come if you weren’t masking,’” they say. \u003c/p>\n\u003cp>In January 2024, E Aviles joined the collective, drawn by these very principles. “At that phase of the pandemic, I felt increasingly socially isolated, like I didn’t have people around me who had the same social values,” they explain. \u003c/p>\n\u003cfigure id=\"attachment_13961517\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-17-BL-KQED.jpg\" alt=\"Group of masked people sit inside a shop in a circle\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13961517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-17-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-17-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-17-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-17-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-17-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-17-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-17-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the DIY Museum meet at the Crisis Club Gallery in Oakland on July 23, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meeting the DIY Museum collective, they felt like they could grow with the group. “I can be my full self here,” Aviles says, “in all the ways I am grieving, managing disability and sickness, feeling anger at the world at large, and navigating multiple identities.”\u003c/p>\n\u003cp>Part of the group’s work is imagining inaccessible events through an accessibility lens. Piper muses, “What does it look like to have a rave that is safe for people with seizures and is masked?” After the collective attended \u003ca href=\"https://www.instagram.com/crip_ecstasy/\">Crip Ecstasy\u003c/a>, a drag show and dance party at San Francisco’s CounterPulse last year, they’re planning to stage a similar, even more sensory-inclusive event.\u003c/p>\n\u003ch2>Building sustainably\u003c/h2>\n\u003cp>While values like access are steady, other exciting changes are constantly afoot. For example, Piper and Aviles, who both have science backgrounds, are looking at ways to spearhead workshops around science-related practices such as food cultivation, fermentation, composting and medicine-making. “STEM was pushed heavy on us and suffocated my artistic spirit — and I was complicit in that suffocation,” Aviles explains. “This collective tends to those wounds.” \u003c/p>\n\u003cfigure id=\"attachment_13961518\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-23-BL-KQED.jpg\" alt=\"Maked person draws on tablet \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13961518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-23-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-23-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-23-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-23-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-23-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-23-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-23-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Connor makes art that says ‘Do It Together’ during a meeting with fellow members of the DIY Museum at Crisis Club Gallery. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eventually, the collective dreams of moving into a permanent space. Their ideal location would be open for drop-in art-making, or simply offer an accessible, welcoming third space where people could hang out. They recently launched \u003ca href=\"https://comradery.co/diymuseum\">a profile on Comradery\u003c/a>, a creator subscription platform where they’re hoping to attract more sustainable financial support from community members. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s clear they’ve created something special. Desire for safe, artistic meeting points continues to grow. A year ago, DIY Museum might have welcomed five people to an event. Now, 50 people show up.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe on a long Sunday summer evening, you’ve seen the capes fluttering by Lake Merritt. Sometimes attendees join in, getting up to perform during the open drag set portion of Queer Mythos, the monthly lakeside drag show. It’s one of many events staged by \u003ca href=\"https://linktr.ee/diymuseum\">DIY Museum\u003c/a>, a Bay Area queer arts collective.\u003c/p>\n\u003cp>To be clear, DIY Museum is not a permanent physical gallery space. It’s a quietly radical art and event collective dedicated to fostering community and welcoming all, with a focus on prioritizing access for the most marginalized folks.\u003c/p>\n\u003cp>An outdoor drag show is a perfect example of the group’s commitment to accessibility and inclusion, words that often get tossed around in theory but are less frequently put into practice. Most DIY Museum events are entirely free of charge or low-cost ($10 or less). The collective partners with venues that are wheelchair accessible and easily reached by public transit, such as Oakland’s \u003ca href=\"https://www.rpscollective.org/\">Rock Paper Scissors Collective\u003c/a>, where many of the group’s 2024 events have been held so far. \u003c/p>\n\u003cfigure id=\"attachment_13961520\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-41-BL-KQED.jpg\" alt=\"Person stands with hands on hips in front of graffitied storefront\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13961520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-41-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-41-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-41-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-41-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-41-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-41-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-41-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">B Thompson brought the beginning elements of DIY Museum with them to the Bay Area when they moved from LA in 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Members of the collective, which now numbers over a dozen, organize events based on their own interests, and whatever they feel is missing from the arts community — whether that’s a creating exclusive designs for the second annual \u003ca href=\"https://www.eventbrite.com/e/sticker-faire-tickets-954429994807\">Sticker Faire\u003c/a> (coming up on Aug. 3) or holding a discussion on mutual aid.\u003c/p>\n\u003ch2>‘Can we start an art collective?’\u003c/h2>\n\u003cp>Founder B Thompson first had the idea for DIY Museum while studying at UCLA a few years ago. They started co-organizing events at the now-defunct \u003ca href=\"https://www.instagram.com/noustousla/\">Nous Tous Gallery\u003c/a>, including one called “Community Gatherings,” offline meet-ups organized around a theme like belonging or queerness and fluidity. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, Community Gatherings are a staple of DIY Museum’s programming, held every Wednesday evening. Starting in August, they’ll be at a new venue: Oakland’s \u003ca href=\"https://www.instagram.com/crisisclubgallery/?hl=en\">Crisis Club Gallery\u003c/a>. \u003c/p>\n\u003cp>Despite having deep roots in Los Angeles, the cost of going between Northern and Southern California became too great for Thompson. So in 2023, they settled permanently in the East Bay, working as a substitute teacher and focusing on building out DIY here. \u003c/p>\n\u003cfigure id=\"attachment_13961522\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-53-BL-KQED.jpg\" alt=\"Person stands on street corner in all-black outfit\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13961522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-53-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-53-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-53-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-53-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-53-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-53-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-53-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Piper, a member of the DIY Museum collective. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With collective member Ruby Piper, they met Mel Zaballos, who was already organizing monthly craft hang-outs in various San Francisco parks. “We can call it whatever, but can we start an art collective?” Thompson asked their friends. They all agreed to keep the name.\u003c/p>\n\u003cp>DIY Museum hosts open mic nights and organizes workshops on a wide variety of art practices, like papermaking, bookbinding and kandi bracelet-making. For those seeking likeminded company, “Do It Together” are low-key gatherings where anyone can show up with their own art supplies and make work while socializing. In addition to weekly Community Gatherings, the collective stages an average of \u003ca href=\"https://calendar.google.com/calendar/u/0/embed?src=cfeff5ce86a309147938375c1d95310d2eb2f53b0c2064b8657e7958958b2e24@group.calendar.google.com&ctz=America/Los_Angeles&pli=1\">half a dozen events\u003c/a> every month.\u003c/p>\n\u003ch2>Prioritizing accessibility\u003c/h2>\n\u003cp>As the frequency of events increased last fall, it became clear that accessibility would be a core value of their work. “Accessibility — especially COVID accessibility — is and has been really important to me because I’m immunocompromised. I also have a disability that limits my movement and general \u003ca href=\"https://www.psychologytoday.com/us/blog/full-catastrophe-parenting/202403/what-is-spoon-theory-and-why-is-it-important\">spoon levels\u003c/a>,” Piper explains. “I was so tired of missing out on events because they were not physically accessible to me. All I wanted for so long was community.”\u003c/p>\n\u003cfigure id=\"attachment_13961521\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-46-BL-KQED.jpg\" alt=\"Person poses smiling in front of window\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13961521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-46-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-46-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-46-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-46-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-46-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-46-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-46-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DIY Museum collective member Mel Zaballos. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In October 2023, pro-Palestinian protests were also raising awareness about the importance of masking, both to counter surveillance and protect people from airborne diseases. “Mask culture was starting to be normalized, and thankfully, we had people in our community who were outspoken in advocating for masks and accessibility,” Zaballos notes. “It’s nice to have a safe space for people where they know that we care.” \u003c/p>\n\u003cp>Thompson adds that accessibility — physically accessible spaces and requiring and providing high-quality masks such as KN95s with the support of \u003ca href=\"https://www.instagram.com/maskbloceastbay/\">Mask Bloc East Bay\u003c/a> — simply brings in bigger crowds. “People come to our events and say, ‘I wouldn’t have come if you weren’t masking,’” they say. \u003c/p>\n\u003cp>In January 2024, E Aviles joined the collective, drawn by these very principles. “At that phase of the pandemic, I felt increasingly socially isolated, like I didn’t have people around me who had the same social values,” they explain. \u003c/p>\n\u003cfigure id=\"attachment_13961517\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-17-BL-KQED.jpg\" alt=\"Group of masked people sit inside a shop in a circle\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13961517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-17-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-17-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-17-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-17-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-17-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-17-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-17-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the DIY Museum meet at the Crisis Club Gallery in Oakland on July 23, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meeting the DIY Museum collective, they felt like they could grow with the group. “I can be my full self here,” Aviles says, “in all the ways I am grieving, managing disability and sickness, feeling anger at the world at large, and navigating multiple identities.”\u003c/p>\n\u003cp>Part of the group’s work is imagining inaccessible events through an accessibility lens. Piper muses, “What does it look like to have a rave that is safe for people with seizures and is masked?” After the collective attended \u003ca href=\"https://www.instagram.com/crip_ecstasy/\">Crip Ecstasy\u003c/a>, a drag show and dance party at San Francisco’s CounterPulse last year, they’re planning to stage a similar, even more sensory-inclusive event.\u003c/p>\n\u003ch2>Building sustainably\u003c/h2>\n\u003cp>While values like access are steady, other exciting changes are constantly afoot. For example, Piper and Aviles, who both have science backgrounds, are looking at ways to spearhead workshops around science-related practices such as food cultivation, fermentation, composting and medicine-making. “STEM was pushed heavy on us and suffocated my artistic spirit — and I was complicit in that suffocation,” Aviles explains. “This collective tends to those wounds.” \u003c/p>\n\u003cfigure id=\"attachment_13961518\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-23-BL-KQED.jpg\" alt=\"Maked person draws on tablet \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13961518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-23-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-23-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-23-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-23-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-23-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-23-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240723-DIYMUSEUM-23-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Connor makes art that says ‘Do It Together’ during a meeting with fellow members of the DIY Museum at Crisis Club Gallery. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eventually, the collective dreams of moving into a permanent space. Their ideal location would be open for drop-in art-making, or simply offer an accessible, welcoming third space where people could hang out. They recently launched \u003ca href=\"https://comradery.co/diymuseum\">a profile on Comradery\u003c/a>, a creator subscription platform where they’re hoping to attract more sustainable financial support from community members. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s clear they’ve created something special. Desire for safe, artistic meeting points continues to grow. A year ago, DIY Museum might have welcomed five people to an event. Now, 50 people show up.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Cut Outdoor Cinema Lives Up to Pandemic Promises of Accessible Moviegoing",
"headTitle": "The Cut Outdoor Cinema Lives Up to Pandemic Promises of Accessible Moviegoing | KQED",
"content": "\u003cp>It was another Friday night out at the movies with a few noticeable differences. As I adjusted the tilt on my deck chair, a spotted mutt in a purple harness paced anxiously nearby, waiting for its human to return with hot popcorn. As the movie began, planes regularly crossed the skyline, pulling my attention away from the film ever so briefly. About halfway through the screening, the moon crept out from behind a glass tower.\u003c/p>\n\u003cp>\u003ca href=\"https://thecutoutdoorcinema.com/\">The Cut Outdoor Cinema\u003c/a> opened in 2022 to seemingly little fanfare. In the same area as new pickleball courts, soccer pitches, and an outdoor gym, the cinema occupies a dedicated parcel of the former temporary Transbay Terminal, now dubbed \u003ca href=\"https://www.eastcutcrossing.com/\">The Crossing\u003c/a>. With a bright 23-foot LED screen and noise-canceling headphones to keep viewers focused on the feature presentation, distractions common in indoor theaters — folks whisper-chatting, smartphone screens lit up by mid-movie texting — don’t even register here. The only major intrusion can be the sound system at the neighboring beer garden — that, and a good dog passing in an aisle.\u003c/p>\n\u003cp>I’d expected to enjoy the experience, especially as a person seeking safe entertainment options in a time when pandemic protections have been stripped from basically all public areas. But it wasn’t until I settled in to watch \u003cem>Clueless\u003c/em> on a recent evening that I realized how an outdoor cinema set up on a repurposed SoMa square feels like a necessarily inventive and radically inclusive space. I only regret that it took me so long to discover this delightful new option.\u003c/p>\n\u003cp>An outdoor cinema is the exact sort of creative, accessible venue I’d optimistically hoped would emerge — and remain — as a safer alternative to indoor spaces with poor ventilation, given all we’ve ostensibly learned about preventable airborne illness in the past few years. Located just two blocks from the bay, the breeziness and ability to spread out from other moviegoers is a benefit, not a drawback. It’s part of a flat-surface plaza, accessible for folks using mobility aids or with wheeled conveyances like strollers.\u003c/p>\n\u003cfigure id=\"attachment_13931427\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/TheCutSnacks_1920.jpg\" alt=\"Boxed candies and canned beverages displayed on a colorful Mexican blanket\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Snack and drink offerings at The Cut’s “Concessiontainer.” \u003ccite>(Noise Pop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The moviegoing logistics are as straightforward as they are charming. When buying a ticket, moviegoers choose their seating type — a canvas sling chair or Big Joe bean bag — and large blankets are free to borrow at the venue for cooler evenings. Warm hats are for sale in the adorable red “Concessiontainer,” along with snacks, soda and adult beverages from \u003ca href=\"https://www.monarchsf.com/\">Monarch\u003c/a>. (Like any other theater, no food or drink from outside the venue is allowed.) All are welcome, including babies and on-leash pets. Cash is not accepted. Tickets are priced per show, typically $16.75 for a deck chair or $26.75 for a bean bag and popcorn, plus Eventbrite fees. Monthly passes for unlimited access sell for just $29.99.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The venue has honed a certain j\u003cem>e ne sais quoi\u003c/em> of what plays best on a huge, vivid screen: big-budget newer releases, animated features, beloved throwbacks, and action flicks. There’s also seasonal sports and cultural programming. For example, the July calendar features numerous Major League Soccer and UEFA Champions League games, as well as the FIFA Women’s World Cup. (Sports broadcasts don’t have an entry fee but do require registering with the venue.)\u003c/p>\n\u003cp>Additionally, this month marks the partially-in-person return of the 17th annual \u003ca href=\"https://www.frozenfilmfestival.com/\">San Francisco Frozen Film Festival\u003c/a> (SFFFF), which is hosted only at The Cut Outdoor Cinema and online. The longtime SF festival went entirely virtual the past three years and is maintaining that option. But it will also screen new hyperlocal work at The Cut for the better part of a week starting on Wednesday, July 12, partnering with this inclusive physical venue to showcase work by filmmakers who are young, from marginalized communities, or creating socially-conscious art. Festival passes are $25, with film screenings also priced individually.\u003c/p>\n\u003cp>While The Cut Outdoor Cinema is open year-round, some of this summer’s outdoor moviegoing options in the Bay Area are timed for lazy summer days and (slightly) warmer nights. Most screenings are free-of-charge in public spaces.\u003c/p>\n\u003cfigure id=\"attachment_13931428\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920.jpg\" alt=\"Nighttime view of crowd on blankets in Dolores Park, large inflated screen in distance with three nuns and dialogue below.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Sister Act 2’ playing at Dolores Park in 2022 as part of Sundown Cinema. \u003ccite>(Courtesy SF Parks Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sundown Cinema in SF Parks\u003c/h2>\n\u003cp>Now in its fifth year, the San Francisco Parks Alliance \u003ca href=\"https://sanfranciscoparksalliance.org/projects/sundown-cinema/\">2023 Sundown Cinema\u003c/a> series kicked off on June 8 and is currently underway. Through October, catch a selection of all-ages movies at parks across the city. Join the \u003cem>Mamma Mia\u003c/em> singalong at Dolores Park on Aug. 18 or get in the Halloween spirit with \u003cem>Ghostbusters\u003c/em> (the 1984 original) at McLaren Park’s Jerry Garcia Amphitheater on Oct. 20. Showtimes vary by screening and park; check the SF Parks Alliance website for more information.\u003c/p>\n\u003ch2>Movie Nights in Mountain View\u003c/h2>\n\u003cp>A similar initiative enables peninsula-based movie buffs to catch free screenings at various Mountain View parks on Friday nights through August 11. The city’s \u003ca href=\"https://www.mountainview.gov/Home/Components/Calendar/Event/532/18\">Summer Outdoor Movie Night Series\u003c/a> includes \u003cem>Puss in Boots: The Last Wish\u003c/em> at Stevenson Park on July 21 and \u003cem>Black Panther: Wakanda Forever\u003c/em> at Eagle Park on Aug. 4. All shows begin at 8:30 p.m. or dark.\u003c/p>\n\u003ch2>Saturday Movies in San José\u003c/h2>\n\u003cp>San José’s downtown \u003ca href=\"https://sjdowntown.com/starlight-cinema/\">Starlight Cinema\u003c/a> also returns this year, staging Saturday movie nights in St. James Park. The 2023 lineup includes \u003cem>Ferris Bueller’s Day Off\u003c/em> on July 15, Moana on July 29, and \u003cem>Back to the Future\u003c/em> on Aug. 5. The films all start around 8:30 p.m., with pre-movie lawn games available an hour before showtime.\u003c/p>\n\u003ch2>August at BAMPFA\u003c/h2>\n\u003cp>The Berkeley Art Museum and Pacific Film Archive hosts another free summer series on its huge outdoor screen at the corner of Addison and Oxford Streets. The three-film program \u003ca href=\"https://bampfa.org/program/free-outdoor-screenings-art-animation\">focuses on animated features\u003c/a>, with \u003cem>Toy Story 2\u003c/em> on Aug. 3, \u003cem>Finding Nemo\u003c/em> on Aug. 17, and \u003cem>Persepolis\u003c/em> on Aug. 31. All screenings begin at 7 p.m.\u003c/p>\n\u003ch2>A Farm Film\u003c/h2>\n\u003cp>Free in Fremont on Saturday, Aug. 12 at 8 p.m., Ardenwood Historic Farm presents \u003cem>Lightyear\u003c/em> at this \u003ca href=\"https://anc.apm.activecommunities.com/ebparks/activity/search/detail/48601\">family-friendly sunset screening\u003c/a>. BYO chairs, snacks, and a flashlight. No pets.\u003c/p>\n\u003ch2>Local Flicks in Bernal\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Celebrating 20 years of screening diverse work by local filmmakers for no charge, the \u003ca href=\"https://bhoutdoorcine.org/\">Bernal Heights Outdoor Cinema\u003c/a> returns for three nights on September 8, 9 and 15. On Saturday, Sept. 9, make your way to Precita Park for a full evening of short film screenings, beginning at 6 p.m.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was another Friday night out at the movies with a few noticeable differences. As I adjusted the tilt on my deck chair, a spotted mutt in a purple harness paced anxiously nearby, waiting for its human to return with hot popcorn. As the movie began, planes regularly crossed the skyline, pulling my attention away from the film ever so briefly. About halfway through the screening, the moon crept out from behind a glass tower.\u003c/p>\n\u003cp>\u003ca href=\"https://thecutoutdoorcinema.com/\">The Cut Outdoor Cinema\u003c/a> opened in 2022 to seemingly little fanfare. In the same area as new pickleball courts, soccer pitches, and an outdoor gym, the cinema occupies a dedicated parcel of the former temporary Transbay Terminal, now dubbed \u003ca href=\"https://www.eastcutcrossing.com/\">The Crossing\u003c/a>. With a bright 23-foot LED screen and noise-canceling headphones to keep viewers focused on the feature presentation, distractions common in indoor theaters — folks whisper-chatting, smartphone screens lit up by mid-movie texting — don’t even register here. The only major intrusion can be the sound system at the neighboring beer garden — that, and a good dog passing in an aisle.\u003c/p>\n\u003cp>I’d expected to enjoy the experience, especially as a person seeking safe entertainment options in a time when pandemic protections have been stripped from basically all public areas. But it wasn’t until I settled in to watch \u003cem>Clueless\u003c/em> on a recent evening that I realized how an outdoor cinema set up on a repurposed SoMa square feels like a necessarily inventive and radically inclusive space. I only regret that it took me so long to discover this delightful new option.\u003c/p>\n\u003cp>An outdoor cinema is the exact sort of creative, accessible venue I’d optimistically hoped would emerge — and remain — as a safer alternative to indoor spaces with poor ventilation, given all we’ve ostensibly learned about preventable airborne illness in the past few years. Located just two blocks from the bay, the breeziness and ability to spread out from other moviegoers is a benefit, not a drawback. It’s part of a flat-surface plaza, accessible for folks using mobility aids or with wheeled conveyances like strollers.\u003c/p>\n\u003cfigure id=\"attachment_13931427\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/TheCutSnacks_1920.jpg\" alt=\"Boxed candies and canned beverages displayed on a colorful Mexican blanket\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Snack and drink offerings at The Cut’s “Concessiontainer.” \u003ccite>(Noise Pop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The moviegoing logistics are as straightforward as they are charming. When buying a ticket, moviegoers choose their seating type — a canvas sling chair or Big Joe bean bag — and large blankets are free to borrow at the venue for cooler evenings. Warm hats are for sale in the adorable red “Concessiontainer,” along with snacks, soda and adult beverages from \u003ca href=\"https://www.monarchsf.com/\">Monarch\u003c/a>. (Like any other theater, no food or drink from outside the venue is allowed.) All are welcome, including babies and on-leash pets. Cash is not accepted. Tickets are priced per show, typically $16.75 for a deck chair or $26.75 for a bean bag and popcorn, plus Eventbrite fees. Monthly passes for unlimited access sell for just $29.99.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The venue has honed a certain j\u003cem>e ne sais quoi\u003c/em> of what plays best on a huge, vivid screen: big-budget newer releases, animated features, beloved throwbacks, and action flicks. There’s also seasonal sports and cultural programming. For example, the July calendar features numerous Major League Soccer and UEFA Champions League games, as well as the FIFA Women’s World Cup. (Sports broadcasts don’t have an entry fee but do require registering with the venue.)\u003c/p>\n\u003cp>Additionally, this month marks the partially-in-person return of the 17th annual \u003ca href=\"https://www.frozenfilmfestival.com/\">San Francisco Frozen Film Festival\u003c/a> (SFFFF), which is hosted only at The Cut Outdoor Cinema and online. The longtime SF festival went entirely virtual the past three years and is maintaining that option. But it will also screen new hyperlocal work at The Cut for the better part of a week starting on Wednesday, July 12, partnering with this inclusive physical venue to showcase work by filmmakers who are young, from marginalized communities, or creating socially-conscious art. Festival passes are $25, with film screenings also priced individually.\u003c/p>\n\u003cp>While The Cut Outdoor Cinema is open year-round, some of this summer’s outdoor moviegoing options in the Bay Area are timed for lazy summer days and (slightly) warmer nights. Most screenings are free-of-charge in public spaces.\u003c/p>\n\u003cfigure id=\"attachment_13931428\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920.jpg\" alt=\"Nighttime view of crowd on blankets in Dolores Park, large inflated screen in distance with three nuns and dialogue below.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Sister Act 2’ playing at Dolores Park in 2022 as part of Sundown Cinema. \u003ccite>(Courtesy SF Parks Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sundown Cinema in SF Parks\u003c/h2>\n\u003cp>Now in its fifth year, the San Francisco Parks Alliance \u003ca href=\"https://sanfranciscoparksalliance.org/projects/sundown-cinema/\">2023 Sundown Cinema\u003c/a> series kicked off on June 8 and is currently underway. Through October, catch a selection of all-ages movies at parks across the city. Join the \u003cem>Mamma Mia\u003c/em> singalong at Dolores Park on Aug. 18 or get in the Halloween spirit with \u003cem>Ghostbusters\u003c/em> (the 1984 original) at McLaren Park’s Jerry Garcia Amphitheater on Oct. 20. Showtimes vary by screening and park; check the SF Parks Alliance website for more information.\u003c/p>\n\u003ch2>Movie Nights in Mountain View\u003c/h2>\n\u003cp>A similar initiative enables peninsula-based movie buffs to catch free screenings at various Mountain View parks on Friday nights through August 11. The city’s \u003ca href=\"https://www.mountainview.gov/Home/Components/Calendar/Event/532/18\">Summer Outdoor Movie Night Series\u003c/a> includes \u003cem>Puss in Boots: The Last Wish\u003c/em> at Stevenson Park on July 21 and \u003cem>Black Panther: Wakanda Forever\u003c/em> at Eagle Park on Aug. 4. All shows begin at 8:30 p.m. or dark.\u003c/p>\n\u003ch2>Saturday Movies in San José\u003c/h2>\n\u003cp>San José’s downtown \u003ca href=\"https://sjdowntown.com/starlight-cinema/\">Starlight Cinema\u003c/a> also returns this year, staging Saturday movie nights in St. James Park. The 2023 lineup includes \u003cem>Ferris Bueller’s Day Off\u003c/em> on July 15, Moana on July 29, and \u003cem>Back to the Future\u003c/em> on Aug. 5. The films all start around 8:30 p.m., with pre-movie lawn games available an hour before showtime.\u003c/p>\n\u003ch2>August at BAMPFA\u003c/h2>\n\u003cp>The Berkeley Art Museum and Pacific Film Archive hosts another free summer series on its huge outdoor screen at the corner of Addison and Oxford Streets. The three-film program \u003ca href=\"https://bampfa.org/program/free-outdoor-screenings-art-animation\">focuses on animated features\u003c/a>, with \u003cem>Toy Story 2\u003c/em> on Aug. 3, \u003cem>Finding Nemo\u003c/em> on Aug. 17, and \u003cem>Persepolis\u003c/em> on Aug. 31. All screenings begin at 7 p.m.\u003c/p>\n\u003ch2>A Farm Film\u003c/h2>\n\u003cp>Free in Fremont on Saturday, Aug. 12 at 8 p.m., Ardenwood Historic Farm presents \u003cem>Lightyear\u003c/em> at this \u003ca href=\"https://anc.apm.activecommunities.com/ebparks/activity/search/detail/48601\">family-friendly sunset screening\u003c/a>. BYO chairs, snacks, and a flashlight. No pets.\u003c/p>\n\u003ch2>Local Flicks in Bernal\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Celebrating 20 years of screening diverse work by local filmmakers for no charge, the \u003ca href=\"https://bhoutdoorcine.org/\">Bernal Heights Outdoor Cinema\u003c/a> returns for three nights on September 8, 9 and 15. On Saturday, Sept. 9, make your way to Precita Park for a full evening of short film screenings, beginning at 6 p.m.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Small, Sweet Bay Area Theaters Reopen Just in Time for Final Summer Days",
"headTitle": "Small, Sweet Bay Area Theaters Reopen Just in Time for Final Summer Days | KQED",
"content": "\u003cp>Summer brings some much-needed good news about several of the Bay Area’s most delightful movie theaters. By now, the “bad news” theme has become redundant, every story about a beloved venue uniquely terrible in the specifics. COVID-19 caused a number of screens to close in the past few years, including Landmark’s Embarcadero Cinema and \u003ca href=\"https://www.kqed.org/arts/13892596/historic-west-portal-theater-closes-permanently-due-to-pandemic\" rel=\"noopener noreferrer\" target=\"_blank\">West Portal’s CinéArts\u003c/a> at the Empire. The pandemic spurred the elimination of the \u003ca href=\"https://www.kqed.org/arts/13900656/sfmoma-cuts-bay-area-alternative-film\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA’s film programming\u003c/a>, while the \u003ca href=\"https://hoodline.com/2022/07/another-planet-entertainment-announces-town-hall-meeting-on-controversial-changes-to-historic-castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">Castro Theatre’s future\u003c/a> is uncertain.\u003c/p>\n\u003cp>The venues that survive have navigated rocky paths. While some cinemas reverted to standard procedures a while ago—and some barely closed at all, except when mandated by local governments in the first months of the pandemic—other Bay Area movie theaters have only recently resumed programming. Against the current trend of packing summer theater schedules with action hero franchise flicks, many of these enduring institutions focus on vintage fare and the opportunity to see movies in a particularly charming context with others—spaced out on an enormous lawn, for example.\u003c/p>\n\u003cp>At this stage of the pandemic, there are numerous options for moviegoers: indoor screenings, with and without masks mandated; free outdoor shows; and even a drive-in for loved ones and pods to take in a Friday night film in one vehicle.\u003c/p>\n\u003cfigure id=\"attachment_13917014\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-598748922_1200.jpg\" alt=\"Angled up view of marquee advertising old films\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13917014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The marquee for the Stanford Theatre on University Avenue, Palo Alto in 2016. \u003ccite>(Photo via Smith Collection/Gado/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Palo Alto’s movie palace is back\u003c/h2>\n\u003cp>Closed since March 1, 2020, the \u003ca href=\"https://stanfordtheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Stanford Theatre\u003c/a> in Palo Alto reopened in July with a new ventilation and air-conditioning system added to the 1925 building. Little else has changed for the red velvet curtain cinema, where a live organist plays the house Wurlitzer between classic double features, which cost just $7 ($5 for youth and seniors). If stars like Cary Grant, Katharine Hepburn and Humphrey Bogart are favorites—or you want to get acquainted with any of them—you likely either already love this Peninsula movie palace or need to make plans to pay a visit. \u003c/p>\n\u003cp>Even before the cinema added central air, summer has been a delightful time to disappear into an afternoon double bill. A favorite golden age pairing back in July 2017 had me snagging front-row seats—literally—to take in \u003cem>The Desk Set\u003c/em> as a matinee, followed by a live music intermission before \u003cem>The African Queen\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cinema stays affordable thanks to being entirely sustained by the Packard Humanities Institute, the nonprofit foundation founded by David Woodley Packard, an accomplished academic, \u003ca href=\"https://packhum.org/preserved.html\" rel=\"noopener noreferrer\" target=\"_blank\">tireless film preservationist\u003c/a>, and the son of Hewlett-Packard’s co-founder. \u003c/p>\n\u003cp>The \u003ca href=\"https://stanfordtheatre.org/calendars/Summer%202022.html\" rel=\"noopener noreferrer\" target=\"_blank\">Stanford Theatre schedule\u003c/a> is planned out through September, and available to view online. Tickets at the formerly all-cash box office can now be purchased with a credit or debit card, but this decidedly throwback theater still does only in-person ticket sales, and seating is first come, first serve. \u003c/p>\n\u003cfigure id=\"attachment_13917033\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-87226353_1200.jpg\" alt=\"Black-and-white image of movie set, men on horses and lights above\" width=\"1200\" height=\"948\" class=\"size-full wp-image-13917033\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-768x607.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Filming a Broncho Billy movie at Essanay Studios in Chicago, circa 1915. Broncho Billy, America’s first cowboy hero of the silver screen, is the second figure from the left, wearing chaps and a white hat. \u003ccite>(Photo by Chicago History Museum/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shh! No talking during the movie\u003c/h2>\n\u003cp>Tucked away in the Fremont district of Niles, the \u003ca href=\"https://nilesfilmmuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Niles Essanay Silent Film Museum\u003c/a> reopened in July after a two-year COVID closure. Its first 2022 in-person event, its annual Charlie Chaplin Days, paid homage to the icon who joined the Essanay motion picture studio at the end of 1914, months before his dramatic rise to worldwide fame the following year.\u003c/p>\n\u003cp>Founded in Chicago in 1907, the Essanay studio relocated to the enclave of Niles in 1912, seeking reprieve from the harsh Midwestern winters. Today, the company is best known for its enduring silent comedies, including the prolific work of the production studio’s co-founder, Gilbert “Broncho Billy” Anderson, who wrote, acted in, and edited many of the studio’s early films such as \u003cem>Mr. Flip\u003c/em>.\u003c/p>\n\u003cp>Rena Azevedo Kiehn, who directs the museum’s special programs and numerous community partnerships, notes that the silent film museum is reopening slowly, with no concessions at this time and COVID protections maintained for all. “We’re being respectful of the fact that a lot of our patrons and docents are seniors,” she said. Requiring masks and proof of vaccination for weekend-long lineups of talks and screenings, like last weekend’s Broncho Billy Days, keeps the programming accessible. \u003c/p>\n\u003cp>Depending on how the next few months unfold, the museum tentatively plans to continue special programs, like Halloween screenings, and ramp back up to regular weekly events by 2023. “We’d love to have more volunteers, which would allow us to do even more,” Kiehn added.\u003c/p>\n\u003cfigure id=\"attachment_13917034\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/west-side-story-epk_1200.jpg\" alt=\"Three women in red, yellow and orange dresses dance expressively on the street outside a bodega.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13917034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Steven Spielberg’s 2021 ‘West Side Story’ with Ariana DeBose (center) as Anita. \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An encore for Marin’s drive-in\u003c/h2>\n\u003cp>Larkspur’s Lark Theater is once again running its \u003ca href=\"http://larktheater.net/movie-category/special-events/larkdrivein/\" rel=\"noopener noreferrer\" target=\"_blank\">summertime drive-in\u003c/a>. Presented in a Corte Madera parking lot between the marsh and shopping center, the naturally distanced Friday-night screenings include family-friendly features like \u003cem>Home Alone\u003c/em> and the new \u003cem>West Side Story\u003c/em>, and animated movies such as \u003cem>Shrek\u003c/em> and \u003cem>Ratatouille\u003c/em>.\u003c/p>\n\u003cp>Tickets for the drive-in are only sold online, with prices at $17 or $30 per vehicle depending on the number of occupants. Screenings begin shortly after sundown, with the start times after 8pm staggered through the end of the season as the summer days shorten. Be on time! Latecomers may be denied entry.\u003c/p>\n\u003ch2>More—free!—moviegoing options\u003c/h2>\n\u003cp>The San Francisco Parks Alliance continues its annual SF-centric \u003ca href=\"https://sanfranciscoparksalliance.org/projects/sundown-cinema/\" rel=\"noopener noreferrer\" target=\"_blank\">Sundown Cinema\u003c/a> series with free outdoor screenings at various city parks through the fall. The season finale, Addams Family Values, screens at the Jerry Garcia Amphitheater in John McLaren Park on Friday, Oct. 21.\u003c/p>\n\u003cp>The Berkeley Arts Museum and Pacific Film Archive will host \u003ca href=\"https://bampfa.org/program/free-outdoor-screenings-indelible-moments-may-i-have-dance\" rel=\"noopener noreferrer\" target=\"_blank\">three free screenings\u003c/a> in August on its huge outdoor LED screen at Addison and Oxford Streets. If you’re craving even more silent film viewings, the lineup includes Charlie Chaplin in 1925’s \u003cem>The Gold Rush\u003c/em>, as well as modern classics directed by Jean-Luc Godard and Spike Lee.\u003c/p>\n\u003cp>https://youtu.be/QzGzZ3O1ibs\u003c/p>\n\u003cp>Even travelers passing through SFO’s international terminal have the opportunity to pause for some respite with moving images. The SFO Museum’s \u003ca href=\"https://www.sfomuseum.org/programs/video-arts\" rel=\"noopener noreferrer\" target=\"_blank\">Video Arts screening area\u003c/a> shows contemporary short films for free in a much-needed oasis now open again, 7am–10pm daily. \u003c/p>\n\u003cp>Four years ago, pausing in the Video Arts cinema before a flight, I was captivated by the short film \u003cem>\u003ca href=\"https://vimeo.com/244555885\" rel=\"noopener noreferrer\" target=\"_blank\">The Monolith\u003c/a>\u003c/em>, about the changing view from New York painter Gwyneth Leech’s studio windows. Her artistic response to the unfolding construction—a rumination on transitions—was especially evocative to me. There I was, transiting between my current and former home, watching a film by chance in a microcinema. Even under pre-COVID circumstances, travel often makes me anxious and ill, as much as it delights me. But the screening room muffled the noise from the nearby security checkpoint, allowing me to relax and hyper-focus on the film. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That afternoon, what could’ve been a forgettable waystation became a definitively memorable experience. Films seen in unique locales tend to stay with us, whether seen in historic theaters, parking lots or busy airports. We need only give ourselves over to a curator’s choice.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Summer brings some much-needed good news about several of the Bay Area’s most delightful movie theaters. By now, the “bad news” theme has become redundant, every story about a beloved venue uniquely terrible in the specifics. COVID-19 caused a number of screens to close in the past few years, including Landmark’s Embarcadero Cinema and \u003ca href=\"https://www.kqed.org/arts/13892596/historic-west-portal-theater-closes-permanently-due-to-pandemic\" rel=\"noopener noreferrer\" target=\"_blank\">West Portal’s CinéArts\u003c/a> at the Empire. The pandemic spurred the elimination of the \u003ca href=\"https://www.kqed.org/arts/13900656/sfmoma-cuts-bay-area-alternative-film\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA’s film programming\u003c/a>, while the \u003ca href=\"https://hoodline.com/2022/07/another-planet-entertainment-announces-town-hall-meeting-on-controversial-changes-to-historic-castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">Castro Theatre’s future\u003c/a> is uncertain.\u003c/p>\n\u003cp>The venues that survive have navigated rocky paths. While some cinemas reverted to standard procedures a while ago—and some barely closed at all, except when mandated by local governments in the first months of the pandemic—other Bay Area movie theaters have only recently resumed programming. Against the current trend of packing summer theater schedules with action hero franchise flicks, many of these enduring institutions focus on vintage fare and the opportunity to see movies in a particularly charming context with others—spaced out on an enormous lawn, for example.\u003c/p>\n\u003cp>At this stage of the pandemic, there are numerous options for moviegoers: indoor screenings, with and without masks mandated; free outdoor shows; and even a drive-in for loved ones and pods to take in a Friday night film in one vehicle.\u003c/p>\n\u003cfigure id=\"attachment_13917014\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-598748922_1200.jpg\" alt=\"Angled up view of marquee advertising old films\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13917014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The marquee for the Stanford Theatre on University Avenue, Palo Alto in 2016. \u003ccite>(Photo via Smith Collection/Gado/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Palo Alto’s movie palace is back\u003c/h2>\n\u003cp>Closed since March 1, 2020, the \u003ca href=\"https://stanfordtheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Stanford Theatre\u003c/a> in Palo Alto reopened in July with a new ventilation and air-conditioning system added to the 1925 building. Little else has changed for the red velvet curtain cinema, where a live organist plays the house Wurlitzer between classic double features, which cost just $7 ($5 for youth and seniors). If stars like Cary Grant, Katharine Hepburn and Humphrey Bogart are favorites—or you want to get acquainted with any of them—you likely either already love this Peninsula movie palace or need to make plans to pay a visit. \u003c/p>\n\u003cp>Even before the cinema added central air, summer has been a delightful time to disappear into an afternoon double bill. A favorite golden age pairing back in July 2017 had me snagging front-row seats—literally—to take in \u003cem>The Desk Set\u003c/em> as a matinee, followed by a live music intermission before \u003cem>The African Queen\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cinema stays affordable thanks to being entirely sustained by the Packard Humanities Institute, the nonprofit foundation founded by David Woodley Packard, an accomplished academic, \u003ca href=\"https://packhum.org/preserved.html\" rel=\"noopener noreferrer\" target=\"_blank\">tireless film preservationist\u003c/a>, and the son of Hewlett-Packard’s co-founder. \u003c/p>\n\u003cp>The \u003ca href=\"https://stanfordtheatre.org/calendars/Summer%202022.html\" rel=\"noopener noreferrer\" target=\"_blank\">Stanford Theatre schedule\u003c/a> is planned out through September, and available to view online. Tickets at the formerly all-cash box office can now be purchased with a credit or debit card, but this decidedly throwback theater still does only in-person ticket sales, and seating is first come, first serve. \u003c/p>\n\u003cfigure id=\"attachment_13917033\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-87226353_1200.jpg\" alt=\"Black-and-white image of movie set, men on horses and lights above\" width=\"1200\" height=\"948\" class=\"size-full wp-image-13917033\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-768x607.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Filming a Broncho Billy movie at Essanay Studios in Chicago, circa 1915. Broncho Billy, America’s first cowboy hero of the silver screen, is the second figure from the left, wearing chaps and a white hat. \u003ccite>(Photo by Chicago History Museum/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shh! No talking during the movie\u003c/h2>\n\u003cp>Tucked away in the Fremont district of Niles, the \u003ca href=\"https://nilesfilmmuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Niles Essanay Silent Film Museum\u003c/a> reopened in July after a two-year COVID closure. Its first 2022 in-person event, its annual Charlie Chaplin Days, paid homage to the icon who joined the Essanay motion picture studio at the end of 1914, months before his dramatic rise to worldwide fame the following year.\u003c/p>\n\u003cp>Founded in Chicago in 1907, the Essanay studio relocated to the enclave of Niles in 1912, seeking reprieve from the harsh Midwestern winters. Today, the company is best known for its enduring silent comedies, including the prolific work of the production studio’s co-founder, Gilbert “Broncho Billy” Anderson, who wrote, acted in, and edited many of the studio’s early films such as \u003cem>Mr. Flip\u003c/em>.\u003c/p>\n\u003cp>Rena Azevedo Kiehn, who directs the museum’s special programs and numerous community partnerships, notes that the silent film museum is reopening slowly, with no concessions at this time and COVID protections maintained for all. “We’re being respectful of the fact that a lot of our patrons and docents are seniors,” she said. Requiring masks and proof of vaccination for weekend-long lineups of talks and screenings, like last weekend’s Broncho Billy Days, keeps the programming accessible. \u003c/p>\n\u003cp>Depending on how the next few months unfold, the museum tentatively plans to continue special programs, like Halloween screenings, and ramp back up to regular weekly events by 2023. “We’d love to have more volunteers, which would allow us to do even more,” Kiehn added.\u003c/p>\n\u003cfigure id=\"attachment_13917034\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/west-side-story-epk_1200.jpg\" alt=\"Three women in red, yellow and orange dresses dance expressively on the street outside a bodega.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13917034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Steven Spielberg’s 2021 ‘West Side Story’ with Ariana DeBose (center) as Anita. \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An encore for Marin’s drive-in\u003c/h2>\n\u003cp>Larkspur’s Lark Theater is once again running its \u003ca href=\"http://larktheater.net/movie-category/special-events/larkdrivein/\" rel=\"noopener noreferrer\" target=\"_blank\">summertime drive-in\u003c/a>. Presented in a Corte Madera parking lot between the marsh and shopping center, the naturally distanced Friday-night screenings include family-friendly features like \u003cem>Home Alone\u003c/em> and the new \u003cem>West Side Story\u003c/em>, and animated movies such as \u003cem>Shrek\u003c/em> and \u003cem>Ratatouille\u003c/em>.\u003c/p>\n\u003cp>Tickets for the drive-in are only sold online, with prices at $17 or $30 per vehicle depending on the number of occupants. Screenings begin shortly after sundown, with the start times after 8pm staggered through the end of the season as the summer days shorten. Be on time! Latecomers may be denied entry.\u003c/p>\n\u003ch2>More—free!—moviegoing options\u003c/h2>\n\u003cp>The San Francisco Parks Alliance continues its annual SF-centric \u003ca href=\"https://sanfranciscoparksalliance.org/projects/sundown-cinema/\" rel=\"noopener noreferrer\" target=\"_blank\">Sundown Cinema\u003c/a> series with free outdoor screenings at various city parks through the fall. The season finale, Addams Family Values, screens at the Jerry Garcia Amphitheater in John McLaren Park on Friday, Oct. 21.\u003c/p>\n\u003cp>The Berkeley Arts Museum and Pacific Film Archive will host \u003ca href=\"https://bampfa.org/program/free-outdoor-screenings-indelible-moments-may-i-have-dance\" rel=\"noopener noreferrer\" target=\"_blank\">three free screenings\u003c/a> in August on its huge outdoor LED screen at Addison and Oxford Streets. If you’re craving even more silent film viewings, the lineup includes Charlie Chaplin in 1925’s \u003cem>The Gold Rush\u003c/em>, as well as modern classics directed by Jean-Luc Godard and Spike Lee.\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/QzGzZ3O1ibs'\n title='//www.youtube.com/embed/QzGzZ3O1ibs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even travelers passing through SFO’s international terminal have the opportunity to pause for some respite with moving images. The SFO Museum’s \u003ca href=\"https://www.sfomuseum.org/programs/video-arts\" rel=\"noopener noreferrer\" target=\"_blank\">Video Arts screening area\u003c/a> shows contemporary short films for free in a much-needed oasis now open again, 7am–10pm daily. \u003c/p>\n\u003cp>Four years ago, pausing in the Video Arts cinema before a flight, I was captivated by the short film \u003cem>\u003ca href=\"https://vimeo.com/244555885\" rel=\"noopener noreferrer\" target=\"_blank\">The Monolith\u003c/a>\u003c/em>, about the changing view from New York painter Gwyneth Leech’s studio windows. Her artistic response to the unfolding construction—a rumination on transitions—was especially evocative to me. There I was, transiting between my current and former home, watching a film by chance in a microcinema. Even under pre-COVID circumstances, travel often makes me anxious and ill, as much as it delights me. But the screening room muffled the noise from the nearby security checkpoint, allowing me to relax and hyper-focus on the film. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That afternoon, what could’ve been a forgettable waystation became a definitively memorable experience. Films seen in unique locales tend to stay with us, whether seen in historic theaters, parking lots or busy airports. We need only give ourselves over to a curator’s choice.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Heartfelt Stories From Healthcare Providers Bring Audiences ‘Together Again’",
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"content": "\u003cp>We’re living through an intense period of suffering. Among other crises, we’re dealing with gun and traffic violence, the anticipated imminent removal of abortion access, and, of course, the ongoing COVID-19 pandemic. As these catastrophes impact patients and survivors, violence and suffering also take a remarkable toll on healthcare providers and medical professionals. Physicians are, after all, just as human as folks in other professions, and even more front-line exposed to the effects of various disasters.\u003c/p>\n\u003cp>It’s in this moment of desperately needed support and catharsis that \u003ca href=\"https://thenocturnists.com\" rel=\"noopener noreferrer\" target=\"_blank\">The Nocturnists\u003c/a>, the Bay Area’s six-year-old storytelling series, by and for healthcare workers, is returning to the stage. Specifically, the first in-person event in over two years will take place at the Brava Theater stage in San Francisco on Friday, June 10. The night’s theme is fitting: “\u003ca href=\"https://thenocturnists.com/events-togetheragain\" rel=\"noopener noreferrer\" target=\"_blank\">Together Again\u003c/a>.” \u003c/p>\n\u003cp>Representing a diversity of healthcare disciplines and locations across the country, the event’s storytellers include artistically minded med students, a pediatric urgent care physician, and a hospice doc who is also studying for a master’s in divinity with a focus on peacemaking. Oakland composer and concert pianist Motoko Honda will perform original music.\u003c/p>\n\u003cfigure id=\"attachment_13914478\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Emily-Silverman_Photo-Kathleen-Scheffer_1200.jpg\" alt=\"Woman in blue suit stands at mic in front of band\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13914478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Emily-Silverman_Photo-Kathleen-Scheffer_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Emily-Silverman_Photo-Kathleen-Scheffer_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Emily-Silverman_Photo-Kathleen-Scheffer_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Emily-Silverman_Photo-Kathleen-Scheffer_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Emily-Silverman_Photo-Kathleen-Scheffer_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emily Silverman, creator and host of The Nocturnists at YBCA in 2020. \u003ccite>(Kathleen Scheffer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“After two years of isolation, we were craving an in-person experience,” explains \u003ca href=\"https://www.emilysilverman.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Dr. Emily Silverman\u003c/a>, an internal medicine physician and the founder of The Nocturnists. “We believe this gathering will be extra powerful, considering the trauma we’ve endured as healthcare workers, and the loneliness associated with that. Often the most potent forms of healing are communal.”\u003c/p>\n\u003cp>Silverman founded the storytelling series in 2016 during her third year as a med school resident at UCSF. She wanted to cultivate a restorative space for medical practitioners and others in the healthcare community coping with high levels of stress and burnout. What started with 40 people assembled in someone’s living room, with just a few cajoled into sharing their stories, has grown to a formal but still-intimate series of events with audiences in the hundreds. Today, healthcare professionals actively seek to be involved.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before each event, The Nocturnists \u003ca href=\"https://thenocturnists.com/ourteam\" rel=\"noopener noreferrer\" target=\"_blank\">team\u003c/a> coaches a storyteller through their narrative’s joys and difficulties. The exercise yields stronger performances, and offers therapeutic value to participants. “The story development journey, if you can let go of expectations and really surrender to the art itself, often results in beautiful and unexpected discoveries,” Silverman explains. “I wish every clinician could experience that.”\u003c/p>\n\u003cfigure id=\"attachment_13914476\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Audience_Photo-Kathleen-Scheffer_1200.jpg\" alt='View of crowd and band on stage with \"The Nocturnists\" projected behind' width=\"1200\" height=\"801\" class=\"size-full wp-image-13914476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Audience_Photo-Kathleen-Scheffer_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Audience_Photo-Kathleen-Scheffer_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Audience_Photo-Kathleen-Scheffer_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Audience_Photo-Kathleen-Scheffer_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Audience_Photo-Kathleen-Scheffer_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The crowd and stage at a 2020 event at YBCA. \u003ccite>(Kathleen Scheffer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even before COVID-19 forced The Nocturnists’ team to focus primarily on podcasting, the storytelling organization had evolved beyond live shows. In the past two years, the organization’s rich back catalog has expanded further to include two dynamic new audio diary series—one about the early months of the pandemic and the other featuring Black voices in healthcare. Silverman hosts a podcast interview series with medical authors such as cancer biologist and poet Jenny Qi and Dr. Elinor Cleghorn, author of \u003cem>Unwell Women: Misdiagnosis and Myth in a Man-Made World\u003c/em>. Another audio documentary series, about \u003ca href=\"https://thenocturnists.com/shame-in-medicine\" rel=\"noopener noreferrer\" target=\"_blank\">shame in medicine\u003c/a>, is slated to debut in the fall of 2022. And a few of the stories performed during “Together Again” will be featured in 2023 on the fifth season of The Nocturnists podcast.\u003c/p>\n\u003cp>Throughout these projects, the heart of The Nocturnists remains constant. It’s about the deeply human and humanizing experiences that healthcare workers all share at some point: unexpected connections with patients, the humility of hard decisions, and sometimes, the fortuitousness of beating the odds.\u003c/p>\n\u003cp>Like other shows held at the Brava this season, “Together Again” will follow strict safety protocols. Well-fitting masks are required, as is proof of vaccination and a booster shot, if eligible.\u003c/p>\n\u003cp>“The last live show feels like it was ages ago,” adds Dr. Silverman. “It’ll be great to tap back into the aliveness of performance.”\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>\n\u003cp>\u003cem>The Nocturnists’ ‘Together Again’ takes place Friday, June 10 at the Brava Theater (2781 24th St., San Francisco). Doors open at 6 p.m. and the show begins at 7pm. Ticket prices range from $20 to $50. \u003ca href=\"https://www.brava.org/all-events/nocturniststogetheragain\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re living through an intense period of suffering. Among other crises, we’re dealing with gun and traffic violence, the anticipated imminent removal of abortion access, and, of course, the ongoing COVID-19 pandemic. As these catastrophes impact patients and survivors, violence and suffering also take a remarkable toll on healthcare providers and medical professionals. Physicians are, after all, just as human as folks in other professions, and even more front-line exposed to the effects of various disasters.\u003c/p>\n\u003cp>It’s in this moment of desperately needed support and catharsis that \u003ca href=\"https://thenocturnists.com\" rel=\"noopener noreferrer\" target=\"_blank\">The Nocturnists\u003c/a>, the Bay Area’s six-year-old storytelling series, by and for healthcare workers, is returning to the stage. Specifically, the first in-person event in over two years will take place at the Brava Theater stage in San Francisco on Friday, June 10. The night’s theme is fitting: “\u003ca href=\"https://thenocturnists.com/events-togetheragain\" rel=\"noopener noreferrer\" target=\"_blank\">Together Again\u003c/a>.” \u003c/p>\n\u003cp>Representing a diversity of healthcare disciplines and locations across the country, the event’s storytellers include artistically minded med students, a pediatric urgent care physician, and a hospice doc who is also studying for a master’s in divinity with a focus on peacemaking. Oakland composer and concert pianist Motoko Honda will perform original music.\u003c/p>\n\u003cfigure id=\"attachment_13914478\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Emily-Silverman_Photo-Kathleen-Scheffer_1200.jpg\" alt=\"Woman in blue suit stands at mic in front of band\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13914478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Emily-Silverman_Photo-Kathleen-Scheffer_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Emily-Silverman_Photo-Kathleen-Scheffer_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Emily-Silverman_Photo-Kathleen-Scheffer_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Emily-Silverman_Photo-Kathleen-Scheffer_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Emily-Silverman_Photo-Kathleen-Scheffer_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emily Silverman, creator and host of The Nocturnists at YBCA in 2020. \u003ccite>(Kathleen Scheffer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“After two years of isolation, we were craving an in-person experience,” explains \u003ca href=\"https://www.emilysilverman.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Dr. Emily Silverman\u003c/a>, an internal medicine physician and the founder of The Nocturnists. “We believe this gathering will be extra powerful, considering the trauma we’ve endured as healthcare workers, and the loneliness associated with that. Often the most potent forms of healing are communal.”\u003c/p>\n\u003cp>Silverman founded the storytelling series in 2016 during her third year as a med school resident at UCSF. She wanted to cultivate a restorative space for medical practitioners and others in the healthcare community coping with high levels of stress and burnout. What started with 40 people assembled in someone’s living room, with just a few cajoled into sharing their stories, has grown to a formal but still-intimate series of events with audiences in the hundreds. Today, healthcare professionals actively seek to be involved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before each event, The Nocturnists \u003ca href=\"https://thenocturnists.com/ourteam\" rel=\"noopener noreferrer\" target=\"_blank\">team\u003c/a> coaches a storyteller through their narrative’s joys and difficulties. The exercise yields stronger performances, and offers therapeutic value to participants. “The story development journey, if you can let go of expectations and really surrender to the art itself, often results in beautiful and unexpected discoveries,” Silverman explains. “I wish every clinician could experience that.”\u003c/p>\n\u003cfigure id=\"attachment_13914476\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Audience_Photo-Kathleen-Scheffer_1200.jpg\" alt='View of crowd and band on stage with \"The Nocturnists\" projected behind' width=\"1200\" height=\"801\" class=\"size-full wp-image-13914476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Audience_Photo-Kathleen-Scheffer_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Audience_Photo-Kathleen-Scheffer_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Audience_Photo-Kathleen-Scheffer_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Audience_Photo-Kathleen-Scheffer_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Nocturnists-2020-YBCA_Audience_Photo-Kathleen-Scheffer_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The crowd and stage at a 2020 event at YBCA. \u003ccite>(Kathleen Scheffer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even before COVID-19 forced The Nocturnists’ team to focus primarily on podcasting, the storytelling organization had evolved beyond live shows. In the past two years, the organization’s rich back catalog has expanded further to include two dynamic new audio diary series—one about the early months of the pandemic and the other featuring Black voices in healthcare. Silverman hosts a podcast interview series with medical authors such as cancer biologist and poet Jenny Qi and Dr. Elinor Cleghorn, author of \u003cem>Unwell Women: Misdiagnosis and Myth in a Man-Made World\u003c/em>. Another audio documentary series, about \u003ca href=\"https://thenocturnists.com/shame-in-medicine\" rel=\"noopener noreferrer\" target=\"_blank\">shame in medicine\u003c/a>, is slated to debut in the fall of 2022. And a few of the stories performed during “Together Again” will be featured in 2023 on the fifth season of The Nocturnists podcast.\u003c/p>\n\u003cp>Throughout these projects, the heart of The Nocturnists remains constant. It’s about the deeply human and humanizing experiences that healthcare workers all share at some point: unexpected connections with patients, the humility of hard decisions, and sometimes, the fortuitousness of beating the odds.\u003c/p>\n\u003cp>Like other shows held at the Brava this season, “Together Again” will follow strict safety protocols. Well-fitting masks are required, as is proof of vaccination and a booster shot, if eligible.\u003c/p>\n\u003cp>“The last live show feels like it was ages ago,” adds Dr. Silverman. “It’ll be great to tap back into the aliveness of performance.”\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>\n\u003cp>\u003cem>The Nocturnists’ ‘Together Again’ takes place Friday, June 10 at the Brava Theater (2781 24th St., San Francisco). Doors open at 6 p.m. and the show begins at 7pm. Ticket prices range from $20 to $50. \u003ca href=\"https://www.brava.org/all-events/nocturniststogetheragain\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Game Not Over! An Oakland Archive Preserves Video Game History",
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"content": "\u003cp>Like many good ideas, Frank Cifaldi’s dream of a video game history archive came from an unlikely source. The game developer and editor floated the scheme during \u003ca href=\"https://www.youtube.com/watch?v=HLWY7fCXUwE\" rel=\"noopener noreferrer\" target=\"_blank\">his presentation\u003c/a> at the 2016 Game Developers Conference.\u003c/p>\n\u003cp>Six years later, the Oakland-based \u003ca href=\"https://gamehistory.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Video Game History Foundation\u003c/a>, or VGHF, is the nation’s only library dedicated to the preservation and study of video game history. That includes physical gaming systems, press materials and consumer publications such as strategy guides, as well as source code that can be used to bring lost games back to life. The VGHF just celebrated five years of existence—and continues to level up on its mission in both the physical and digital realms.\u003c/p>\n\u003cp>In January, the foundation hired its first full-time librarian, Phil Salvador, a historian and librarian with expertise in audio-video preservation. That same month, the VGHF hosted a \u003ca href=\"https://gamehistory.org/watch-nintendo-power-reunion/\" rel=\"noopener noreferrer\" target=\"_blank\">virtual reunion\u003c/a> of original staffers at the iconic magazine \u003cem>Nintendo Power\u003c/em>. They’ve spent the past few weeks setting up the physical research library. \u003c/p>\n\u003cfigure id=\"attachment_13911122\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/office_1200.jpg\" alt=\"Man and woman in dark shirt look at pages of drawings\" width=\"1200\" height=\"827\" class=\"size-full wp-image-13911122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/office_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/office_1200-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/office_1200-1020x703.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/office_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/office_1200-768x529.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Frank Cifaldi and Kelsey Lewin in the Video Game History Foundation offices. \u003ccite>(Courtesy VGHF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this recent activity builds on years of steady progression, bringing in materials dating back to the 1970s, as well as experts to manage the collection. In 2019, Cifaldi hired co-director Kelsey Lewin, a Seattle-based games historian and the co-owner of \u003ca href=\"https://pinkgorillagames.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Pink Gorilla Games\u003c/a>, a retro video games and imports shop.\u003c/p>\n\u003cp>For Lewin, who produced video game history videos on YouTube in the mid-2010s, the VGHF’s inception coincided with a critical juncture in her research and fact-checking. She’d sometimes spend hours trying to verify a single quote. “Frank launched the foundation at the peak of my frustration,” she says. “I thought, here’s someone who understands that preserving doesn’t just mean collecting games and putting them on a shelf somewhere. We need context!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to running the oldest gaming store in the Pacific Northwest, Lewin volunteered as the VGHF’s press liaison and on large-scale archival projects, as well as helped with special events such as staging a pop-up museum showcasing the 35-year history of the Nintendo Entertainment System at the 2018 Portland Retro Gaming Expo.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qBQY48Kx4N8\u003c/p>\n\u003cp>One such multiplayer preservation effort occurred during a frenetic week in 2019 when a devoted team—including newly hired librarian Salvador, then serving as a volunteer preservationist—archived 25 terabytes of \u003cem>Game Informer\u003c/em> magazine history dating back to 1991. “We were just trying to ingest data as fast as possible, and Phil was willing to be there for the entire week,” Lewin says.\u003c/p>\n\u003ch2>‘No one saved this stuff’\u003c/h2>\n\u003cp>Today, the physical space of the foundation has grown into a roughly 1,000-square-foot library that will eventually be open on a limited basis for researchers, though Cifaldi, Lewin and Salvador all stress that they’re big believers in remote research. Fittingly, the VGHF has many points of public education already available online, such as its podcast, \u003cem>\u003ca href=\"https://gamehistory.org/the-video-game-history-hour/\" rel=\"noopener noreferrer\" target=\"_blank\">The Video Game History Hour\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>To get a sense of the challenges in preserving video games, the early film industry offers a powerful comparable example, when anything except the final cut was discarded and often destroyed. “Consumer video games are the equivalent of a film being on VHS only,” explains Cifaldi. “Without the raw material, there is no way to remaster the original to run on a modern platform, or to sharpen visuals.”\u003c/p>\n\u003cp>Lewin added, “Games were toys. No one saved this stuff because there wasn’t a notion of a secondary market.” A consumer product was released, and the story of a game’s development was often lost—unless a few meticulous people backed up their data.\u003c/p>\n\u003cfigure id=\"attachment_13911125\" class=\"wp-caption aligncenter\" style=\"max-width: 1551px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/disk_pile.jpeg\" alt=\"A pile of white-paper wrapped floppy disks\" width=\"1551\" height=\"1163\" class=\"size-full wp-image-13911125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/disk_pile.jpeg 1551w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/disk_pile-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/disk_pile-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/disk_pile-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/disk_pile-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/disk_pile-1536x1152.jpeg 1536w\" sizes=\"(max-width: 1551px) 100vw, 1551px\">\u003cfigcaption class=\"wp-caption-text\">Disks from the Video Game Source Project, the VGHF’s ongoing effort to preserve source code. \u003ccite>(Courtesy VGHF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s to say nothing of the dated format in which many early video games are preserved. “We get original game code that was kept on a floppy disk, and we have to determine which computer it ran on,” Cifaldi adds. Tape is even harder to process and back up, as most of it wasn’t compatible across platforms even when it was produced. \u003c/p>\n\u003cp>Original press materials can also look differently after time has passed, especially when certain developer-side details weren’t included in news stories. The same goes for game artwork both in the game and in original press kit materials. Images may have been cropped or compressed for publication, and to true gaming geeks, these details add another rich layer to the story behind the game that was eventually released to consumers.\u003c/p>\n\u003cp>\u003ca href=\"https://gamehistory.org/source/\" rel=\"noopener noreferrer\" target=\"_blank\">Source code preservation\u003c/a> remains a formidable challenge due not only to intellectual property issues but the fact that much of it remains a trade secret. Today, cloud storage enables sharing and preservation that wasn’t possible even a decade ago.\u003c/p>\n\u003ch2>‘A reciprocal relationship with the community’\u003c/h2>\n\u003cp>“Often we’re more surprised by what has survived than what hasn’t,” Cifaldi says. Sometimes, it comes down to luck, or someone stealing from work. Consider artwork saved by a \u003cem>GamePro\u003c/em> magazine art director, who wondered why no one was putting old disks in binders, and ended up single-handedly saving nearly 1,000 issues on their own. Tech enthusiasts recorded early trade show displays just for fun, without any intention of preserving highlights that might, say, one day be used as History Channel B-roll.\u003c/p>\n\u003cfigure id=\"attachment_13911127\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/gta2_film_02_1200.jpg\" alt=\"Older man in suit sits with cane in hands, in background, man holds bat in front of man in chair\" width=\"1200\" height=\"1468\" class=\"size-full wp-image-13911127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/gta2_film_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/gta2_film_02_1200-800x979.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/gta2_film_02_1200-1020x1248.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/gta2_film_02_1200-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/gta2_film_02_1200-768x940.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A photo from the set of the ‘Grand Theft Auto 2’ video shoot. \u003ccite>(Courtesy VGHF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was treated as disposable at the time is now, with the advantage of hindsight, important ephemera that informs the larger story of a cultural phenomenon. “No one cared about the original \u003cem>Grand Theft Auto\u003c/em>” when it was released in 1997, Cifaldi notes as one significant example. “So little was published, and everything went into the trash.” This includes press releases and high-res images in media kits. \u003c/p>\n\u003cp>Now a few decades on, not only has the hit franchise become a remarkable success story; its history only exists due to some luck and a few hardcore fans who happened to hold onto early marketing materials. When Danny O’Dwyer of the video game documentary company \u003ca href=\"https://www.noclip.video/\" rel=\"noopener noreferrer\" target=\"_blank\">Noclip\u003c/a> was putting together a film on \u003cem>GTA\u003c/em>, he was able to rely on press kits preserved by the VGHF that contained character sketches and a photo of the whole development team posing together. Telling the story of video games creates a noble feedback loop, in which more individuals become interested in conserving. “This industry has always been treated as disposable,” Salvador says. “Now folks are realizing we can save this.”\u003c/p>\n\u003cp>Some of the rarer materials were first collated by fans who tirelessly collected and documented stats, stories, and historic images on personal blogs and player forums. Using the infrastructure and technology popular in research institutions, the VGHF is cataloging its holdings to make searchable what Salvador notes will be, “A better version of the loose confederation of PDFs that live tenuously all over the internet.” He adds, “I appreciate that we can have a reciprocal relationship with the community.”\u003c/p>\n\u003cfigure id=\"attachment_13911128\" class=\"wp-caption aligncenter\" style=\"max-width: 756px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/gta1_team.jpeg\" alt=\"About a dozen people standing at the stop of stairs\" width=\"756\" height=\"504\" class=\"size-full wp-image-13911128\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/gta1_team.jpeg 756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/gta1_team-160x107.jpeg 160w\" sizes=\"(max-width: 756px) 100vw, 756px\">\u003cfigcaption class=\"wp-caption-text\">A team photo from the original ‘Grand Theft Auto.’ \u003ccite>(Courtesy VGHF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enthusiasts donate money but crucially, they also give their time and materials to build out the story of video games. “What we collect is information,” Cifaldi says. “It’s hard to tell people what we need,” he adds, because sometimes, it’s not even clear that something is missing until an expert or collector points it out. Fortunately, many industry veterans can assist. “This is still a young industry, and most of the pioneers are still around,” Lewin emphasizes.\u003c/p>\n\u003cp>[aside postID='arts_13906221']\u003ca href=\"https://gamehistory.org/donate-video-game-magazines/\" rel=\"noopener noreferrer\" target=\"_blank\">Donations\u003c/a> fuel more than the foundation’s collection. To scan a magazine, the publication’s spine has to be cut, so duplicate copies of magazines are scanned once the VGHF has a shelf copy. Further duplicates are used in \u003ca href=\"https://the-video-game-history-foundation.myshopify.com/collections/featured-products/products/blind-box-vintage-game-magazine-subscription\" rel=\"noopener noreferrer\" target=\"_blank\">monthly Mystery Box packages\u003c/a> sent to supporters, who currently number just over 400. (The program is so popular that the VHGF is no longer accepting new monthly subscribers; it’s unable to keep up with demand.) “All the money from that goes right back into starting the process over,” Cifaldi says, noting he just delivered 900 unscanned magazines to a San Jose digitizer, who would bill the foundation somewhere between $8,000 and $9,000 for that one project.\u003c/p>\n\u003cp>Going forward, the VGHF will continue to expand its library holdings, digitizing evermore print materials for faraway researchers, and possibly partnering with museums to facilitate exhibits and events. The foundation has the unique opportunity, Salvador notes, to be able to educate the public on what types of materials are valuable to historians and researchers. Acquiring collections held in people’s closets and garages is as much a conversation of methods as it is a pitch for the value of preservation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This isn’t a problem that we will ever solve—check! We saved video games!” Lewin says, emphasizing that history is never fully written, and archiving never ends. “There are always going to be more out there.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like many good ideas, Frank Cifaldi’s dream of a video game history archive came from an unlikely source. The game developer and editor floated the scheme during \u003ca href=\"https://www.youtube.com/watch?v=HLWY7fCXUwE\" rel=\"noopener noreferrer\" target=\"_blank\">his presentation\u003c/a> at the 2016 Game Developers Conference.\u003c/p>\n\u003cp>Six years later, the Oakland-based \u003ca href=\"https://gamehistory.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Video Game History Foundation\u003c/a>, or VGHF, is the nation’s only library dedicated to the preservation and study of video game history. That includes physical gaming systems, press materials and consumer publications such as strategy guides, as well as source code that can be used to bring lost games back to life. The VGHF just celebrated five years of existence—and continues to level up on its mission in both the physical and digital realms.\u003c/p>\n\u003cp>In January, the foundation hired its first full-time librarian, Phil Salvador, a historian and librarian with expertise in audio-video preservation. That same month, the VGHF hosted a \u003ca href=\"https://gamehistory.org/watch-nintendo-power-reunion/\" rel=\"noopener noreferrer\" target=\"_blank\">virtual reunion\u003c/a> of original staffers at the iconic magazine \u003cem>Nintendo Power\u003c/em>. They’ve spent the past few weeks setting up the physical research library. \u003c/p>\n\u003cfigure id=\"attachment_13911122\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/office_1200.jpg\" alt=\"Man and woman in dark shirt look at pages of drawings\" width=\"1200\" height=\"827\" class=\"size-full wp-image-13911122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/office_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/office_1200-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/office_1200-1020x703.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/office_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/office_1200-768x529.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Frank Cifaldi and Kelsey Lewin in the Video Game History Foundation offices. \u003ccite>(Courtesy VGHF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this recent activity builds on years of steady progression, bringing in materials dating back to the 1970s, as well as experts to manage the collection. In 2019, Cifaldi hired co-director Kelsey Lewin, a Seattle-based games historian and the co-owner of \u003ca href=\"https://pinkgorillagames.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Pink Gorilla Games\u003c/a>, a retro video games and imports shop.\u003c/p>\n\u003cp>For Lewin, who produced video game history videos on YouTube in the mid-2010s, the VGHF’s inception coincided with a critical juncture in her research and fact-checking. She’d sometimes spend hours trying to verify a single quote. “Frank launched the foundation at the peak of my frustration,” she says. “I thought, here’s someone who understands that preserving doesn’t just mean collecting games and putting them on a shelf somewhere. We need context!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to running the oldest gaming store in the Pacific Northwest, Lewin volunteered as the VGHF’s press liaison and on large-scale archival projects, as well as helped with special events such as staging a pop-up museum showcasing the 35-year history of the Nintendo Entertainment System at the 2018 Portland Retro Gaming Expo.\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/qBQY48Kx4N8'\n title='//www.youtube.com/embed/qBQY48Kx4N8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One such multiplayer preservation effort occurred during a frenetic week in 2019 when a devoted team—including newly hired librarian Salvador, then serving as a volunteer preservationist—archived 25 terabytes of \u003cem>Game Informer\u003c/em> magazine history dating back to 1991. “We were just trying to ingest data as fast as possible, and Phil was willing to be there for the entire week,” Lewin says.\u003c/p>\n\u003ch2>‘No one saved this stuff’\u003c/h2>\n\u003cp>Today, the physical space of the foundation has grown into a roughly 1,000-square-foot library that will eventually be open on a limited basis for researchers, though Cifaldi, Lewin and Salvador all stress that they’re big believers in remote research. Fittingly, the VGHF has many points of public education already available online, such as its podcast, \u003cem>\u003ca href=\"https://gamehistory.org/the-video-game-history-hour/\" rel=\"noopener noreferrer\" target=\"_blank\">The Video Game History Hour\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>To get a sense of the challenges in preserving video games, the early film industry offers a powerful comparable example, when anything except the final cut was discarded and often destroyed. “Consumer video games are the equivalent of a film being on VHS only,” explains Cifaldi. “Without the raw material, there is no way to remaster the original to run on a modern platform, or to sharpen visuals.”\u003c/p>\n\u003cp>Lewin added, “Games were toys. No one saved this stuff because there wasn’t a notion of a secondary market.” A consumer product was released, and the story of a game’s development was often lost—unless a few meticulous people backed up their data.\u003c/p>\n\u003cfigure id=\"attachment_13911125\" class=\"wp-caption aligncenter\" style=\"max-width: 1551px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/disk_pile.jpeg\" alt=\"A pile of white-paper wrapped floppy disks\" width=\"1551\" height=\"1163\" class=\"size-full wp-image-13911125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/disk_pile.jpeg 1551w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/disk_pile-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/disk_pile-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/disk_pile-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/disk_pile-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/disk_pile-1536x1152.jpeg 1536w\" sizes=\"(max-width: 1551px) 100vw, 1551px\">\u003cfigcaption class=\"wp-caption-text\">Disks from the Video Game Source Project, the VGHF’s ongoing effort to preserve source code. \u003ccite>(Courtesy VGHF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s to say nothing of the dated format in which many early video games are preserved. “We get original game code that was kept on a floppy disk, and we have to determine which computer it ran on,” Cifaldi adds. Tape is even harder to process and back up, as most of it wasn’t compatible across platforms even when it was produced. \u003c/p>\n\u003cp>Original press materials can also look differently after time has passed, especially when certain developer-side details weren’t included in news stories. The same goes for game artwork both in the game and in original press kit materials. Images may have been cropped or compressed for publication, and to true gaming geeks, these details add another rich layer to the story behind the game that was eventually released to consumers.\u003c/p>\n\u003cp>\u003ca href=\"https://gamehistory.org/source/\" rel=\"noopener noreferrer\" target=\"_blank\">Source code preservation\u003c/a> remains a formidable challenge due not only to intellectual property issues but the fact that much of it remains a trade secret. Today, cloud storage enables sharing and preservation that wasn’t possible even a decade ago.\u003c/p>\n\u003ch2>‘A reciprocal relationship with the community’\u003c/h2>\n\u003cp>“Often we’re more surprised by what has survived than what hasn’t,” Cifaldi says. Sometimes, it comes down to luck, or someone stealing from work. Consider artwork saved by a \u003cem>GamePro\u003c/em> magazine art director, who wondered why no one was putting old disks in binders, and ended up single-handedly saving nearly 1,000 issues on their own. Tech enthusiasts recorded early trade show displays just for fun, without any intention of preserving highlights that might, say, one day be used as History Channel B-roll.\u003c/p>\n\u003cfigure id=\"attachment_13911127\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/gta2_film_02_1200.jpg\" alt=\"Older man in suit sits with cane in hands, in background, man holds bat in front of man in chair\" width=\"1200\" height=\"1468\" class=\"size-full wp-image-13911127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/gta2_film_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/gta2_film_02_1200-800x979.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/gta2_film_02_1200-1020x1248.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/gta2_film_02_1200-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/gta2_film_02_1200-768x940.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A photo from the set of the ‘Grand Theft Auto 2’ video shoot. \u003ccite>(Courtesy VGHF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was treated as disposable at the time is now, with the advantage of hindsight, important ephemera that informs the larger story of a cultural phenomenon. “No one cared about the original \u003cem>Grand Theft Auto\u003c/em>” when it was released in 1997, Cifaldi notes as one significant example. “So little was published, and everything went into the trash.” This includes press releases and high-res images in media kits. \u003c/p>\n\u003cp>Now a few decades on, not only has the hit franchise become a remarkable success story; its history only exists due to some luck and a few hardcore fans who happened to hold onto early marketing materials. When Danny O’Dwyer of the video game documentary company \u003ca href=\"https://www.noclip.video/\" rel=\"noopener noreferrer\" target=\"_blank\">Noclip\u003c/a> was putting together a film on \u003cem>GTA\u003c/em>, he was able to rely on press kits preserved by the VGHF that contained character sketches and a photo of the whole development team posing together. Telling the story of video games creates a noble feedback loop, in which more individuals become interested in conserving. “This industry has always been treated as disposable,” Salvador says. “Now folks are realizing we can save this.”\u003c/p>\n\u003cp>Some of the rarer materials were first collated by fans who tirelessly collected and documented stats, stories, and historic images on personal blogs and player forums. Using the infrastructure and technology popular in research institutions, the VGHF is cataloging its holdings to make searchable what Salvador notes will be, “A better version of the loose confederation of PDFs that live tenuously all over the internet.” He adds, “I appreciate that we can have a reciprocal relationship with the community.”\u003c/p>\n\u003cfigure id=\"attachment_13911128\" class=\"wp-caption aligncenter\" style=\"max-width: 756px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/gta1_team.jpeg\" alt=\"About a dozen people standing at the stop of stairs\" width=\"756\" height=\"504\" class=\"size-full wp-image-13911128\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/gta1_team.jpeg 756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/gta1_team-160x107.jpeg 160w\" sizes=\"(max-width: 756px) 100vw, 756px\">\u003cfigcaption class=\"wp-caption-text\">A team photo from the original ‘Grand Theft Auto.’ \u003ccite>(Courtesy VGHF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enthusiasts donate money but crucially, they also give their time and materials to build out the story of video games. “What we collect is information,” Cifaldi says. “It’s hard to tell people what we need,” he adds, because sometimes, it’s not even clear that something is missing until an expert or collector points it out. Fortunately, many industry veterans can assist. “This is still a young industry, and most of the pioneers are still around,” Lewin emphasizes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://gamehistory.org/donate-video-game-magazines/\" rel=\"noopener noreferrer\" target=\"_blank\">Donations\u003c/a> fuel more than the foundation’s collection. To scan a magazine, the publication’s spine has to be cut, so duplicate copies of magazines are scanned once the VGHF has a shelf copy. Further duplicates are used in \u003ca href=\"https://the-video-game-history-foundation.myshopify.com/collections/featured-products/products/blind-box-vintage-game-magazine-subscription\" rel=\"noopener noreferrer\" target=\"_blank\">monthly Mystery Box packages\u003c/a> sent to supporters, who currently number just over 400. (The program is so popular that the VHGF is no longer accepting new monthly subscribers; it’s unable to keep up with demand.) “All the money from that goes right back into starting the process over,” Cifaldi says, noting he just delivered 900 unscanned magazines to a San Jose digitizer, who would bill the foundation somewhere between $8,000 and $9,000 for that one project.\u003c/p>\n\u003cp>Going forward, the VGHF will continue to expand its library holdings, digitizing evermore print materials for faraway researchers, and possibly partnering with museums to facilitate exhibits and events. The foundation has the unique opportunity, Salvador notes, to be able to educate the public on what types of materials are valuable to historians and researchers. Acquiring collections held in people’s closets and garages is as much a conversation of methods as it is a pitch for the value of preservation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This isn’t a problem that we will ever solve—check! We saved video games!” Lewin says, emphasizing that history is never fully written, and archiving never ends. “There are always going to be more out there.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How One of the Largest Archives of Trans History Found a Home in Vallejo",
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"content": "\u003cp>One of the Bay Area’s most unique, valuable public resources—the \u003ca href=\"https://lltransarchive.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Louise Lawrence Transgender Archive\u003c/a>—began with a single person’s dedication to collecting and preserving the past. “In 1979, when I had my own apartment for the first time, I bought the premiere copy of \u003cem>Female Mimics International\u003c/em>,” explains founder and director Ms. Bob Davis. Over the next 40 years, she would amass one of the largest archives of transgender and gender-nonconforming history, open to the public in Vallejo since 2018.\u003c/p>\n\u003cp>The collection grew from that initial purchase, blooming into a garden of Ms. Bob’s thoughtful, intentional cultivation. In the 1980s, she started relying on her own trove to write for a variety of community publications—“all of them now defunct,” she laments. By the 2000s, other writers and researchers started requesting access to her collection of rare materials, ranging from books and periodicals to personal photos.[aside postID='arts_13870056']\u003c/p>\n\u003cp>A few years ago, it became clear that the materials—by then contained in about 35 bankers boxes—needed a stable, permanent home accessible to anyone. “Walking around my termite-infested garage, I decided to make an archive out of it,” Ms. Bob explains. Because of her relationship with the GLBT Historical Society—she served two terms on the board of directors in the 1990s—the historical society signed on as the project’s fiscal sponsor.\u003c/p>\n\u003cp>Fundraising and construction on the facility took two years, and a mostly volunteer team worked on organizing the collection. “When you’re doing things from the grassroots and don’t have a lot of capital, these things take time,” Ms. Bob notes. Designer \u003ca href=\"https://secretfanbase.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Robyn Adams\u003c/a> created the archive’s beautiful logo and graphics and administers the website. Ms. Bob’s partner, Carol Kleinmaier, known for developing highly regarded caregiver trainings through the Shanti Project, uses her invaluable grant-writing expertise to continue applying for further funds. Almost exactly three years ago, the archive opened to the public.\u003c/p>\n\u003cp>https://www.instagram.com/p/B5dTYEZgR8I/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ms. Bob selected \u003ca href=\"https://www.kqed.org/arts/13870056/the-transgender-community-builder-who-educated-doctors-including-kinsey\" target=\"_blank\" rel=\"noopener noreferrer\">Louise Lawrence as a namesake\u003c/a> for one of several obvious reasons: Lawrence was a longtime Bay Area resident, living first in Berkeley and then San Francisco, where she lectured at UCSF, helping physicians understand that being transgender was not a mental disorder.[aside postID='arts_13858877']\u003c/p>\n\u003cp>Naming the archive for Lawrence was also a way to elevate the progressive publisher and community leader’s status. Even a decade ago, Lawrence was relatively unknown despite working closely with sex researcher Dr. Alfred Kinsey and co-founding the independent magazine \u003cem>\u003ca href=\"https://www.nypl.org/blog/2017/06/21/look-back-transvestia\" target=\"_blank\" rel=\"noopener noreferrer\">Transvestia\u003c/a>\u003c/em>, a groundbreaking publication focused on gender and cross-dressing. “It’s amazing how much Louise’s star has ascended in the past five years,” Ms. Bob marvels.\u003c/p>\n\u003cp>Ms. Bob’s work is also finding ever wider, more appreciative audiences. In 2019, she gave a conference presentation called “Glamour, Drag and Death: HIV/AIDS in the Art of Three Drag Queen Painters,” which was recently published as \u003ca href=\"https://read.dukeupress.edu/tsq/article-abstract/8/1/113/168882/Glamour-Drag-and-DeathHIV-AIDS-in-the-Art-of-Three\" target=\"_blank\" rel=\"noopener noreferrer\">a research article in \u003cem>Transgender Studies Quarterly\u003c/em>\u003c/a> and is now being adapted into a documentary film. The story centers on San Francisco drag queens Miss Kitty, Jerome Caja, and Doris Fish, who all died between 1991 and 1995 and whose vivid, contemporary works were reactions to the AIDS pandemic, including their own diagnoses. “Making a movie is a whole new exciting experience for me,” says Ms. Bob. “The talk is good, and I want this to have a larger audience.”\u003c/p>\n\u003cfigure id=\"attachment_13906229\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13906229\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/msbob-tn.jpeg\" alt=\"A person smiling with her mouth open, wearing a red shirt, earrings and glasses.\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/msbob-tn.jpeg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/msbob-tn-160x160.jpeg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Ms. Bob Davis, founder and director of the Louise Lawrence Transgender Archive. \u003ccite>(Courtesy LLTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another ongoing project at the LLTA is digitizing materials to share with other archives and research centers, A current partnership with the \u003ca href=\"https://www.digitaltransgenderarchive.net/\" rel=\"noopener noreferrer\" target=\"_blank\">Digital Transgender Archive\u003c/a> at the Northeastern University Library involves scanning several dozen newsletters from FTM International, one of the oldest transmasculine support networks in the nation that was founded in San Francisco in the 1980s. The plan is for the newsletters to eventually be part of a DTA exhibition.\u003c/p>\n\u003cp>Forming institutional partnerships and taking trans history to the public is vital to the archive’s visibility. “Archives can tend to feel that they’re turned inward,” says Ms. Bob. “I established our speakers bureau from the get-go because I wanted to share information with the community, not just academic circles, and let people know the archive is here.” Gathering together experts who can speak authoritatively about trans history was especially intuitive for Ms. Bob, who taught at City College for 40 years. “I’m used to talking to small groups,” she demurs. LLTA’s speakers include Transgender Day of Remembrance founder Gwendolyn Ann Smith and renowned scholar and filmmaker Dr. Susan Stryker.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The LLTA continues to be open by appointment, and like the best archives, it offers a quiet, safe space for research and contemplation while also establishing itself as a resource for anyone. “Public outreach has always been part of the vision for the archive,” Ms. Bob adds. “And hopefully when we present out in the community, people say, ‘Oh, now I see why you’re saving this.’”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the Bay Area’s most unique, valuable public resources—the \u003ca href=\"https://lltransarchive.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Louise Lawrence Transgender Archive\u003c/a>—began with a single person’s dedication to collecting and preserving the past. “In 1979, when I had my own apartment for the first time, I bought the premiere copy of \u003cem>Female Mimics International\u003c/em>,” explains founder and director Ms. Bob Davis. Over the next 40 years, she would amass one of the largest archives of transgender and gender-nonconforming history, open to the public in Vallejo since 2018.\u003c/p>\n\u003cp>The collection grew from that initial purchase, blooming into a garden of Ms. Bob’s thoughtful, intentional cultivation. In the 1980s, she started relying on her own trove to write for a variety of community publications—“all of them now defunct,” she laments. By the 2000s, other writers and researchers started requesting access to her collection of rare materials, ranging from books and periodicals to personal photos.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A few years ago, it became clear that the materials—by then contained in about 35 bankers boxes—needed a stable, permanent home accessible to anyone. “Walking around my termite-infested garage, I decided to make an archive out of it,” Ms. Bob explains. Because of her relationship with the GLBT Historical Society—she served two terms on the board of directors in the 1990s—the historical society signed on as the project’s fiscal sponsor.\u003c/p>\n\u003cp>Fundraising and construction on the facility took two years, and a mostly volunteer team worked on organizing the collection. “When you’re doing things from the grassroots and don’t have a lot of capital, these things take time,” Ms. Bob notes. Designer \u003ca href=\"https://secretfanbase.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Robyn Adams\u003c/a> created the archive’s beautiful logo and graphics and administers the website. Ms. Bob’s partner, Carol Kleinmaier, known for developing highly regarded caregiver trainings through the Shanti Project, uses her invaluable grant-writing expertise to continue applying for further funds. Almost exactly three years ago, the archive opened to the public.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ms. Bob selected \u003ca href=\"https://www.kqed.org/arts/13870056/the-transgender-community-builder-who-educated-doctors-including-kinsey\" target=\"_blank\" rel=\"noopener noreferrer\">Louise Lawrence as a namesake\u003c/a> for one of several obvious reasons: Lawrence was a longtime Bay Area resident, living first in Berkeley and then San Francisco, where she lectured at UCSF, helping physicians understand that being transgender was not a mental disorder.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Naming the archive for Lawrence was also a way to elevate the progressive publisher and community leader’s status. Even a decade ago, Lawrence was relatively unknown despite working closely with sex researcher Dr. Alfred Kinsey and co-founding the independent magazine \u003cem>\u003ca href=\"https://www.nypl.org/blog/2017/06/21/look-back-transvestia\" target=\"_blank\" rel=\"noopener noreferrer\">Transvestia\u003c/a>\u003c/em>, a groundbreaking publication focused on gender and cross-dressing. “It’s amazing how much Louise’s star has ascended in the past five years,” Ms. Bob marvels.\u003c/p>\n\u003cp>Ms. Bob’s work is also finding ever wider, more appreciative audiences. In 2019, she gave a conference presentation called “Glamour, Drag and Death: HIV/AIDS in the Art of Three Drag Queen Painters,” which was recently published as \u003ca href=\"https://read.dukeupress.edu/tsq/article-abstract/8/1/113/168882/Glamour-Drag-and-DeathHIV-AIDS-in-the-Art-of-Three\" target=\"_blank\" rel=\"noopener noreferrer\">a research article in \u003cem>Transgender Studies Quarterly\u003c/em>\u003c/a> and is now being adapted into a documentary film. The story centers on San Francisco drag queens Miss Kitty, Jerome Caja, and Doris Fish, who all died between 1991 and 1995 and whose vivid, contemporary works were reactions to the AIDS pandemic, including their own diagnoses. “Making a movie is a whole new exciting experience for me,” says Ms. Bob. “The talk is good, and I want this to have a larger audience.”\u003c/p>\n\u003cfigure id=\"attachment_13906229\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13906229\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/msbob-tn.jpeg\" alt=\"A person smiling with her mouth open, wearing a red shirt, earrings and glasses.\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/msbob-tn.jpeg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/msbob-tn-160x160.jpeg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Ms. Bob Davis, founder and director of the Louise Lawrence Transgender Archive. \u003ccite>(Courtesy LLTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another ongoing project at the LLTA is digitizing materials to share with other archives and research centers, A current partnership with the \u003ca href=\"https://www.digitaltransgenderarchive.net/\" rel=\"noopener noreferrer\" target=\"_blank\">Digital Transgender Archive\u003c/a> at the Northeastern University Library involves scanning several dozen newsletters from FTM International, one of the oldest transmasculine support networks in the nation that was founded in San Francisco in the 1980s. The plan is for the newsletters to eventually be part of a DTA exhibition.\u003c/p>\n\u003cp>Forming institutional partnerships and taking trans history to the public is vital to the archive’s visibility. “Archives can tend to feel that they’re turned inward,” says Ms. Bob. “I established our speakers bureau from the get-go because I wanted to share information with the community, not just academic circles, and let people know the archive is here.” Gathering together experts who can speak authoritatively about trans history was especially intuitive for Ms. Bob, who taught at City College for 40 years. “I’m used to talking to small groups,” she demurs. LLTA’s speakers include Transgender Day of Remembrance founder Gwendolyn Ann Smith and renowned scholar and filmmaker Dr. Susan Stryker.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The LLTA continues to be open by appointment, and like the best archives, it offers a quiet, safe space for research and contemplation while also establishing itself as a resource for anyone. “Public outreach has always been part of the vision for the archive,” Ms. Bob adds. “And hopefully when we present out in the community, people say, ‘Oh, now I see why you’re saving this.’”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tenacious Peninsula Museum of Art Reopens in Tanforan Mall",
"headTitle": "Tenacious Peninsula Museum of Art Reopens in Tanforan Mall | KQED",
"content": "\u003cfigure id=\"attachment_13897979\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Jo-Hanson.jpeg\" alt=\"\" width=\"650\" height=\"455\" class=\"size-full wp-image-13897979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Jo-Hanson.jpeg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Jo-Hanson-160x112.jpeg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Jo Hanson sweeping Buchanan Street outside the Nightingale House, 1980. \u003ccite>(Courtesy Recology San Francisco; photo by Lori Eanes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Past the cinema box office and around the corner from the upper-level food court stalls, there’s a new tenant in San Bruno’s The Shops at Tanforan.\u003c/p>\n\u003cp>A former storefront is now the home of the \u003ca href=\"https://peninsulamuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Peninsula Museum of Art\u003c/a>, the 18-year-old nonprofit museum that \u003ca href=\"https://www.kqed.org/arts/13884109/the-peninsula-museum-of-art-searches-for-a-new-home-again\" rel=\"noopener noreferrer\" target=\"_blank\">lost its Burlingame location\u003c/a> in July 2020. On May 2, 2021 the tenacious museum triumphantly reopened, unveiling two inaugural exhibitions in the new space.\u003c/p>\n\u003cp>[aside postID=\"arts_13884109\"]With retail vacancies on the rise, arts and education institutions around the world have started moving into malls in the past two decades to take advantage of heightened visibility. The Peninsula Museum of Art’s co-executive directors Christina Chahal and Megan Kamrath gladly accepted the invitation from the San Bruno shopping center, and the new location gives the PMA the distinction of being perhaps the first mall museum in the region. “The foot traffic here is a blessing,” Chahal said, noting more and more visitors casually stop by as the mall reopens and people begin to feel safer in enclosed spaces again.\u003c/p>\n\u003cfigure id=\"attachment_13898020\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/PMA4_Brzezinski_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13898020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA4_Brzezinski_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA4_Brzezinski_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA4_Brzezinski_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA4_Brzezinski_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA4_Brzezinski_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jamey Brzezinski, from the series ‘Views from Above.’ \u003ccite>(Courtesy Peninsula Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unpretentious white-walled gallery features ample space for multiple exhibits, and longtime supporters of the museum will note several permanent collection pieces are on display again, including a stately Bufano owl and a sumptuous rosewood sculpture by the visitor desk, created by the PMA’s founder, Ruth Waters.\u003c/p>\n\u003cp>To celebrate its reopening, the PMA has paired two very different artists in its first Tanforan exhibitions. Pacifica painter \u003ca href=\"http://www.jameybrzezinski.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Jamey Brzezinski\u003c/a>’s large-scale acrylics depict an array of inviting California landscapes. Roughly door-sized, the aerial views of manicured gardens, stone terraces and circular fountains can be hung at any orientation, depending entirely on a curator or owner’s preference.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A concurrent exhibit offers a rare opportunity to view work by the late assemblage and conceptual artist Jo Hanson. An early ecofeminist practitioner, Hanson was known for using refuse and found objects to create multimedia pieces, including sculptures made from salvaged metal and wood. \u003cem>Jo Hanson: Legacy\u003c/em> features a sobering selection from Hanson’s 1974 installation \u003cem>Crab Orchard Cemetery\u003c/em>, in which she recreated her family’s ancestral graveyard in Illinois using blocks of polystyrene foam. Given to the PMA by Hanson’s estate after \u003ca href=\"https://www.sfgate.com/bayarea/article/Jo-Hanson-green-activism-inspired-artwork-and-2608790.php\" rel=\"noopener noreferrer\" target=\"_blank\">her 2007 death\u003c/a>, the piece includes ambient sound from the Midwestern cemetery, recorded by Hanson.\u003c/p>\n\u003cfigure id=\"attachment_13898021\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/PMA6_Hanson_1200.jpg\" alt=\"\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13898021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA6_Hanson_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA6_Hanson_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA6_Hanson_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA6_Hanson_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA6_Hanson_1200-768x768.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jo Hanson, detail of ‘Crab Orchard Cemetery,’ 1974. \u003ccite>(Courtesy Peninsula Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hanson’s legacy—emphasized in the current exhibit by reprinted artist statements from her 1976 SFMOMA show, as well as an interview with feminist art historian Moira Roth—is often troublingly overlooked, even in the Bay Area. During her long life of activism and groundbreaking artistic practice, Hanson served six years as a San Francisco Arts Commissioner and in that role helped secure the restoration of the Lucien Labaudt murals at the Beach Chalet and Coit Tower. Among other relatively obscured contributions to the city’s public art collection and cultural programming, she also created Recology’s \u003ca href=\"https://www.recology.com/recology-san-francisco/artist-in-residence-program/\" rel=\"noopener noreferrer\" target=\"_blank\">enduring artist in residency program\u003c/a>.\u003c/p>\n\u003cp>Her work followed and existed parallel with other ecofeminist artists in the late 1960s and early ’70s. Hanson was devoted to making environmentalism and domestic labor visible, and to deconstructing stereotypes about public sanitation, material reuse and public space upkeep. A few years before Hanson gained notice for sweeping Buchanan Street outside her then-dilapidated 4,000-square-foot Victorian known as the Nightingale House, likeminded New York artist Mierle Laderman Ukeles wrote a searing \u003ca href=\"https://feldmangallery.com/exhibition/manifesto-for-maintenance-art-1969\" rel=\"noopener noreferrer\" target=\"_blank\">social practice manifesto\u003c/a> identifying herself as a “maintenance artist.” In it, Ukeles declared all her personal domestic chores and childcare part of her work as an artist. Similar ideas flowed through the late conceptual artist David Ireland’s practice. And yet today, while efforts have been made to preserve and share with the public Ireland’s \u003ca href=\"https://www.kqed.org/arts/11243184/david-irelands-cabinet-of-curiosities-opens-its-mission-district-doors\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco home\u003c/a>, the house Hanson meticulously restored to landmark status remains an overlooked private residence. It’s hard not to note their genders in this disparity. \u003c/p>\n\u003cfigure id=\"attachment_13897979\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Jo-Hanson.jpeg\" alt=\"\" width=\"650\" height=\"455\" class=\"size-full wp-image-13897979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Jo-Hanson.jpeg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Jo-Hanson-160x112.jpeg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Jo Hanson sweeping Buchanan Street outside the Nightingale House, 1980. \u003ccite>(Courtesy Recology San Francisco; photo by Lori Eanes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is with an eye to honoring Hanson’s important contributions to Bay Area art history that Chahal notes that a larger institution with greater resources would be more suited to preserve Hanson’s fragile Styrofoam works. The museum is actively seeking a new permanent home for its Hanson holdings.\u003c/p>\n\u003cp>In the meantime, the PMA will continue to focus on Hanson, with an exhibition in early 2022 featuring artists from \u003ca href=\"https://www.weadartists.org/\" rel=\"noopener noreferrer\" target=\"_blank\">WEAD\u003c/a>, the Oakland-based Women’s Eco Artists Dialogue, of which Hanson was a co-founder in 1996. Next up, the PMA will host an exhibition curated by the Daly City Black creative collective \u003ca href=\"https://www.uni-versestudio.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Uni.Verse Studios\u003c/a>, starting in July.\u003c/p>\n\u003cp>As the Peninsula Museum of Art settles into this next chapter and its team continues to consider its future, both Chahal and Kamrath emphasize that the PMA exists to meet the needs of the local artists and arts supporters and that the organization is more nimble than ever. “We can change things easily,” Kamrath said. “We’re here for the community.”\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>\n\u003cp>\u003ci>‘Jamey Brzezinski: Views From Above’ and ‘Jo Hanson: Legacy’ are on view at the Peninsula Museum of Art (1150 El Camino Real, Space 204, San Bruno) through July 2. \u003ca href=\"https://www.peninsulamuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13897979\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Jo-Hanson.jpeg\" alt=\"\" width=\"650\" height=\"455\" class=\"size-full wp-image-13897979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Jo-Hanson.jpeg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Jo-Hanson-160x112.jpeg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Jo Hanson sweeping Buchanan Street outside the Nightingale House, 1980. \u003ccite>(Courtesy Recology San Francisco; photo by Lori Eanes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Past the cinema box office and around the corner from the upper-level food court stalls, there’s a new tenant in San Bruno’s The Shops at Tanforan.\u003c/p>\n\u003cp>A former storefront is now the home of the \u003ca href=\"https://peninsulamuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Peninsula Museum of Art\u003c/a>, the 18-year-old nonprofit museum that \u003ca href=\"https://www.kqed.org/arts/13884109/the-peninsula-museum-of-art-searches-for-a-new-home-again\" rel=\"noopener noreferrer\" target=\"_blank\">lost its Burlingame location\u003c/a> in July 2020. On May 2, 2021 the tenacious museum triumphantly reopened, unveiling two inaugural exhibitions in the new space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With retail vacancies on the rise, arts and education institutions around the world have started moving into malls in the past two decades to take advantage of heightened visibility. The Peninsula Museum of Art’s co-executive directors Christina Chahal and Megan Kamrath gladly accepted the invitation from the San Bruno shopping center, and the new location gives the PMA the distinction of being perhaps the first mall museum in the region. “The foot traffic here is a blessing,” Chahal said, noting more and more visitors casually stop by as the mall reopens and people begin to feel safer in enclosed spaces again.\u003c/p>\n\u003cfigure id=\"attachment_13898020\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/PMA4_Brzezinski_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13898020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA4_Brzezinski_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA4_Brzezinski_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA4_Brzezinski_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA4_Brzezinski_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA4_Brzezinski_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jamey Brzezinski, from the series ‘Views from Above.’ \u003ccite>(Courtesy Peninsula Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unpretentious white-walled gallery features ample space for multiple exhibits, and longtime supporters of the museum will note several permanent collection pieces are on display again, including a stately Bufano owl and a sumptuous rosewood sculpture by the visitor desk, created by the PMA’s founder, Ruth Waters.\u003c/p>\n\u003cp>To celebrate its reopening, the PMA has paired two very different artists in its first Tanforan exhibitions. Pacifica painter \u003ca href=\"http://www.jameybrzezinski.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Jamey Brzezinski\u003c/a>’s large-scale acrylics depict an array of inviting California landscapes. Roughly door-sized, the aerial views of manicured gardens, stone terraces and circular fountains can be hung at any orientation, depending entirely on a curator or owner’s preference.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A concurrent exhibit offers a rare opportunity to view work by the late assemblage and conceptual artist Jo Hanson. An early ecofeminist practitioner, Hanson was known for using refuse and found objects to create multimedia pieces, including sculptures made from salvaged metal and wood. \u003cem>Jo Hanson: Legacy\u003c/em> features a sobering selection from Hanson’s 1974 installation \u003cem>Crab Orchard Cemetery\u003c/em>, in which she recreated her family’s ancestral graveyard in Illinois using blocks of polystyrene foam. Given to the PMA by Hanson’s estate after \u003ca href=\"https://www.sfgate.com/bayarea/article/Jo-Hanson-green-activism-inspired-artwork-and-2608790.php\" rel=\"noopener noreferrer\" target=\"_blank\">her 2007 death\u003c/a>, the piece includes ambient sound from the Midwestern cemetery, recorded by Hanson.\u003c/p>\n\u003cfigure id=\"attachment_13898021\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/PMA6_Hanson_1200.jpg\" alt=\"\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13898021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA6_Hanson_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA6_Hanson_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA6_Hanson_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA6_Hanson_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/PMA6_Hanson_1200-768x768.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jo Hanson, detail of ‘Crab Orchard Cemetery,’ 1974. \u003ccite>(Courtesy Peninsula Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hanson’s legacy—emphasized in the current exhibit by reprinted artist statements from her 1976 SFMOMA show, as well as an interview with feminist art historian Moira Roth—is often troublingly overlooked, even in the Bay Area. During her long life of activism and groundbreaking artistic practice, Hanson served six years as a San Francisco Arts Commissioner and in that role helped secure the restoration of the Lucien Labaudt murals at the Beach Chalet and Coit Tower. Among other relatively obscured contributions to the city’s public art collection and cultural programming, she also created Recology’s \u003ca href=\"https://www.recology.com/recology-san-francisco/artist-in-residence-program/\" rel=\"noopener noreferrer\" target=\"_blank\">enduring artist in residency program\u003c/a>.\u003c/p>\n\u003cp>Her work followed and existed parallel with other ecofeminist artists in the late 1960s and early ’70s. Hanson was devoted to making environmentalism and domestic labor visible, and to deconstructing stereotypes about public sanitation, material reuse and public space upkeep. A few years before Hanson gained notice for sweeping Buchanan Street outside her then-dilapidated 4,000-square-foot Victorian known as the Nightingale House, likeminded New York artist Mierle Laderman Ukeles wrote a searing \u003ca href=\"https://feldmangallery.com/exhibition/manifesto-for-maintenance-art-1969\" rel=\"noopener noreferrer\" target=\"_blank\">social practice manifesto\u003c/a> identifying herself as a “maintenance artist.” In it, Ukeles declared all her personal domestic chores and childcare part of her work as an artist. Similar ideas flowed through the late conceptual artist David Ireland’s practice. And yet today, while efforts have been made to preserve and share with the public Ireland’s \u003ca href=\"https://www.kqed.org/arts/11243184/david-irelands-cabinet-of-curiosities-opens-its-mission-district-doors\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco home\u003c/a>, the house Hanson meticulously restored to landmark status remains an overlooked private residence. It’s hard not to note their genders in this disparity. \u003c/p>\n\u003cfigure id=\"attachment_13897979\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Jo-Hanson.jpeg\" alt=\"\" width=\"650\" height=\"455\" class=\"size-full wp-image-13897979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Jo-Hanson.jpeg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Jo-Hanson-160x112.jpeg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Jo Hanson sweeping Buchanan Street outside the Nightingale House, 1980. \u003ccite>(Courtesy Recology San Francisco; photo by Lori Eanes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is with an eye to honoring Hanson’s important contributions to Bay Area art history that Chahal notes that a larger institution with greater resources would be more suited to preserve Hanson’s fragile Styrofoam works. The museum is actively seeking a new permanent home for its Hanson holdings.\u003c/p>\n\u003cp>In the meantime, the PMA will continue to focus on Hanson, with an exhibition in early 2022 featuring artists from \u003ca href=\"https://www.weadartists.org/\" rel=\"noopener noreferrer\" target=\"_blank\">WEAD\u003c/a>, the Oakland-based Women’s Eco Artists Dialogue, of which Hanson was a co-founder in 1996. Next up, the PMA will host an exhibition curated by the Daly City Black creative collective \u003ca href=\"https://www.uni-versestudio.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Uni.Verse Studios\u003c/a>, starting in July.\u003c/p>\n\u003cp>As the Peninsula Museum of Art settles into this next chapter and its team continues to consider its future, both Chahal and Kamrath emphasize that the PMA exists to meet the needs of the local artists and arts supporters and that the organization is more nimble than ever. “We can change things easily,” Kamrath said. “We’re here for the community.”\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>\n\u003cp>\u003ci>‘Jamey Brzezinski: Views From Above’ and ‘Jo Hanson: Legacy’ are on view at the Peninsula Museum of Art (1150 El Camino Real, Space 204, San Bruno) through July 2. \u003ca href=\"https://www.peninsulamuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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