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"content": "\u003cp>For some Bay Area residents, it's not Christmas until they've taken a stroll through the streets of Victorian London. \u003c/p>\n\u003cp>The \u003ca href=\"https://dickensfair.com/\">Great Dickens Christmas Fair\u003c/a>, in its 35th season, is a celebration of all things Charles Dickens and Victorian, where people can walk the streets of 1800s London without leaving the Bay Area.\u003c/p>\n\u003cp>The halls of the Cow Palace are transformed for five weeks every year in an immersive environment that can feel like walking into a Charles Dickens novel. Literally. Performers stage \"A Christmas Carol\" every day, so fans of the story can run into Ebenezer Scrooge or one of ghosts as the tale plays out in the streets.\u003c/p>\n\u003cp>Throughout the day visitors can partake in ballroom dancing, learn sea shanties at the docks or try to run into Queen Victoria herself. The sights and sounds (and smells) of London are recreated each year by a crew of dedicated performers.\u003c/p>\n\u003cfigure id=\"attachment_11632209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11632209\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_1554-800x571.jpg\" alt=\"Carol singers dressed in head-to-toe Victorian attire spread holiday cheer as they sing through the halls of Cow Palace, which has been converted into the streets of Victorian London. \" width=\"800\" height=\"571\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554-800x571.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554-1020x728.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554-1920x1371.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554-1180x843.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554-960x685.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554-240x171.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554-375x268.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554-520x371.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carol singers dressed head-to-toe in Victorian attire spread holiday cheer as they sing through the halls of the Cow Palace, which has been converted into the streets of Victorian London. \u003ccite>(Bianca Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11632211\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_1538-e1511132850326.jpg\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_1538-800x600.jpg\" alt=\"It's opening weekend of the Great Dickens Christmas Fair, an immersive event that brings participants into Victorian London.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11632211\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">It's opening weekend of the Great Dickens Christmas Fair, an immersive event that brings participants into Victorian London. \u003ccite>(Bianca Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11632210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11632210\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_1548-1-800x532.jpg\" alt=\"With multiple stages, a music hall and a dances spaces, there's a constant lineup of performances to see. \" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1-520x346.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">With multiple stages, a music hall and dance spaces, there's a constant lineup of performances to see. \u003ccite>(Bianca Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11632228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11632228\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_1506-800x600.jpg\" alt=\"The venue at the Cow Palace is transformed into the streets of London. From Fezziwig's fancy home, to the dicier dock areas, people can experience a very Dickensian London. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cow Palace is transformed into the streets of London for the Great Dickens Christmas Fair. From Fezziwig's fancy home to the dicier dock areas, people can experience a very Dickensian London. \u003ccite>(Bianca Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11632221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11632221\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_1487-800x600.jpg\" alt=\"It even smells like London! With vendors and performers constantly making food, the smell of cinnamon and spice permeates the entire venue. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It even smells like London. With vendors and performers constantly making food, the smell of cinnamon and spice permeates the entire venue. \u003ccite>(Bianca Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11632225\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11632225\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_1449-800x600.jpg\" alt=\"A real printing press is used throughout the fair, one of many touches that makes the experience feel like stepping into another era. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A real printing press is used throughout the fair, one of many touches that makes the experience feel like stepping into another era. \u003ccite>(Bianca Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11632218\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11632218\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_1510-800x600.jpg\" alt=\"Participants in the fair take part in weeks of workshops that prepare them to give a seamless performance for the holiday season. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the fair take part in weeks of workshops that prepare them to give a seamless performance for the holiday season. \u003ccite>(Bianca Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For some Bay Area residents, it's not Christmas until they've taken a stroll through the streets of Victorian London. \u003c/p>\n\u003cp>The \u003ca href=\"https://dickensfair.com/\">Great Dickens Christmas Fair\u003c/a>, in its 35th season, is a celebration of all things Charles Dickens and Victorian, where people can walk the streets of 1800s London without leaving the Bay Area.\u003c/p>\n\u003cp>The halls of the Cow Palace are transformed for five weeks every year in an immersive environment that can feel like walking into a Charles Dickens novel. Literally. Performers stage \"A Christmas Carol\" every day, so fans of the story can run into Ebenezer Scrooge or one of ghosts as the tale plays out in the streets.\u003c/p>\n\u003cp>Throughout the day visitors can partake in ballroom dancing, learn sea shanties at the docks or try to run into Queen Victoria herself. The sights and sounds (and smells) of London are recreated each year by a crew of dedicated performers.\u003c/p>\n\u003cfigure id=\"attachment_11632209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11632209\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_1554-800x571.jpg\" alt=\"Carol singers dressed in head-to-toe Victorian attire spread holiday cheer as they sing through the halls of Cow Palace, which has been converted into the streets of Victorian London. \" width=\"800\" height=\"571\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554-800x571.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554-1020x728.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554-1920x1371.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554-1180x843.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554-960x685.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554-240x171.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554-375x268.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554-520x371.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1554.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carol singers dressed head-to-toe in Victorian attire spread holiday cheer as they sing through the halls of the Cow Palace, which has been converted into the streets of Victorian London. \u003ccite>(Bianca Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11632211\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_1538-e1511132850326.jpg\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_1538-800x600.jpg\" alt=\"It's opening weekend of the Great Dickens Christmas Fair, an immersive event that brings participants into Victorian London.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11632211\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">It's opening weekend of the Great Dickens Christmas Fair, an immersive event that brings participants into Victorian London. \u003ccite>(Bianca Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11632210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11632210\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_1548-1-800x532.jpg\" alt=\"With multiple stages, a music hall and a dances spaces, there's a constant lineup of performances to see. \" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1-520x346.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1548-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">With multiple stages, a music hall and dance spaces, there's a constant lineup of performances to see. \u003ccite>(Bianca Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11632228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11632228\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_1506-800x600.jpg\" alt=\"The venue at the Cow Palace is transformed into the streets of London. From Fezziwig's fancy home, to the dicier dock areas, people can experience a very Dickensian London. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1506.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cow Palace is transformed into the streets of London for the Great Dickens Christmas Fair. From Fezziwig's fancy home to the dicier dock areas, people can experience a very Dickensian London. \u003ccite>(Bianca Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11632221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11632221\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_1487-800x600.jpg\" alt=\"It even smells like London! With vendors and performers constantly making food, the smell of cinnamon and spice permeates the entire venue. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1487.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It even smells like London. With vendors and performers constantly making food, the smell of cinnamon and spice permeates the entire venue. \u003ccite>(Bianca Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11632225\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11632225\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_1449-800x600.jpg\" alt=\"A real printing press is used throughout the fair, one of many touches that makes the experience feel like stepping into another era. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1449.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A real printing press is used throughout the fair, one of many touches that makes the experience feel like stepping into another era. \u003ccite>(Bianca Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11632218\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11632218\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_1510-800x600.jpg\" alt=\"Participants in the fair take part in weeks of workshops that prepare them to give a seamless performance for the holiday season. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_1510.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the fair take part in weeks of workshops that prepare them to give a seamless performance for the holiday season. \u003ccite>(Bianca Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "legendary-tenor-marks-50-years-as-la-opera-pioneer-and-leader",
"title": "A Legendary Tenor Marks 50 Years as LA Opera Pioneer and Leader",
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"headTitle": "A Legendary Tenor Marks 50 Years as LA Opera Pioneer and Leader | KQED",
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"content": "\u003cp>It’s not your typical opera setting. The auditorium is small. The audience didn’t pay a dime to get in. And the performers have limited stage experience — except one.\u003c/p>\n\u003cp>It was a rare opportunity to see \u003ca href=\"http://www.placidodomingo.com/\" target=\"_blank\" rel=\"noopener\">Plácido Domingo\u003c/a>, \u003cem>teacher\u003c/em>, leading a master class at UCLA this past weekend with four young singers including Eric Levintow, a 25-year-old tenor from San Francisco.\u003c/p>\n\u003cp>After listening to Levintow performing the aria “Una Furtiva Lagrima,” from \u003ca href=\"https://en.wikipedia.org/wiki/Gaetano_Donizetti\">Gaetano Donizetti\u003c/a>’s “L’Elisir d’Amore,” Domingo tells him to sing it again. This time he gently interrupts Levintow throughout to discuss character motivation and phrasing. He corrects breathing and posture.\u003c/p>\n\u003cp>Domingo joined UCLA as an adjunct professor in 1994. The master class performance was part of a daylong event honoring his dedication to music education and the arts in Los Angeles — a celebration that included \u003ca href=\"http://newsroom.ucla.edu/stories/opera-legend-placido-domingo-receives-ucla-medal\" rel=\"noopener\" target=\"_blank\">awarding him\u003c/a> the university’s highest honor: the UCLA Medal.\u003c/p>\n\u003cfigure id=\"attachment_11631566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_3210.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_3210-1020x680.jpg\" alt=\"\" width=\"640\" height=\"427\" class=\"size-large wp-image-11631566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Plácido Domingo with tenor Eric Levintow at a recent master class performance at UCLA. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I first came to Los Angeles 50 years ago, I never could’ve imagined that this city would someday become a second home,” he said in prepared remarks. “The world was just beginning to open up for me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Domingo first set foot on a Los Angeles opera stage in 1967, playing the king \u003ca href=\"http://www.nytimes.com/1964/08/09/ginasteras-don-rodrigo.html\" target=\"_blank\" rel=\"noopener\">Don Rodrigo\u003c/a> in composer Alberto Ginastera’s jagged, modern opera of the same name.\u003c/p>\n\u003cp>“It was my first visit to Los Angeles and when you’re 26 years [old] and you’re coming to Hollywood, it’s very exciting,” he said.\u003c/p>\n\u003cp>Following the medal ceremony, master class and a private reception, Domingo settled into a backstage green room with his wife and opera stage director Marta close by, just as she has been for the past 55 years.\u003c/p>\n\u003cp>“And then I was involved in really forming \u003ca href=\"https://www.laopera.org/\">LA Opera\u003c/a>,” said Domingo. “I [got] the idea that I should move the people to have an opera company. And we did, and here we are.”\u003c/p>\n\u003cp>Before Domingo, opera in Los Angeles battled for a place in the spotlight. Performances tended to be upstaged by the more established Los Angeles Philharmonic. There was an over-reliance on visiting opera companies. But LA Opera CEO Christopher Koelsch says Domingo tapped into a hunger — and rallied a group of local and loyal benefactors who’ve helped grow and sustain LA Opera for over 30 years.\u003c/p>\n\u003cfigure id=\"attachment_11631568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11631568\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_7468-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plácido and Marta Domingo at a private reception after he received the UCLA Medal on Nov 12. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I don’t think it’s going too far to say that opera in Los Angeles would not exist without his leadership,” Koelsch said. “I think in the end he’s an evangelist for the art form. I think he saw an incredible opportunity here, a growing density of culture.”\u003c/p>\n\u003cp>While LA Opera took flight in the mid-1980s, Domingo was at his zenith, in demand as both a performer and a conductor across the globe.\u003c/p>\n\u003cp>But as he cut back on performing, his LA Opera duties expanded, from artistic consultant to general director following \u003ca href=\"http://articles.latimes.com/2002/jan/04/local/me-20173\" rel=\"noopener\" target=\"_blank\">the passing\u003c/a> of founding director Peter Hemmings 15 years ago. \u003c/p>\n\u003cp>“I would love very much that the company can grow at the turn of the decade,” said Domingo. “Where we are now about six or seven productions [per season], my dream would be that we can have like eight productions.”\u003c/p>\n\u003cp>LA Opera dialed back on main stage productions during the global economic crisis. But under Domingo’s leadership, the company also launched a program to showcase new, \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-la-opera-persona-review-20171111-story.html\" target=\"_blank\" rel=\"noopener\">more experimental works\u003c/a> at smaller venues through its Off Grand initiative.\u003c/p>\n\u003cp>“There are still things he wants to accomplish and I have so much respect for that idea of a quest,” Koelsch said. “That’s an incredible energy to organize an opera house around. It pushes the entire entity to try and reach that goal.”\u003c/p>\n\u003cp>This weekend, Domingo wraps up a monthlong engagement at LA Opera playing, as he did 50 years ago, a king. This time however it’s the aging king who descends into madness at the heart of \u003ca href=\"https://www.laopera.org/season/1718-Season/Nabucco/\" target=\"_blank\" rel=\"noopener\">Giuseppe Verdi’s “Nabucco.”\u003c/a>\u003c/p>\n\u003cp>It’s an intensely physical role that has the 76-year-old tenor falling to his knees, getting yanked around by henchmen and delivering one aria while sprawled on his belly.\u003c/p>\n\u003cp>“One is tempted to say that this guy has a bargain with some really important supernatural beings,” laughs \u003ca href=\"https://www.music.ucla.edu/kazaras-peter\" target=\"_blank\" rel=\"noopener\">Peter Kazaras, \u003c/a>the director of Opera UCLA who first saw Domingo on stage in the late 1960s.\u003c/p>\n\u003cfigure id=\"attachment_11631581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11631581\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/nab_2497p-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plácido Domingo in L.A. Opera’s 2017 production of Giuseppe Verdi’s ‘Nabucco’ \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Most people at his age, they physically cannot do it. The apparatus has given out,” Kazaras said. “He’s like a pitcher who is still pitching at the age of 50. So it seems clear that he’ll go for as long as he wants to go.”\u003c/p>\n\u003cp>“Music is my life, opera is my life,” Domingo said softly, his voice quavering a bit during his comments at UCLA. “And I feel blessed to have been given a gift that I can share with other people, and that I can use to bring joy into their lives.”\u003c/p>\n\u003cfigure id=\"attachment_11631584\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11631584\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_3196-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plácido Domingo delivers remarks after receiving the UCLA Medal on Nov 12. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite some recent health setbacks, Domingo continues to perform and conduct around the world, though his main-stage opera performances are getting further and further apart.\u003c/p>\n\u003cp>But Domingo confirms that he intends to perform in the yet to be announced 2018-2019 LA Opera season.\u003c/p>\n\u003cp>“Surely if I am in a good voice and if I am in good health. And if the planet is still here, then yes,” he laughed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plácido Domingo closes out the LA Opera season this weekend with a 50th anniversary tribute concert and one final performance of Verdi’s “Nabucco.”\u003c/p>\n\n",
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"title": "A Legendary Tenor Marks 50 Years as LA Opera Pioneer and Leader | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not your typical opera setting. The auditorium is small. The audience didn’t pay a dime to get in. And the performers have limited stage experience — except one.\u003c/p>\n\u003cp>It was a rare opportunity to see \u003ca href=\"http://www.placidodomingo.com/\" target=\"_blank\" rel=\"noopener\">Plácido Domingo\u003c/a>, \u003cem>teacher\u003c/em>, leading a master class at UCLA this past weekend with four young singers including Eric Levintow, a 25-year-old tenor from San Francisco.\u003c/p>\n\u003cp>After listening to Levintow performing the aria “Una Furtiva Lagrima,” from \u003ca href=\"https://en.wikipedia.org/wiki/Gaetano_Donizetti\">Gaetano Donizetti\u003c/a>’s “L’Elisir d’Amore,” Domingo tells him to sing it again. This time he gently interrupts Levintow throughout to discuss character motivation and phrasing. He corrects breathing and posture.\u003c/p>\n\u003cp>Domingo joined UCLA as an adjunct professor in 1994. The master class performance was part of a daylong event honoring his dedication to music education and the arts in Los Angeles — a celebration that included \u003ca href=\"http://newsroom.ucla.edu/stories/opera-legend-placido-domingo-receives-ucla-medal\" rel=\"noopener\" target=\"_blank\">awarding him\u003c/a> the university’s highest honor: the UCLA Medal.\u003c/p>\n\u003cfigure id=\"attachment_11631566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_3210.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_3210-1020x680.jpg\" alt=\"\" width=\"640\" height=\"427\" class=\"size-large wp-image-11631566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Plácido Domingo with tenor Eric Levintow at a recent master class performance at UCLA. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I first came to Los Angeles 50 years ago, I never could’ve imagined that this city would someday become a second home,” he said in prepared remarks. “The world was just beginning to open up for me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Domingo first set foot on a Los Angeles opera stage in 1967, playing the king \u003ca href=\"http://www.nytimes.com/1964/08/09/ginasteras-don-rodrigo.html\" target=\"_blank\" rel=\"noopener\">Don Rodrigo\u003c/a> in composer Alberto Ginastera’s jagged, modern opera of the same name.\u003c/p>\n\u003cp>“It was my first visit to Los Angeles and when you’re 26 years [old] and you’re coming to Hollywood, it’s very exciting,” he said.\u003c/p>\n\u003cp>Following the medal ceremony, master class and a private reception, Domingo settled into a backstage green room with his wife and opera stage director Marta close by, just as she has been for the past 55 years.\u003c/p>\n\u003cp>“And then I was involved in really forming \u003ca href=\"https://www.laopera.org/\">LA Opera\u003c/a>,” said Domingo. “I [got] the idea that I should move the people to have an opera company. And we did, and here we are.”\u003c/p>\n\u003cp>Before Domingo, opera in Los Angeles battled for a place in the spotlight. Performances tended to be upstaged by the more established Los Angeles Philharmonic. There was an over-reliance on visiting opera companies. But LA Opera CEO Christopher Koelsch says Domingo tapped into a hunger — and rallied a group of local and loyal benefactors who’ve helped grow and sustain LA Opera for over 30 years.\u003c/p>\n\u003cfigure id=\"attachment_11631568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11631568\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_7468-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plácido and Marta Domingo at a private reception after he received the UCLA Medal on Nov 12. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I don’t think it’s going too far to say that opera in Los Angeles would not exist without his leadership,” Koelsch said. “I think in the end he’s an evangelist for the art form. I think he saw an incredible opportunity here, a growing density of culture.”\u003c/p>\n\u003cp>While LA Opera took flight in the mid-1980s, Domingo was at his zenith, in demand as both a performer and a conductor across the globe.\u003c/p>\n\u003cp>But as he cut back on performing, his LA Opera duties expanded, from artistic consultant to general director following \u003ca href=\"http://articles.latimes.com/2002/jan/04/local/me-20173\" rel=\"noopener\" target=\"_blank\">the passing\u003c/a> of founding director Peter Hemmings 15 years ago. \u003c/p>\n\u003cp>“I would love very much that the company can grow at the turn of the decade,” said Domingo. “Where we are now about six or seven productions [per season], my dream would be that we can have like eight productions.”\u003c/p>\n\u003cp>LA Opera dialed back on main stage productions during the global economic crisis. But under Domingo’s leadership, the company also launched a program to showcase new, \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-la-opera-persona-review-20171111-story.html\" target=\"_blank\" rel=\"noopener\">more experimental works\u003c/a> at smaller venues through its Off Grand initiative.\u003c/p>\n\u003cp>“There are still things he wants to accomplish and I have so much respect for that idea of a quest,” Koelsch said. “That’s an incredible energy to organize an opera house around. It pushes the entire entity to try and reach that goal.”\u003c/p>\n\u003cp>This weekend, Domingo wraps up a monthlong engagement at LA Opera playing, as he did 50 years ago, a king. This time however it’s the aging king who descends into madness at the heart of \u003ca href=\"https://www.laopera.org/season/1718-Season/Nabucco/\" target=\"_blank\" rel=\"noopener\">Giuseppe Verdi’s “Nabucco.”\u003c/a>\u003c/p>\n\u003cp>It’s an intensely physical role that has the 76-year-old tenor falling to his knees, getting yanked around by henchmen and delivering one aria while sprawled on his belly.\u003c/p>\n\u003cp>“One is tempted to say that this guy has a bargain with some really important supernatural beings,” laughs \u003ca href=\"https://www.music.ucla.edu/kazaras-peter\" target=\"_blank\" rel=\"noopener\">Peter Kazaras, \u003c/a>the director of Opera UCLA who first saw Domingo on stage in the late 1960s.\u003c/p>\n\u003cfigure id=\"attachment_11631581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11631581\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/nab_2497p-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plácido Domingo in L.A. Opera’s 2017 production of Giuseppe Verdi’s ‘Nabucco’ \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Most people at his age, they physically cannot do it. The apparatus has given out,” Kazaras said. “He’s like a pitcher who is still pitching at the age of 50. So it seems clear that he’ll go for as long as he wants to go.”\u003c/p>\n\u003cp>“Music is my life, opera is my life,” Domingo said softly, his voice quavering a bit during his comments at UCLA. “And I feel blessed to have been given a gift that I can share with other people, and that I can use to bring joy into their lives.”\u003c/p>\n\u003cfigure id=\"attachment_11631584\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11631584\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_3196-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plácido Domingo delivers remarks after receiving the UCLA Medal on Nov 12. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite some recent health setbacks, Domingo continues to perform and conduct around the world, though his main-stage opera performances are getting further and further apart.\u003c/p>\n\u003cp>But Domingo confirms that he intends to perform in the yet to be announced 2018-2019 LA Opera season.\u003c/p>\n\u003cp>“Surely if I am in a good voice and if I am in good health. And if the planet is still here, then yes,” he laughed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plácido Domingo closes out the LA Opera season this weekend with a 50th anniversary tribute concert and one final performance of Verdi’s “Nabucco.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Ghosts of the Gold Rush Linger in Tiny (Lava-Free) Volcano",
"title": "Ghosts of the Gold Rush Linger in Tiny (Lava-Free) Volcano",
"headTitle": "A Place Called What?! | The California Report | KQED News",
"content": "\u003cp>\u003cem>A lot of us Californians like to hit the open road, explore miles of highway and venture off onto some back roads. Sometimes, we come across towns with some pretty bizarre and surprising names. For this installment in our series\u003ca href=\"https://ww2.kqed.org/news/series/a-place-called-what/\"> “A Place Called What?!”\u003c/a> we head to Volcano, California.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Know an unusual place name in California? Tell us about it in the comments below, or send a note to \u003ca href=\"mailto:calreport@kqed.org\">calreport@kqed.org\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Let's be clear: There is no volcano in Volcano, California.\u003c/p>\n\u003cp>Although as resident John Hemstreet notes, “if you're far enough away from here it does \u003cem>look\u003c/em> like a volcano.\"\u003c/p>\n\u003cfigure id=\"attachment_11631746\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11631746\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Hemstreet sits outside the Whiskey Flat Saloon in Volcano, California. \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a population of barely 100, this Gold Country town in the Sierra Foothills east of Sacramento is so tiny that its Main Street is home to just two residential homes -- and Hemstreet lives in one of them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He moved here five years ago after 60 years in Sacramento, and says, “I came to Volcano and I knew right away -- I could feel it. That this was the place to be for me.\"\u003c/p>\n\u003cfigure id=\"attachment_11631757\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11631757\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A view of Volcano's Main Street \u003ccite>(Sharon Hahn Darlin/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Standing in this bowl-shaped valley, surrounded by thickly wooded hills, it’s easy to forget Volcano lies at an elevation of over 2,000 feet. This spot was settled in 1848 by a regiment led by Col. Jonathan Stevenson, who began mining the area in earnest.\u003c/p>\n\u003cp>Initially calling it Soldiers Gulch, miners then named their settlement for the formation they thought it resembled: a volcanic crater.\u003c/p>\n\u003cfigure id=\"attachment_11631752\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11631752\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Hemstreet stands by the sign at the entrance to Volcano, in front of the George Hotel. \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once this spot’s mining opportunities became known, Volcano began to attract gold-seekers from across the country.\u003c/p>\n\u003cp>“There were probably five or six thousand people here at the time,” says Hemstreet. “Now there's less than 100 -- and there are still people living in this town that were related to those miners that came in the 1840s.\"\u003c/p>\n\u003cp>There's more to Volcano's history than the Gold Rush. In 1860, California's first recorded astronomical observatory was established in this town by George Madeira. It was here that the Great Comet of 1861 was first discovered in the United States.\u003c/p>\n\u003cfigure id=\"attachment_11631751\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11631751 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sign commemorates California's first recorded astronomical observatory -- installed here in Volcano \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Civil War also left its mark on Volcano, in the form of \"Old Abe\": a 737-pound brass cannon that still sits, undercover, in the town's Union Square.\u003c/p>\n\u003cp>This artillery was smuggled into Volcano during the war by the Volcano Blues, a pro-Union faction seeking to intimidate a group of local Confederate sympathizers. They were so successful that Old Abe was never even fired -- although as the sign that sits above the cannon today dryly notes, \"enthusiastic\" overcharging by the Volcano Blues means it probably would have exploded anyway.\u003c/p>\n\u003cfigure id=\"attachment_11631754\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11631754\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut.jpg\" alt=\"\" width=\"1920\" height=\"1168\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut-160x97.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut-800x487.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut-1020x621.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut-1180x718.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut-960x584.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut-240x146.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut-375x228.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut-520x316.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Hemstreet looks at a photo showing Volcano as it looked circa 1874, in the George Hotel \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were said to be 17 hotels here in Volcano during the height of the Gold Rush. Now there are just two, the George Hotel and the Union Inn -- both of which naturally claim to be haunted by the various ghosts of the Gold Rush.\u003c/p>\n\u003cp>During daylight at least, you're more likely to see Hemstreet's two cats, Big Jake and Squeaky, skulking around the George Hotel. Since his longtime trade (\"now more of a hobby\") is restoring jukeboxes, it follows that Hemstreet installed the one that sits in the corner of the hotel’s Whiskey Flat Saloon; a mere “12 Steps over, 12 steps back”, as he puts it, from his home.\u003c/p>\n\u003cfigure id=\"attachment_11631749\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg class=\"size-full wp-image-11631749\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1.jpg\" alt=\"\" width=\"1620\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1.jpg 1620w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1-520x347.jpg 520w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">John Hemstreet with the jukebox he installed in the Whiskey Flat Saloon in Volcano, California. \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The outside of Hemstreet’s house is also home to one of Volcano’s more memorable modern-day attractions: a phone booth containing a large photograph of George Reeves in his 1950s Superman incarnation.\u003c/p>\n\u003cp>Below it, you’ll find this plea: \u003cem>“Please do not vandalize this phone booth. I have no place else to change clothes.”\u003c/em> Hemstreet isn’t sure who’s responsible for the Superman decor, but \u003ci>does\u003c/i> claim the framed taxi service details in there as his addition. The saloon is, after all, just a few feet away.\u003c/p>\n\u003cfigure id=\"attachment_11631750\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg class=\"size-full wp-image-11631750\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut.jpg\" alt=\"\" width=\"1620\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut.jpg 1620w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut-520x347.jpg 520w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">The memorable \"Superman phone booth\" in Volcano, Califoria. \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Volcano’s small size might not be for everyone, but Hemstreet says he can’t envision making his home anywhere else.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“People ask me a lot of time, ‘John, how come you never go anywhere?’ I say, why would I want to go anywhere? I'm already here.”\u003c/p>\n\n",
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"excerpt": "One saloon, two hotels, but no lava: Take a trip to the tiny town of Volcano, California.",
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"title": "Ghosts of the Gold Rush Linger in Tiny (Lava-Free) Volcano | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>A lot of us Californians like to hit the open road, explore miles of highway and venture off onto some back roads. Sometimes, we come across towns with some pretty bizarre and surprising names. For this installment in our series\u003ca href=\"https://ww2.kqed.org/news/series/a-place-called-what/\"> “A Place Called What?!”\u003c/a> we head to Volcano, California.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Know an unusual place name in California? Tell us about it in the comments below, or send a note to \u003ca href=\"mailto:calreport@kqed.org\">calreport@kqed.org\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Let's be clear: There is no volcano in Volcano, California.\u003c/p>\n\u003cp>Although as resident John Hemstreet notes, “if you're far enough away from here it does \u003cem>look\u003c/em> like a volcano.\"\u003c/p>\n\u003cfigure id=\"attachment_11631746\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11631746\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27999_John-Saloon-Exterior-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Hemstreet sits outside the Whiskey Flat Saloon in Volcano, California. \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a population of barely 100, this Gold Country town in the Sierra Foothills east of Sacramento is so tiny that its Main Street is home to just two residential homes -- and Hemstreet lives in one of them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He moved here five years ago after 60 years in Sacramento, and says, “I came to Volcano and I knew right away -- I could feel it. That this was the place to be for me.\"\u003c/p>\n\u003cfigure id=\"attachment_11631757\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11631757\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28003_13265957584_dd467d4178_k-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A view of Volcano's Main Street \u003ccite>(Sharon Hahn Darlin/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Standing in this bowl-shaped valley, surrounded by thickly wooded hills, it’s easy to forget Volcano lies at an elevation of over 2,000 feet. This spot was settled in 1848 by a regiment led by Col. Jonathan Stevenson, who began mining the area in earnest.\u003c/p>\n\u003cp>Initially calling it Soldiers Gulch, miners then named their settlement for the formation they thought it resembled: a volcanic crater.\u003c/p>\n\u003cfigure id=\"attachment_11631752\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11631752\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28001_John-Volcano-sign-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Hemstreet stands by the sign at the entrance to Volcano, in front of the George Hotel. \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once this spot’s mining opportunities became known, Volcano began to attract gold-seekers from across the country.\u003c/p>\n\u003cp>“There were probably five or six thousand people here at the time,” says Hemstreet. “Now there's less than 100 -- and there are still people living in this town that were related to those miners that came in the 1840s.\"\u003c/p>\n\u003cp>There's more to Volcano's history than the Gold Rush. In 1860, California's first recorded astronomical observatory was established in this town by George Madeira. It was here that the Great Comet of 1861 was first discovered in the United States.\u003c/p>\n\u003cfigure id=\"attachment_11631751\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11631751 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27991_Volcano-astronomy-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sign commemorates California's first recorded astronomical observatory -- installed here in Volcano \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Civil War also left its mark on Volcano, in the form of \"Old Abe\": a 737-pound brass cannon that still sits, undercover, in the town's Union Square.\u003c/p>\n\u003cp>This artillery was smuggled into Volcano during the war by the Volcano Blues, a pro-Union faction seeking to intimidate a group of local Confederate sympathizers. They were so successful that Old Abe was never even fired -- although as the sign that sits above the cannon today dryly notes, \"enthusiastic\" overcharging by the Volcano Blues means it probably would have exploded anyway.\u003c/p>\n\u003cfigure id=\"attachment_11631754\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11631754\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut.jpg\" alt=\"\" width=\"1920\" height=\"1168\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut-160x97.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut-800x487.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut-1020x621.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut-1180x718.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut-960x584.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut-240x146.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut-375x228.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28002_RS27996_alt_649-qut-520x316.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Hemstreet looks at a photo showing Volcano as it looked circa 1874, in the George Hotel \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were said to be 17 hotels here in Volcano during the height of the Gold Rush. Now there are just two, the George Hotel and the Union Inn -- both of which naturally claim to be haunted by the various ghosts of the Gold Rush.\u003c/p>\n\u003cp>During daylight at least, you're more likely to see Hemstreet's two cats, Big Jake and Squeaky, skulking around the George Hotel. Since his longtime trade (\"now more of a hobby\") is restoring jukeboxes, it follows that Hemstreet installed the one that sits in the corner of the hotel’s Whiskey Flat Saloon; a mere “12 Steps over, 12 steps back”, as he puts it, from his home.\u003c/p>\n\u003cfigure id=\"attachment_11631749\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg class=\"size-full wp-image-11631749\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1.jpg\" alt=\"\" width=\"1620\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1.jpg 1620w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27995_John-Hemstreet-saloon-jukebox-qut-1-520x347.jpg 520w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">John Hemstreet with the jukebox he installed in the Whiskey Flat Saloon in Volcano, California. \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The outside of Hemstreet’s house is also home to one of Volcano’s more memorable modern-day attractions: a phone booth containing a large photograph of George Reeves in his 1950s Superman incarnation.\u003c/p>\n\u003cp>Below it, you’ll find this plea: \u003cem>“Please do not vandalize this phone booth. I have no place else to change clothes.”\u003c/em> Hemstreet isn’t sure who’s responsible for the Superman decor, but \u003ci>does\u003c/i> claim the framed taxi service details in there as his addition. The saloon is, after all, just a few feet away.\u003c/p>\n\u003cfigure id=\"attachment_11631750\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg class=\"size-full wp-image-11631750\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut.jpg\" alt=\"\" width=\"1620\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut.jpg 1620w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27992_Volcano-phonebooth-qut-520x347.jpg 520w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">The memorable \"Superman phone booth\" in Volcano, Califoria. \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Volcano’s small size might not be for everyone, but Hemstreet says he can’t envision making his home anywhere else.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“People ask me a lot of time, ‘John, how come you never go anywhere?’ I say, why would I want to go anywhere? I'm already here.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "tea-thc-lady-entrepreneurs-aim-to-micro-dose-your-happy-hour",
"title": "Tea & THC: Lady Entrepreneurs Aim to Take Your Happy Hour Higher",
"publishDate": 1510867158,
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"headTitle": "Tea & THC: Lady Entrepreneurs Aim to Take Your Happy Hour Higher | KQED",
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"content": "\u003cp>On a recent evening in Palo Alto, roughly 50 women arrived in a festive mood. For one thing, they were told to dress for a tea party, so they were all wearing gorgeous, 1950s-style dresses and great big hats. For another, they were expecting to get high.\u003c/p>\n\u003cp>With retail sales of recreational marijuana expected to go legal in California on Jan. 1, one small startup is building its client base with marijuana-laced tea parties around the Bay Area.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/RDnews/2017/11/MyrowHighTea1.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut-800x450.jpg\" Title=\"Tea & THC: Lady Entrepreneurs Aim to Take Your Happy Hour Higher\" program=\"News Fix\"]\u003c/p>\n\u003cp>For the brainy, well-to-do set in Palo Alto, nothing goes over quite so well as cucumber sandwiches, macarons and a witty, educational talk about the history and science of marijuana.\u003c/p>\n\u003cp>“One hundred million of us [Americans] live with chronic pain. I’m one of them. I have back issues,” co-founder Amanda Jones tells the attentive crowd during a brief but comprehensive slideshow. “We have a huge problem with prescription medications.”\u003c/p>\n\u003cfigure id=\"attachment_11629361\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11629361\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut-800x450.jpg\" alt=\"They look like any other line of teas at a gourmet grocery store, but these pack a punch, albeit a modest punch. Each contains a modest amount of marijuana, just enough to take the edge off of a range of ailments, including anxiety and sleeplessness.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">They look like any other line of teas at a gourmet grocery store, but these pack a punch, albeit a modest punch. Each contains a modest amount of marijuana, just enough to take the edge off a range of ailments, including anxiety and sleeplessness. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If this sounds a little sedate … well, that’s the idea. \u003ca href=\"https://kikoko.com\" target=\"_blank\" rel=\"noopener\">Kikoko\u003c/a>, the company sponsoring this tea party, is targeting women. That is to say, women looking to take the edge off before bedtime, not to get baked on the couch with a pizza, watching Netflix.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kikoko co-founder Jennifer Chapin explains, “We realized we were on to something when we talked to so many women who were reliant on pharmaceuticals, and not necessarily happily. If we could come up with a reliably dosed product, we’d have a winner.”\u003c/p>\n\u003cp>It wasn’t as easy as you might think, says Jones. “We went through three, I think, science teams? Before …four? Before we actually cracked the nut.”\u003c/p>\n\u003cp>There was also quite a bit of — cough — personal research to fix on a product that would stand out from the crowd of options available now on the medical marijuana market: mints, gummy bears, tinctures, et cetera. Jones says, “Just put it this way: In the last three years, we’ve done a lot more weed than we ever, ever did before in our lives.”\u003c/p>\n\u003cfigure id=\"attachment_11629363\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11629363 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut-800x450.jpg\" alt=\"Pick a cup, any cup.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pick a cup, any cup. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They finally landed on water-soluble tea blends laced with a tiny bit of THC, the psychoactive ingredient in cannabis that gets you high: 3 to 10 milligrams, tops; “micro-dosing,” they call it.\u003c/p>\n\u003cp>Partygoer Lori — let’s just call her Lori, shall we? — says she is not looking for a new addiction.\u003c/p>\n\u003cp>“I am not a big, uh, marijuana person.”\u003c/p>\n\u003cp>I ask her what I ask everybody at the party who responds in this fashion: “Did you use it in college?”\u003c/p>\n\u003cp>“Yes,” she replies, before going on to assure me she’s not a regular user now. For some women, this is doubtlessly true. Others at the party are concerned about the judgment of their bosses or clients. After all, recreational marijuana is not legal yet.\u003c/p>\n\u003cfigure id=\"attachment_11629369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11629369 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut-800x888.jpg\" alt=\"Kikoko's Chelsea McKrill explains the products' properties. Because it takes longer for the body to process the THC in edibles, some people will consume too much, thinking “Nothing is happening!” Then, all of a sudden, too much is happening. “Start low and go slow,” is the company mantra.\" width=\"800\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut-800x888.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut-1020x1132.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut-1180x1310.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut-960x1066.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut-240x266.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut-375x416.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut-520x577.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kikoko’s Chelsey McKrill explains the products’ properties. Because it takes longer for the body to process the THC in edibles, some people will consume too much, thinking “nothing is happening!” Then, all of a sudden, too much is happening. “Start low and go slow” is the company mantra. \u003ccite>(Photo: Courtesy of Tara Kaplinksy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Lori would like a little help getting better sleep and, sweeping her arm to include the rest of the room, Lori says she suspects others want the same. “We’re all looking for the magic pill, I guess.”\u003c/p>\n\u003cp>Kikoko’s teas run the gamut from herbaceous to fruity, and like its marijuana-free competitors, each promises to address a different issue; or should I say desire. Chelsey McKrill sizes up one guest and suggests she try a cup of Sensuali-Tea.\u003c/p>\n\u003cp>McKrill explains, “It’s 7 milligrams. It has rose petals, cardamon, hibiscus, cloves, lavender. It’s not caffeinated so it’s going to enable you to go to sleep later and have some fun in the meantime.”\u003c/p>\n\u003cp>This is not a product your teenager will want to steal from the cupboard, unless it’s for the flavor.\u003c/p>\n\u003cp>That’s not necessarily a bad thing. Chapin explains she and Jones were originally inspired by the difficulty they observed a friend experience trying to find a medical marijuana product that would address her physical suffering without wiping her out.\u003c/p>\n\u003cfigure id=\"attachment_11629372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11629372\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut-800x450.jpg\" alt=\"Got the munchies yet?\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Got the munchies yet? \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Our friend Jan had ovarian cancer and she was using cannabis to medicate for sleep, pain, appetite. On the one hand, she had great results with it. On the other, she’d be knocked on her butt and she’d be crawling on her hands and knees.”\u003c/p>\n\u003cp>Small dosages may also be a better fit for customers either just beginning to use recreational marijuana, or coming back to it for the first time in many years.\u003c/p>\n\u003cp>“We’re seeing cannabis consumers coming out of the closet, and they don’t look like the traditional 18-21-year-old male. They span every race, every ethnicity, both genders, as well as all income brackets,” says David Downs, cannabis editor at the San Francisco Chronicle.\u003c/p>\n\u003cp>He adds, “Prohibition drove up the potency of these products and legalization is going to drive them back down, as companies seek to reach bigger and bigger markets. Most of those markets have very low tolerance for cannabis.”\u003c/p>\n\u003cfigure id=\"attachment_11629383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11629383\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut-800x450.jpg\" alt='From left to right: Jacqueline Turner, Jennifer Chapin, Linda Jackson, and Amanda Jones. Jackson, aka \"Ganja Mamma,\" is a nurse who has spent the last 25 years specializing in helping seniors learn how to use medical marijuana.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Jacqueline Turner, Jennifer Chapin, Linda Jackson and Amanda Jones. Jackson, aka “Ganja Mamma,” is a nurse who has spent the last 25 years specializing in helping seniors learn how to use medical marijuana. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To purchase Kikoko teas today, you do have to have a medical marijuana card. In January, the game changes, and Kikoko’s potential market expands. The question is: Are they ready for expanded competition?\u003c/p>\n\u003cp>Downs worries that all the new regulations and red tape coming down the pike in California will quickly drive out small players like Kikoko. “Cannabis is in a period of intense capitalization, and it goes without saying that the people with the most access to capital in America tend to be white males.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Don’t tell that to Jones and Chapin. They have no illusions about gender bias in business, but they’ve managed to raise more than $3 million so far, from investors who trust they know best how to market to people like themselves.\u003c/p>\n\n",
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"excerpt": "Amanda Jones and Jennifer Chapin co-founded Kikoko, a startup serving micro-dosed, marijuana-laced teas marketed to women like themselves.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent evening in Palo Alto, roughly 50 women arrived in a festive mood. For one thing, they were told to dress for a tea party, so they were all wearing gorgeous, 1950s-style dresses and great big hats. For another, they were expecting to get high.\u003c/p>\n\u003cp>With retail sales of recreational marijuana expected to go legal in California on Jan. 1, one small startup is building its client base with marijuana-laced tea parties around the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the brainy, well-to-do set in Palo Alto, nothing goes over quite so well as cucumber sandwiches, macarons and a witty, educational talk about the history and science of marijuana.\u003c/p>\n\u003cp>“One hundred million of us [Americans] live with chronic pain. I’m one of them. I have back issues,” co-founder Amanda Jones tells the attentive crowd during a brief but comprehensive slideshow. “We have a huge problem with prescription medications.”\u003c/p>\n\u003cfigure id=\"attachment_11629361\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11629361\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut-800x450.jpg\" alt=\"They look like any other line of teas at a gourmet grocery store, but these pack a punch, albeit a modest punch. Each contains a modest amount of marijuana, just enough to take the edge off of a range of ailments, including anxiety and sleeplessness.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27925_Photo-Oct-27-5-49-27-PM-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">They look like any other line of teas at a gourmet grocery store, but these pack a punch, albeit a modest punch. Each contains a modest amount of marijuana, just enough to take the edge off a range of ailments, including anxiety and sleeplessness. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If this sounds a little sedate … well, that’s the idea. \u003ca href=\"https://kikoko.com\" target=\"_blank\" rel=\"noopener\">Kikoko\u003c/a>, the company sponsoring this tea party, is targeting women. That is to say, women looking to take the edge off before bedtime, not to get baked on the couch with a pizza, watching Netflix.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kikoko co-founder Jennifer Chapin explains, “We realized we were on to something when we talked to so many women who were reliant on pharmaceuticals, and not necessarily happily. If we could come up with a reliably dosed product, we’d have a winner.”\u003c/p>\n\u003cp>It wasn’t as easy as you might think, says Jones. “We went through three, I think, science teams? Before …four? Before we actually cracked the nut.”\u003c/p>\n\u003cp>There was also quite a bit of — cough — personal research to fix on a product that would stand out from the crowd of options available now on the medical marijuana market: mints, gummy bears, tinctures, et cetera. Jones says, “Just put it this way: In the last three years, we’ve done a lot more weed than we ever, ever did before in our lives.”\u003c/p>\n\u003cfigure id=\"attachment_11629363\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11629363 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut-800x450.jpg\" alt=\"Pick a cup, any cup.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27926_Photo-Oct-27-5-51-24-PM-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pick a cup, any cup. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They finally landed on water-soluble tea blends laced with a tiny bit of THC, the psychoactive ingredient in cannabis that gets you high: 3 to 10 milligrams, tops; “micro-dosing,” they call it.\u003c/p>\n\u003cp>Partygoer Lori — let’s just call her Lori, shall we? — says she is not looking for a new addiction.\u003c/p>\n\u003cp>“I am not a big, uh, marijuana person.”\u003c/p>\n\u003cp>I ask her what I ask everybody at the party who responds in this fashion: “Did you use it in college?”\u003c/p>\n\u003cp>“Yes,” she replies, before going on to assure me she’s not a regular user now. For some women, this is doubtlessly true. Others at the party are concerned about the judgment of their bosses or clients. After all, recreational marijuana is not legal yet.\u003c/p>\n\u003cfigure id=\"attachment_11629369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11629369 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut-800x888.jpg\" alt=\"Kikoko's Chelsea McKrill explains the products' properties. Because it takes longer for the body to process the THC in edibles, some people will consume too much, thinking “Nothing is happening!” Then, all of a sudden, too much is happening. “Start low and go slow,” is the company mantra.\" width=\"800\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut-800x888.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut-1020x1132.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut-1180x1310.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut-960x1066.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut-240x266.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut-375x416.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27924_IMG_5990-qut-520x577.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kikoko’s Chelsey McKrill explains the products’ properties. Because it takes longer for the body to process the THC in edibles, some people will consume too much, thinking “nothing is happening!” Then, all of a sudden, too much is happening. “Start low and go slow” is the company mantra. \u003ccite>(Photo: Courtesy of Tara Kaplinksy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Lori would like a little help getting better sleep and, sweeping her arm to include the rest of the room, Lori says she suspects others want the same. “We’re all looking for the magic pill, I guess.”\u003c/p>\n\u003cp>Kikoko’s teas run the gamut from herbaceous to fruity, and like its marijuana-free competitors, each promises to address a different issue; or should I say desire. Chelsey McKrill sizes up one guest and suggests she try a cup of Sensuali-Tea.\u003c/p>\n\u003cp>McKrill explains, “It’s 7 milligrams. It has rose petals, cardamon, hibiscus, cloves, lavender. It’s not caffeinated so it’s going to enable you to go to sleep later and have some fun in the meantime.”\u003c/p>\n\u003cp>This is not a product your teenager will want to steal from the cupboard, unless it’s for the flavor.\u003c/p>\n\u003cp>That’s not necessarily a bad thing. Chapin explains she and Jones were originally inspired by the difficulty they observed a friend experience trying to find a medical marijuana product that would address her physical suffering without wiping her out.\u003c/p>\n\u003cfigure id=\"attachment_11629372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11629372\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut-800x450.jpg\" alt=\"Got the munchies yet?\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27929_Photo-Oct-27-5-48-49-PM-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Got the munchies yet? \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Our friend Jan had ovarian cancer and she was using cannabis to medicate for sleep, pain, appetite. On the one hand, she had great results with it. On the other, she’d be knocked on her butt and she’d be crawling on her hands and knees.”\u003c/p>\n\u003cp>Small dosages may also be a better fit for customers either just beginning to use recreational marijuana, or coming back to it for the first time in many years.\u003c/p>\n\u003cp>“We’re seeing cannabis consumers coming out of the closet, and they don’t look like the traditional 18-21-year-old male. They span every race, every ethnicity, both genders, as well as all income brackets,” says David Downs, cannabis editor at the San Francisco Chronicle.\u003c/p>\n\u003cp>He adds, “Prohibition drove up the potency of these products and legalization is going to drive them back down, as companies seek to reach bigger and bigger markets. Most of those markets have very low tolerance for cannabis.”\u003c/p>\n\u003cfigure id=\"attachment_11629383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11629383\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut-800x450.jpg\" alt='From left to right: Jacqueline Turner, Jennifer Chapin, Linda Jackson, and Amanda Jones. Jackson, aka \"Ganja Mamma,\" is a nurse who has spent the last 25 years specializing in helping seniors learn how to use medical marijuana.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27928_IMG_6017-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Jacqueline Turner, Jennifer Chapin, Linda Jackson and Amanda Jones. Jackson, aka “Ganja Mamma,” is a nurse who has spent the last 25 years specializing in helping seniors learn how to use medical marijuana. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To purchase Kikoko teas today, you do have to have a medical marijuana card. In January, the game changes, and Kikoko’s potential market expands. The question is: Are they ready for expanded competition?\u003c/p>\n\u003cp>Downs worries that all the new regulations and red tape coming down the pike in California will quickly drive out small players like Kikoko. “Cannabis is in a period of intense capitalization, and it goes without saying that the people with the most access to capital in America tend to be white males.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Don’t tell that to Jones and Chapin. They have no illusions about gender bias in business, but they’ve managed to raise more than $3 million so far, from investors who trust they know best how to market to people like themselves.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>The KQED Book Nook is tucked away on the third floor of the KQED building in the Mission District of San Francisco. It’s the perfect place to talk to authors about their new work, their lives and more.\u003c/em>\u003c/p>\n\u003cp>Richard White is professor of American history at Stanford University. His new book is “The Republic for Which It Stands: The United States During Reconstruction and the Gilded Age, 1865-1896.”\u003c/p>\n\u003cp>\u003cstrong>If you had to describe your book in 10 words or fewer, how would you do it?\u003c/strong>\u003c/p>\n\u003cp>A cautionary tale of what can go wrong when you think you control the world and you don’t.\u003c/p>\n\u003cp>\u003cstrong>What is a question about the book you wish someone would ask?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I wish people would ask me about the home, about ideas like competency, about ways of imagining in America which are not about individualism and great wealth. The thesis of my book is that there is a core of collective values in the United States, and in the 19th century that are expressed through the home. The idea is is that our own individual well-being is never going to be the end all of American history because we have to think of what happens to others who are related to us and to communities. That’s as real in American history as individuals.\u003c/p>\n\u003cp>\u003cstrong>Where do you go for inspiration?\u003c/strong>\u003c/p>\n\u003cp>The great privilege of being a university professor is what ever I’m curious about, I’m allowed to do so. I’m pretty much a short attention span theater historian even though this is a long book. I skip from topic to topic, and there is nobody to stop me. I’m nearly done with my career now, so I guess nobody ever is going to stop me.\u003c/p>\n\u003cp>\u003cstrong>What’s your next project?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11630185\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11630185\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut-800x533.jpg\" alt=\"Historian Richard White and his photographer son Jesse White are working on a new book about the history of California told through photographs of the state.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Historian Richard White and his photographer son Jesse White are working on a new book about the history of California told through photographs of the state. \u003ccite>(Courtesy of Richard and Jesse White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Well I’m actually writing a book with my son Jesse White who’s a photographer, and it’s based on an argument between us. I said that every photograph is a historical photograph and that if he took a series of photographs of agreed on places in California I could write a history of California. So the bet is now a book. I’m feeling pretty good [about the bet]. Friends I’ve had read the rough drafts of it say the Jesse is winning, but we’ll see in the end.\u003c/p>\n\u003cp>\u003cstrong>Where do you like to get inspired to write?\u003c/strong>\u003c/p>\n\u003cp>My son Jesse used to complain when he was little that I didn’t like him or the family because I would go out in the basement and spend several hours by myself. He couldn’t imagine why he would spend several hours by yourself. The place I go is where I’m alone. The place I go is where in fact the people who are now dead or more alive to me — and in that way Jesse was right — than my own family. He was wrong [because] I come back to my family, but during the time I really get absorbed in the past, those people are as alive as people I meet on the street.\u003c/p>\n\u003cp>\u003cstrong>Do they talk to you?\u003c/strong>\u003c/p>\n\u003cp>I talk to them which is pretty scary. They talk to me given that I’m reading their letters. I’m a historian. I read other people’s mail, so they’re talking to me constantly. They don’t know it. I eavesdrop professionally as a living.\u003c/p>\n\u003cp>\u003cstrong>Who’s the best person to eavesdrop on?\u003c/strong>\u003c/p>\n\u003cp>In the book I just wrote, it’s \u003ca href=\"https://www.britannica.com/biography/William-Dean-Howells\" target=\"_blank\" rel=\"noopener\">William Dean Howwells\u003c/a> who’s the 19th century novelist everybody’s forgotten who writes these letters which are both thoughtful, gossipy, informed and just fill me full of ideas.\u003c/p>\n\u003cp>\u003cstrong>What is your favorite California history book?\u003c/strong>\u003c/p>\n\u003cp>[contextly_sidebar id=”8yDrxq12cvAHjHqfpNu7UaT21heGwaMz”]\u003c/p>\n\u003cp>This is going to sound heretical because there is no real good history of California. I like \u003ca href=\"https://ww2.kqed.org/news/2017/11/01/imagining-the-california-dream/\" target=\"_blank\" rel=\"noopener\">Kevin Starr’s books\u003c/a> on the intellectual life of California, but there has been no overarching book about California which is astonishing.\u003c/p>\n\u003cp>One of the things that I am reading constantly now is Joan Didion who who I used to hate. She’s a wonderful writer, but I disagreed about everything she said about California. Now that I have to grapple with California, I’ve come back and realized that she’s very sophisticated and her opinion changes. So I’m in the midst of rereading Joan Didion and ending up quite impressed.\u003c/p>\n\u003cp>\u003cstrong>Would you ever tackle an overarching history of California?\u003c/strong>\u003c/p>\n\u003cp>No. The photograph book is going to be it. It’s very, very hard to do.\u003c/p>\n\u003cp>\u003cstrong>What is on your to-read list right now?\u003c/strong>\u003c/p>\n\u003cp>I’ve been reading this wonderful new history of the Ghost Dance and Wovoka which is \u003ca href=\"https://www.goodreads.com/book/show/34488625-god-s-red-son?ac=1&from_search=true\" target=\"_blank\" rel=\"noopener\">Louis Warren’s book\u003c/a> which is I think one of the best biographies that I’ve read in a very, very long time. I’m always going to be interested in the American West. So those those are the major things I’m working on now.\u003c/p>\n\u003cp>\u003cstrong>What were the Bay Area and California like during the Gilded Age and Reconstruction?\u003c/strong>\u003cbr>\n[contextly_sidebar id=”X4wWjmYhpMyWKtA9wTfvBdgM1VOx8Ry8″]\u003cbr>\nThe Bay Area is going to be one of the epicenters of the changes that are taking place in Gilded Age America. This is the home of Henry George. He writes \u003ca href=\"http://www.henrygeorge.org/pcontents.htm\" target=\"_blank\" rel=\"noopener\">“Progress and Poverty.”\u003c/a> He’s the one who who enunciates for Gilded Age Americans that something is going deeply wrong with this country when I look around and see technical progress, when I see economic growth, but I also see the increase in poverty and inequality all around me.\u003c/p>\n\u003cp>So Henry George is going to be critical. He’s a complicated guy because he’s also a vicious racist, he’s anti-Chinese. But he’s also a formidable social critic who leaves San Francisco, moved back and had a famous campaign for mayor of New York.\u003c/p>\n\u003cp>\u003cstrong>Why should people care about Reconstruction and the Gilded Age?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If the Gilded Age didn’t matter, we don’t matter. Virtually everything that happens in the Gilded Age is going to have this kind of parallel today. Weak presidents, partisan divide? We’ve got them. Technological progress, mass immigration, the rise again of white supremacy. All of these things, over and over and over again. People are struggling with a rapidly changing world and trying to make sense of it. Their dilemma is our dilemma.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I wish people would ask me about the home, about ideas like competency, about ways of imagining in America which are not about individualism and great wealth. The thesis of my book is that there is a core of collective values in the United States, and in the 19th century that are expressed through the home. The idea is is that our own individual well-being is never going to be the end all of American history because we have to think of what happens to others who are related to us and to communities. That’s as real in American history as individuals.\u003c/p>\n\u003cp>\u003cstrong>Where do you go for inspiration?\u003c/strong>\u003c/p>\n\u003cp>The great privilege of being a university professor is what ever I’m curious about, I’m allowed to do so. I’m pretty much a short attention span theater historian even though this is a long book. I skip from topic to topic, and there is nobody to stop me. I’m nearly done with my career now, so I guess nobody ever is going to stop me.\u003c/p>\n\u003cp>\u003cstrong>What’s your next project?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11630185\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11630185\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut-800x533.jpg\" alt=\"Historian Richard White and his photographer son Jesse White are working on a new book about the history of California told through photographs of the state.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27968_Jesse-and-Richard-White-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Historian Richard White and his photographer son Jesse White are working on a new book about the history of California told through photographs of the state. \u003ccite>(Courtesy of Richard and Jesse White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Well I’m actually writing a book with my son Jesse White who’s a photographer, and it’s based on an argument between us. I said that every photograph is a historical photograph and that if he took a series of photographs of agreed on places in California I could write a history of California. So the bet is now a book. I’m feeling pretty good [about the bet]. Friends I’ve had read the rough drafts of it say the Jesse is winning, but we’ll see in the end.\u003c/p>\n\u003cp>\u003cstrong>Where do you like to get inspired to write?\u003c/strong>\u003c/p>\n\u003cp>My son Jesse used to complain when he was little that I didn’t like him or the family because I would go out in the basement and spend several hours by myself. He couldn’t imagine why he would spend several hours by yourself. The place I go is where I’m alone. The place I go is where in fact the people who are now dead or more alive to me — and in that way Jesse was right — than my own family. He was wrong [because] I come back to my family, but during the time I really get absorbed in the past, those people are as alive as people I meet on the street.\u003c/p>\n\u003cp>\u003cstrong>Do they talk to you?\u003c/strong>\u003c/p>\n\u003cp>I talk to them which is pretty scary. They talk to me given that I’m reading their letters. I’m a historian. I read other people’s mail, so they’re talking to me constantly. They don’t know it. I eavesdrop professionally as a living.\u003c/p>\n\u003cp>\u003cstrong>Who’s the best person to eavesdrop on?\u003c/strong>\u003c/p>\n\u003cp>In the book I just wrote, it’s \u003ca href=\"https://www.britannica.com/biography/William-Dean-Howells\" target=\"_blank\" rel=\"noopener\">William Dean Howwells\u003c/a> who’s the 19th century novelist everybody’s forgotten who writes these letters which are both thoughtful, gossipy, informed and just fill me full of ideas.\u003c/p>\n\u003cp>\u003cstrong>What is your favorite California history book?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This is going to sound heretical because there is no real good history of California. I like \u003ca href=\"https://ww2.kqed.org/news/2017/11/01/imagining-the-california-dream/\" target=\"_blank\" rel=\"noopener\">Kevin Starr’s books\u003c/a> on the intellectual life of California, but there has been no overarching book about California which is astonishing.\u003c/p>\n\u003cp>One of the things that I am reading constantly now is Joan Didion who who I used to hate. She’s a wonderful writer, but I disagreed about everything she said about California. Now that I have to grapple with California, I’ve come back and realized that she’s very sophisticated and her opinion changes. So I’m in the midst of rereading Joan Didion and ending up quite impressed.\u003c/p>\n\u003cp>\u003cstrong>Would you ever tackle an overarching history of California?\u003c/strong>\u003c/p>\n\u003cp>No. The photograph book is going to be it. It’s very, very hard to do.\u003c/p>\n\u003cp>\u003cstrong>What is on your to-read list right now?\u003c/strong>\u003c/p>\n\u003cp>I’ve been reading this wonderful new history of the Ghost Dance and Wovoka which is \u003ca href=\"https://www.goodreads.com/book/show/34488625-god-s-red-son?ac=1&from_search=true\" target=\"_blank\" rel=\"noopener\">Louis Warren’s book\u003c/a> which is I think one of the best biographies that I’ve read in a very, very long time. I’m always going to be interested in the American West. So those those are the major things I’m working on now.\u003c/p>\n\u003cp>\u003cstrong>What were the Bay Area and California like during the Gilded Age and Reconstruction?\u003c/strong>\u003cbr>\n\u003c/p>\u003cp>\u003c/p>\u003cp>\u003cbr>\nThe Bay Area is going to be one of the epicenters of the changes that are taking place in Gilded Age America. This is the home of Henry George. He writes \u003ca href=\"http://www.henrygeorge.org/pcontents.htm\" target=\"_blank\" rel=\"noopener\">“Progress and Poverty.”\u003c/a> He’s the one who who enunciates for Gilded Age Americans that something is going deeply wrong with this country when I look around and see technical progress, when I see economic growth, but I also see the increase in poverty and inequality all around me.\u003c/p>\n\u003cp>So Henry George is going to be critical. He’s a complicated guy because he’s also a vicious racist, he’s anti-Chinese. But he’s also a formidable social critic who leaves San Francisco, moved back and had a famous campaign for mayor of New York.\u003c/p>\n\u003cp>\u003cstrong>Why should people care about Reconstruction and the Gilded Age?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If the Gilded Age didn’t matter, we don’t matter. Virtually everything that happens in the Gilded Age is going to have this kind of parallel today. Weak presidents, partisan divide? We’ve got them. Technological progress, mass immigration, the rise again of white supremacy. All of these things, over and over and over again. People are struggling with a rapidly changing world and trying to make sense of it. Their dilemma is our dilemma.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>This week the Bay Curious podcast is celebrating our one-year anniversary with a lightning round of questions and answers!\u003c/em>\u003c/p>\n\u003ch2>Is it true that George Lucas was inspired to create the AT-AT because of the cranes at the Port of Oakland?\u003c/h2>\n\u003cp>No. Sadly, this is not true.\u003c/p>\n\u003cp>George Lucas \u003ca href=\"http://www.sfgate.com/bayarea/article/Nah-dude-they-weren-t-cranes-they-were-garbage-3279459.php\" target=\"_blank\" rel=\"noopener\">told the San Francisco Chronicle’s Peter Hartlaub\u003c/a>, “That’s a myth. That is definitely a myth.”\u003c/p>\n\u003cp>Hartlaub also followed up with Phil Tippett, the stop-motion animator who oversaw production of the AT-AT sequence. Tippett allows for a small chance that somewhere in the process someone looked at the cranes, but added that the original vehicles actually looked nothing like container cranes, and more like garbage trucks.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>Sidenote on Phil Tippett: He was credited as “Dinosaur Supervisor” at the end of “Jurassic Park” and has been the \u003ca href=\"https://www.buzzfeed.com/scottybryan/the-dinosaur-supervisor-on-jurassic-park-has-the-perfect-res?utm_term=.qbrA6VbwXd#.heZN2kMOdE\" target=\"_blank\" rel=\"noopener\">topic of several popular internet memes\u003c/a>. Poor guy has spent years now explaining what the “supervision” element of his job actually was.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Question submitted by Bay Curious listener Matteen Mokalla. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM.png\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter wp-image-11629443 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398-800x452.png\" alt=\"\" width=\"800\" height=\"452\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398-800x452.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398-1020x576.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398-1180x666.png 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398-960x542.png 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398-240x136.png 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398-375x212.png 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398-520x294.png 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398.png 1498w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch2>How did the Tenderloin get its name?\u003c/h2>\n\u003cp>In the mid-1800s the Tenderloin was a great spot to spend a night out on the town, but by the late 1800s, crime had crept into the neighborhood. It was around this time that people began calling the area the Tenderloin.\u003c/p>\n\u003cp>So how did it get the name? Was it a reference to the “tender loins” of prostitutes who did business there? Or maybe something to do with the shape of the neighborhood?\u003c/p>\n\u003cp>No. According to the Tenderloin Museum, the name came from a New York City police captain named Alexander Williams who supposedly called vice-heavy areas the “tenderloin”, in reference to all the bribes he would get for turning a blind eye to illegal activities. Williams was quoted as saying, “I’ve had nothing but chuck steak for a long time, and now I’m going to get a little of the tenderloin.”\u003c/p>\n\u003cp>He hoped to buy nicer meat with his bribe money.\u003c/p>\n\u003cp>\u003cem>Question submitted by Bay Curious listener Kevin Beach. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=i8O0PwGSoO0\u003c/p>\n\u003ch2>Is it true that the original voice of Popeye died in a San Jose trailer park?\u003c/h2>\n\u003cp>Yes. The gruff voice of William Costello was the original voice of Popeye the Sailor Man.\u003c/p>\n\u003cp>But the show’s producers wanted a softer voice for Popeye, and Costello was becoming difficult to work with. One day, while the show was in the middle of production, Costello asked for a vacation and he was fired.\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>After that, Costello had a long career as a musician. According to his obituary, Costello worked with Ginger Rogers and Bing Crosby and went on to play in over 100 orchestras.\u003c/p>\n\u003cp>In the late 1950s, he retired to manage a trailer park in San Jose. He remained manager until he died in 1971 at the age of 73.\u003c/p>\n\u003cp>\u003cem>Question submitted by Bay Curious listener Peter Caravalho. \u003c/em>\u003c/p>\n\u003chr>\n\u003ch2>Why Are There Rainbows on the Tunnel Between S.F. and Marin?\u003c/h2>\n\u003cp>We answered this question in a separate post. \u003ca href=\"https://ww2.kqed.org/news/2017/11/09/why-are-there-rainbows-on-the-tunnel-between-s-f-and-marin-plus-bonus-anniversary-questions/\" rel=\"noopener\">Check it out! \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week the Bay Curious podcast is celebrating our one-year anniversary with a lightning round of questions and answers!\u003c/em>\u003c/p>\n\u003ch2>Is it true that George Lucas was inspired to create the AT-AT because of the cranes at the Port of Oakland?\u003c/h2>\n\u003cp>No. Sadly, this is not true.\u003c/p>\n\u003cp>George Lucas \u003ca href=\"http://www.sfgate.com/bayarea/article/Nah-dude-they-weren-t-cranes-they-were-garbage-3279459.php\" target=\"_blank\" rel=\"noopener\">told the San Francisco Chronicle’s Peter Hartlaub\u003c/a>, “That’s a myth. That is definitely a myth.”\u003c/p>\n\u003cp>Hartlaub also followed up with Phil Tippett, the stop-motion animator who oversaw production of the AT-AT sequence. Tippett allows for a small chance that somewhere in the process someone looked at the cranes, but added that the original vehicles actually looked nothing like container cranes, and more like garbage trucks.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Sidenote on Phil Tippett: He was credited as “Dinosaur Supervisor” at the end of “Jurassic Park” and has been the \u003ca href=\"https://www.buzzfeed.com/scottybryan/the-dinosaur-supervisor-on-jurassic-park-has-the-perfect-res?utm_term=.qbrA6VbwXd#.heZN2kMOdE\" target=\"_blank\" rel=\"noopener\">topic of several popular internet memes\u003c/a>. Poor guy has spent years now explaining what the “supervision” element of his job actually was.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Question submitted by Bay Curious listener Matteen Mokalla. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM.png\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter wp-image-11629443 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398-800x452.png\" alt=\"\" width=\"800\" height=\"452\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398-800x452.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398-1020x576.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398-1180x666.png 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398-960x542.png 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398-240x136.png 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398-375x212.png 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398-520x294.png 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/Screen-Shot-2017-11-08-at-8.39.26-PM-e1510203144398.png 1498w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch2>How did the Tenderloin get its name?\u003c/h2>\n\u003cp>In the mid-1800s the Tenderloin was a great spot to spend a night out on the town, but by the late 1800s, crime had crept into the neighborhood. It was around this time that people began calling the area the Tenderloin.\u003c/p>\n\u003cp>So how did it get the name? Was it a reference to the “tender loins” of prostitutes who did business there? Or maybe something to do with the shape of the neighborhood?\u003c/p>\n\u003cp>No. According to the Tenderloin Museum, the name came from a New York City police captain named Alexander Williams who supposedly called vice-heavy areas the “tenderloin”, in reference to all the bribes he would get for turning a blind eye to illegal activities. Williams was quoted as saying, “I’ve had nothing but chuck steak for a long time, and now I’m going to get a little of the tenderloin.”\u003c/p>\n\u003cp>He hoped to buy nicer meat with his bribe money.\u003c/p>\n\u003cp>\u003cem>Question submitted by Bay Curious listener Kevin Beach. \u003c/em>\u003c/p>\n\u003chr>\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/i8O0PwGSoO0'\n title='//www.youtube.com/embed/i8O0PwGSoO0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Is it true that the original voice of Popeye died in a San Jose trailer park?\u003c/h2>\n\u003cp>Yes. The gruff voice of William Costello was the original voice of Popeye the Sailor Man.\u003c/p>\n\u003cp>But the show’s producers wanted a softer voice for Popeye, and Costello was becoming difficult to work with. One day, while the show was in the middle of production, Costello asked for a vacation and he was fired.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>After that, Costello had a long career as a musician. According to his obituary, Costello worked with Ginger Rogers and Bing Crosby and went on to play in over 100 orchestras.\u003c/p>\n\u003cp>In the late 1950s, he retired to manage a trailer park in San Jose. He remained manager until he died in 1971 at the age of 73.\u003c/p>\n\u003cp>\u003cem>Question submitted by Bay Curious listener Peter Caravalho. \u003c/em>\u003c/p>\n\u003chr>\n\u003ch2>Why Are There Rainbows on the Tunnel Between S.F. and Marin?\u003c/h2>\n\u003cp>We answered this question in a separate post. \u003ca href=\"https://ww2.kqed.org/news/2017/11/09/why-are-there-rainbows-on-the-tunnel-between-s-f-and-marin-plus-bonus-anniversary-questions/\" rel=\"noopener\">Check it out! \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "photographer-fred-lyon-is-93-and-still-in-love-with-san-francisco",
"title": "Photographer Fred Lyon Is 93 and Still in Love With San Francisco",
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"headTitle": "Photographer Fred Lyon Is 93 and Still in Love With San Francisco | KQED",
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"content": "\u003cp>[dropcap]Y[/dropcap]ou might think that 93-year-old \u003ca href=\"http://www.fredlyon.com/\">Fred Lyon\u003c/a>, whose photographs have captured San Francisco for seven decades, spends most of his time indulging in nostalgia and recoiling at the changes that have transformed the city of his birth. You’d be very wrong.\u003c/p>\n\u003cp>“San Francisco is still a magical city,” said Lyon. “If I were a little tougher, I’d put aside that sentimental romanticism. But the city is the people, and that’s what persists. Maybe it’s a sickness we all have, but we keep attempting to recreate a lot of what attracted us here in the first place.”\u003c/p>\n\u003cp>His latest book, \u003ca href=\"https://www.leicastoresf.com/248638\">“San Francisco Noir,”\u003c/a> has just come out, and an exhibition of his photos opened a few weeks ago at the \u003ca href=\"http://gallery.leicastoresf.com/exhibitions/current-exhibitions\">Leica Gallery\u003c/a> and runs through Dec. 30. The opening was a mob scene, with hundreds of people jostling for a chance to get an autograph, a few minutes of conversation or a selfie with Lyon.\u003c/p>\n\u003cp>On Sept. 27, he spent his birthday a few blocks away, speaking to a large audience at the Apple Store on Union Square, where he was billed as “San Francisco’s photography icon.”\u003c/p>\n\u003cfigure id=\"attachment_11629482\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11629482 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut.jpg\" alt='Fred Lyon shot \"Foggy Night, Lands End\" on a classic San Francisco evening, not far from the Pacific Ocean. It is one of his most successful photographs.' width=\"1500\" height=\"1519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-800x810.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-1020x1033.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-1180x1195.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-960x972.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-240x243.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-375x380.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-520x527.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-96x96.jpg 96w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Fred Lyon shot ‘Foggy Night, Lands End’ on a classic San Francisco evening, not far from the Pacific Ocean. It is one of his most successful photographs. \u003ccite>(Fred Lyon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lyon, a fourth-generation San Franciscan who was born at St. Luke’s Hospital, is having a very good time — even though he doesn’t wander the streets of his hometown the way he once did.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I went to see my doctor last year, he said, ‘How are you?’ which you should never say to anyone past a certain age. I said, ‘Well, my eyes don’t work, my ears don’t work, my hands have carpal tunnel and I can’t straighten up anymore. But I’m fine,’ ” Lyon recalled during a wide-ranging interview.\u003c/p>\n\u003cp>He has photographed everyone from migrant workers to movie stars to presidents — five to be exact — and he traveled the world on assignment during the heyday of Life, Look, the Saturday Evening Post and other magazines, many long gone. But he is best known for his photographs of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11629483\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11629483 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut.jpg\" alt=\"'I am frequently seated here,' says photographer Fred Lyon, who puts in long hours in the studio of his San Francisco home. This picture was taken on Oct. 25, 2017.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘I am frequently seated here,’ says photographer Fred Lyon, who puts in long hours in the studio of his San Francisco home. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]T[/dropcap]he current exhibition at the Leica Gallery consists of 63 photos, mostly taken between 1940 and 1960. Titled “San Francisco Noir,” like the book, the show reveals a moody and cinematic side of the city. There are dockworkers, beach walkers, a police car in the fog, fireworks during Chinese New Year and some of the musicians that Lyon loved — Billie Holiday, Ralph Hawkins, Sonny Rollins.\u003c/p>\n\u003cp>“Fred can tell you things about San Francisco you never knew,” said Alex Ramos, gallery director at the Leica Store on Bush Street. “These photographs are incredibly significant. They’re a strong record of an era many of us haven’t seen.”\u003c/p>\n\u003cp>That might be why the opening drew people of all ages. One of them was Josh Haftel, 38, product manager of mobile photography at Adobe.\u003c/p>\n\u003cfigure id=\"attachment_11629484\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11629484 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut-800x600.jpg\" alt='Josh Haftel (center), product manager of mobile photography at Adobe, chats with Fred Lyon at the opening of \"San Francisco Noir\" at the Leica Gallery in San Francisco on Oct. 12, 2017.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josh Haftel (center), product manager of mobile photography at Adobe, chats with Fred Lyon at the opening of ‘San Francisco Noir’ at the Leica Gallery in San Francisco on Oct. 12, 2017. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Fred Lyon has captured the heart and soul of San Francisco.” said Haftel, who interviews photographers for his \u003ca href=\"https://www.youtube.com/watch?v=t2iBgGE41rM&list=PLD8AMy73ZVxVyjtlMg-fpnL_n1V9fr5xC&index=6&t=16s\">“Make It” show \u003c/a>and asked the nonagenarian to offer tips on storytelling and taking pictures.\u003c/p>\n\u003cp>“Fred was a wonderful guest,” Haftel said. “He had a lot of history and passion to share. He’s a fun and positive person with such a lust for life.”\u003c/p>\n\u003cp>In earlier times, that lust for life frequently surfaced in the city’s bars and jazz joints, often with the late San Francisco Chronicle columnist Herb Caen, who shared Lyon’s fondness for the nocturnal world.\u003c/p>\n\u003cp>“There were generally no drugs available then, so we were all booze-oriented,” Lyon said. “I have no idea why I’m still alive.”\u003c/p>\n\u003caside class=\"pullquote alignleft\">‘Fred can tell you things about San Francisco you never knew. These photographs are incredibly significant. They’re a strong record of an era many of us haven’t seen.’\u003ccite>Alex Ramos, Leica Gallery director\u003c/cite>\u003c/aside>\n\u003cp>He was sitting in the studio of his Cow Hollow home, which happens to be on Lyon Street. It’s near the Golden Gate Bridge and is convenient for trips to his cottage in the Napa Valley, where he grew wine grapes for 30 years. He was there on Oct. 8, hours before the wildfires broke out, and the flames burned close to his house on three sides.\u003c/p>\n\u003cp>His studio in the city is where Lyon spends much of his time. He works long days and a lot of weekends, but no longer pulls all-nighters. He said he’s thrilled with how the Leica Gallery has handled his pictures.\u003c/p>\n\u003cp>“I just love that place,” Lyon said. “Black and white really pops against that exposed brick wall. When it comes time to take the show down, I want to take the walls with me.”\u003c/p>\n\u003cfigure id=\"attachment_11629487\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11629487 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-800x837.jpg\" alt=\"Fred Lyon spent a lot of the time on the San Francisco waterfront, which has changed a lot since he shot 'Dock Workers, Embarcadero.'\" width=\"800\" height=\"837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-800x837.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-160x167.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-1020x1068.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-1180x1235.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-960x1005.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-240x251.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-375x393.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-520x544.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut.jpg 1433w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fred Lyon spent a lot of the time on the San Francisco waterfront, which has changed greatly since he photographed ‘Dock Workers, Embarcadero.’ \u003ccite>(Fred Lyon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]V[/dropcap]isiting the exhibition, one is struck at times by how much San Francisco has changed since the middle of the 20th century. But something else comes across as well — how little it has changed in so many ways. There are certain constants: Fog. Hills. Cable cars. Bridges. Chinatown during Lunar New Year. Strolling on the beach.\u003c/p>\n\u003cp>Lyon’s San Francisco is a timeless city.\u003c/p>\n\u003cp>“There are certain things we cannot interrupt,” Lyon said. “We can’t control the fog. And people are still crazy enough to go to Ocean Beach, which is a terrible beach.”\u003c/p>\n\u003cp>Although he notes that he has been “reduced to a shuffle,” Lyon still gets around the city and takes pictures occasionally. Two of them are in the Leica show and were shot this year: a line of trees at Fort Mason and the Mission District’s 500 Club dive bar at night — the latter image captured with the help of his wife, interior designer \u003ca href=\"http://www.pennyrozis.com/\">Penny Rozis.\u003c/a>\u003c/p>\n\u003cp>“Penny went out there because her job was to keep me from being hit by motorists,” Lyon said. “I want to be wherever the composition is right, and it’s usually in the middle of traffic. I love the 500 Club because it has the cocktail glass and the neon sign.”\u003c/p>\n\u003cp>He has always enjoyed shooting at night. “It’s akin to taking pictures in the fog,” he said. “It covers up a lot of human mistakes.”\u003c/p>\n\u003cfigure id=\"attachment_11629488\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11629488 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27941_fireworks-qut-800x1133.jpg\" alt=\"\" width=\"800\" height=\"1133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27941_fireworks-qut-800x1133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27941_fireworks-qut-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27941_fireworks-qut-1020x1445.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27941_fireworks-qut-960x1360.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27941_fireworks-qut-240x340.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27941_fireworks-qut-375x531.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27941_fireworks-qut-520x737.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27941_fireworks-qut.jpg 1059w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fred Lyon took “Chop Suey, Fireworks During Chinese New Year” in Chinatown in midcentury San Francisco.\u003c/figcaption>\u003c/figure>\n\u003cp>He gets mad at his body because it limits what he can do, but Lyon is not given to lamenting his various aches and pains — or to hearing about anyone else’s.\u003c/p>\n\u003cp>“I’m on my way out and I want to have things my way,” he said. “I don’t want to waste time with people who just want to tell me where they hurt today. That’s what old people do — and they bore the hell out of me. I want to be around people who are doing stuff.”\u003c/p>\n\u003cp>[dropcap]L[/dropcap]yon is doing plenty. Besides promoting his new book, he is going through his files — including 22,000 digitized images — to find candidates for either future projects or the trash bin.\u003c/p>\n\u003cp>“The moment you die, people attach tremendous importance to your garbage,” he said. “I’ve done everything except combat. Aerials, underwater, whatever it takes to get the best perspective. But there are things I did as exercises or experiments, and I don’t want those photos floating around. I’ve got to throw away all the bad images.”\u003c/p>\n\u003cp>He has taken so many pictures that he doesn’t always remember when or where they were shot. For instance, he and his wife have spent hours driving around San Francisco trying to figure out the neighborhood where “Houses on the Hills” — on display in the Leica show — is located. “Perhaps we should have a contest,” he said. “Excelsior? Crocker-Amazon?”\u003c/p>\n\u003cfigure id=\"attachment_11629489\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11629489 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut.jpg\" alt=\"Fred Lyon has taken so many pictures that he doesn't always remember when or where they were shot. He and his wife have spent hours driving around San Francisco trying to figure out the neighborhood where "Houses on the Hills" is located.\" width=\"1500\" height=\"1166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-1180x917.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-960x746.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-375x292.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-520x404.jpg 520w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fred Lyon has taken so many pictures that he doesn’t always remember when or where they were shot. He and his wife have spent hours driving around San Francisco trying to figure out the neighborhood where ‘Houses on the Hills’ is located. \u003ccite>(Fred Lyon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2004, Lyon switched from film to digital, and he still marvels at how much it has simplified life. “Before, a slide could only be in one place in the file cabinet,” he said. “In the computer, it can be anywhere and I can put together collections quickly.”\u003c/p>\n\u003cp>He has become a fan of mobile photography. “It’s a wonderful time because everybody takes pictures now,” Lyon said. “They’re seeing things and people as they never did before. It’s sensitizing them visually. And people are also more relaxed about being photographed.”\u003c/p>\n\u003cp>But he uses a Nikon D300 and most of the photographers he admires are of a different era: Arnold Genthe, Andre Kertesz, Henri Cartier-Bresson, Robert Doisneau and Jacques-Henri Lartigue — as well as \u003ca href=\"https://www.icp.org/browse/archive/constituents/brassa%C3%AF-gyula-hal%C3%A1sz?all/all/all/all/0\">Brassai,\u003c/a> with whom he’s sometimes compared.\u003c/p>\n\u003cfigure id=\"attachment_11629492\" class=\"wp-caption aligncenter\" style=\"max-width: 1140px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11629492\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27938_cannery-row-qut.jpg\" alt=\"'After Hours Jam, Monterey Jazz Festival, Cannery Row' is one of Fred Lyon's favorite photos. It was taken in 1958.\" width=\"1140\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27938_cannery-row-qut.jpg 1140w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27938_cannery-row-qut-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27938_cannery-row-qut-800x1053.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27938_cannery-row-qut-1020x1342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27938_cannery-row-qut-960x1263.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27938_cannery-row-qut-240x316.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27938_cannery-row-qut-375x493.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27938_cannery-row-qut-520x684.jpg 520w\" sizes=\"(max-width: 1140px) 100vw, 1140px\">\u003cfigcaption class=\"wp-caption-text\">‘After Hours Jam, Monterey Jazz Festival, Cannery Row’ is one of Fred Lyon’s favorite photos. It was taken in 1958. \u003ccite>(Fred Lyon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]L[/dropcap]yon became fascinated with photography as a young teenager. “Cameras were shiny objects,” he said. “I knew a guy who had one and he always seemed to have a lot of cute girls around him. I thought that if I had a camera, maybe I’d get girls, too.”\u003c/p>\n\u003cp>He skipped two grades, graduated from high school early, apprenticed at the Gabriel Moulin Studio in San Francisco at age 14 and studied at the Art Center School in Los Angeles, where Ansel Adams was a teacher, a year later. Lyon was a Navy photographer during World War II and then shot fashion in New York before returning in 1946 to the Bay Area as heir apparent to the family real estate business. But he had other ideas.\u003c/p>\n\u003cp>“Photography wasn’t really an honorable profession,” Lyon said. “It wasn’t a profession at all. When our family physician found out what I was doing, he said, ‘Oh Frederick, that’s no work for a man.’ But it’s the ideal pursuit for an inherently nosy person. You get to peek into everyone else’s life.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I don’t want to waste time with people who just want to tell me where they hurt today. That’s what old people do — and they bore the hell out of me. I want to be around people who are doing stuff.’\u003ccite>Photographer Fred Lyon\u003c/cite>\u003c/aside>\n\u003cp>Lyon has had neither the time nor inclination to embrace nostalgia, but there are things he misses about the old San Francisco: He used to swim at \u003ca href=\"https://www.nps.gov/goga/learn/historyculture/sutro-baths.htm\">Sutro Baths.\u003c/a> Kids played in the streets. People didn’t hurry and weren’t on “their damn iPhones all the time.” There wasn’t much traffic or all those “killer buses.” San Franciscans didn’t dress like they were camping, and didn’t wear baseball caps backward in good restaurants.\u003c/p>\n\u003cp>“Now that I’m officially an antique, I can say that I’m old-fashioned,” Lyon said.\u003c/p>\n\u003cp>And life was so much easier decades ago. “At the end of the month the rent was due and I had to create excitement,” he said. “I remember going into the office of the Golden Gate Bridge and saying it would be fun to photograph the bridge painters (for a magazine). The guy says, ‘That sounds fine. Go out and see Joe. He’s the foreman. He’ll fix you up.’ I crawled around the bridge for a couple of weeks. Now you’d have to put up $10 million in insurance.”\u003c/p>\n\u003cp>But Lyon loves San Francisco in its current incarnation, especially certain things: The profusion of Thai restaurants. Bicycles everywhere. Fantastic fruits and vegetables. All the watercraft on the bay. A revitalized North Beach. The \u003ca href=\"https://www.nps.gov/goga/planyourvisit/landsend.htm\">Lands End Lookout.\u003c/a> And a lot more sidewalk trees, which “cover up some execrable architecture.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I see pictures I would like to take,” Lyon said. “I need another lifetime to photograph San Francisco. But my life has been so much fun I can’t believe it. I keep thinking I’m being softened up for something really grim. And it hasn’t happened yet.”\u003c/p>\n\n",
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"excerpt": "A fourth-generation native, he has been chronicling his hometown for seven decades and keeps finding new things to shoot.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">Y\u003c/span>\u003c/p>\u003cp>ou might think that 93-year-old \u003ca href=\"http://www.fredlyon.com/\">Fred Lyon\u003c/a>, whose photographs have captured San Francisco for seven decades, spends most of his time indulging in nostalgia and recoiling at the changes that have transformed the city of his birth. You’d be very wrong.\u003c/p>\n\u003cp>“San Francisco is still a magical city,” said Lyon. “If I were a little tougher, I’d put aside that sentimental romanticism. But the city is the people, and that’s what persists. Maybe it’s a sickness we all have, but we keep attempting to recreate a lot of what attracted us here in the first place.”\u003c/p>\n\u003cp>His latest book, \u003ca href=\"https://www.leicastoresf.com/248638\">“San Francisco Noir,”\u003c/a> has just come out, and an exhibition of his photos opened a few weeks ago at the \u003ca href=\"http://gallery.leicastoresf.com/exhibitions/current-exhibitions\">Leica Gallery\u003c/a> and runs through Dec. 30. The opening was a mob scene, with hundreds of people jostling for a chance to get an autograph, a few minutes of conversation or a selfie with Lyon.\u003c/p>\n\u003cp>On Sept. 27, he spent his birthday a few blocks away, speaking to a large audience at the Apple Store on Union Square, where he was billed as “San Francisco’s photography icon.”\u003c/p>\n\u003cfigure id=\"attachment_11629482\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11629482 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut.jpg\" alt='Fred Lyon shot \"Foggy Night, Lands End\" on a classic San Francisco evening, not far from the Pacific Ocean. It is one of his most successful photographs.' width=\"1500\" height=\"1519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-800x810.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-1020x1033.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-1180x1195.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-960x972.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-240x243.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-375x380.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-520x527.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27939_couple-in-fog-qut-96x96.jpg 96w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Fred Lyon shot ‘Foggy Night, Lands End’ on a classic San Francisco evening, not far from the Pacific Ocean. It is one of his most successful photographs. \u003ccite>(Fred Lyon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lyon, a fourth-generation San Franciscan who was born at St. Luke’s Hospital, is having a very good time — even though he doesn’t wander the streets of his hometown the way he once did.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I went to see my doctor last year, he said, ‘How are you?’ which you should never say to anyone past a certain age. I said, ‘Well, my eyes don’t work, my ears don’t work, my hands have carpal tunnel and I can’t straighten up anymore. But I’m fine,’ ” Lyon recalled during a wide-ranging interview.\u003c/p>\n\u003cp>He has photographed everyone from migrant workers to movie stars to presidents — five to be exact — and he traveled the world on assignment during the heyday of Life, Look, the Saturday Evening Post and other magazines, many long gone. But he is best known for his photographs of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11629483\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11629483 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut.jpg\" alt=\"'I am frequently seated here,' says photographer Fred Lyon, who puts in long hours in the studio of his San Francisco home. This picture was taken on Oct. 25, 2017.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27943_fred-in-his-studio-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘I am frequently seated here,’ says photographer Fred Lyon, who puts in long hours in the studio of his San Francisco home. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he current exhibition at the Leica Gallery consists of 63 photos, mostly taken between 1940 and 1960. Titled “San Francisco Noir,” like the book, the show reveals a moody and cinematic side of the city. There are dockworkers, beach walkers, a police car in the fog, fireworks during Chinese New Year and some of the musicians that Lyon loved — Billie Holiday, Ralph Hawkins, Sonny Rollins.\u003c/p>\n\u003cp>“Fred can tell you things about San Francisco you never knew,” said Alex Ramos, gallery director at the Leica Store on Bush Street. “These photographs are incredibly significant. They’re a strong record of an era many of us haven’t seen.”\u003c/p>\n\u003cp>That might be why the opening drew people of all ages. One of them was Josh Haftel, 38, product manager of mobile photography at Adobe.\u003c/p>\n\u003cfigure id=\"attachment_11629484\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11629484 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut-800x600.jpg\" alt='Josh Haftel (center), product manager of mobile photography at Adobe, chats with Fred Lyon at the opening of \"San Francisco Noir\" at the Leica Gallery in San Francisco on Oct. 12, 2017.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27944_josh-fred-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josh Haftel (center), product manager of mobile photography at Adobe, chats with Fred Lyon at the opening of ‘San Francisco Noir’ at the Leica Gallery in San Francisco on Oct. 12, 2017. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Fred Lyon has captured the heart and soul of San Francisco.” said Haftel, who interviews photographers for his \u003ca href=\"https://www.youtube.com/watch?v=t2iBgGE41rM&list=PLD8AMy73ZVxVyjtlMg-fpnL_n1V9fr5xC&index=6&t=16s\">“Make It” show \u003c/a>and asked the nonagenarian to offer tips on storytelling and taking pictures.\u003c/p>\n\u003cp>“Fred was a wonderful guest,” Haftel said. “He had a lot of history and passion to share. He’s a fun and positive person with such a lust for life.”\u003c/p>\n\u003cp>In earlier times, that lust for life frequently surfaced in the city’s bars and jazz joints, often with the late San Francisco Chronicle columnist Herb Caen, who shared Lyon’s fondness for the nocturnal world.\u003c/p>\n\u003cp>“There were generally no drugs available then, so we were all booze-oriented,” Lyon said. “I have no idea why I’m still alive.”\u003c/p>\n\u003caside class=\"pullquote alignleft\">‘Fred can tell you things about San Francisco you never knew. These photographs are incredibly significant. They’re a strong record of an era many of us haven’t seen.’\u003ccite>Alex Ramos, Leica Gallery director\u003c/cite>\u003c/aside>\n\u003cp>He was sitting in the studio of his Cow Hollow home, which happens to be on Lyon Street. It’s near the Golden Gate Bridge and is convenient for trips to his cottage in the Napa Valley, where he grew wine grapes for 30 years. He was there on Oct. 8, hours before the wildfires broke out, and the flames burned close to his house on three sides.\u003c/p>\n\u003cp>His studio in the city is where Lyon spends much of his time. He works long days and a lot of weekends, but no longer pulls all-nighters. He said he’s thrilled with how the Leica Gallery has handled his pictures.\u003c/p>\n\u003cp>“I just love that place,” Lyon said. “Black and white really pops against that exposed brick wall. When it comes time to take the show down, I want to take the walls with me.”\u003c/p>\n\u003cfigure id=\"attachment_11629487\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11629487 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-800x837.jpg\" alt=\"Fred Lyon spent a lot of the time on the San Francisco waterfront, which has changed a lot since he shot 'Dock Workers, Embarcadero.'\" width=\"800\" height=\"837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-800x837.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-160x167.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-1020x1068.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-1180x1235.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-960x1005.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-240x251.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-375x393.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-520x544.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27940_dock-workers-qut.jpg 1433w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fred Lyon spent a lot of the time on the San Francisco waterfront, which has changed greatly since he photographed ‘Dock Workers, Embarcadero.’ \u003ccite>(Fred Lyon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">V\u003c/span>\u003c/p>\u003cp>isiting the exhibition, one is struck at times by how much San Francisco has changed since the middle of the 20th century. But something else comes across as well — how little it has changed in so many ways. There are certain constants: Fog. Hills. Cable cars. Bridges. Chinatown during Lunar New Year. Strolling on the beach.\u003c/p>\n\u003cp>Lyon’s San Francisco is a timeless city.\u003c/p>\n\u003cp>“There are certain things we cannot interrupt,” Lyon said. “We can’t control the fog. And people are still crazy enough to go to Ocean Beach, which is a terrible beach.”\u003c/p>\n\u003cp>Although he notes that he has been “reduced to a shuffle,” Lyon still gets around the city and takes pictures occasionally. Two of them are in the Leica show and were shot this year: a line of trees at Fort Mason and the Mission District’s 500 Club dive bar at night — the latter image captured with the help of his wife, interior designer \u003ca href=\"http://www.pennyrozis.com/\">Penny Rozis.\u003c/a>\u003c/p>\n\u003cp>“Penny went out there because her job was to keep me from being hit by motorists,” Lyon said. “I want to be wherever the composition is right, and it’s usually in the middle of traffic. I love the 500 Club because it has the cocktail glass and the neon sign.”\u003c/p>\n\u003cp>He has always enjoyed shooting at night. “It’s akin to taking pictures in the fog,” he said. “It covers up a lot of human mistakes.”\u003c/p>\n\u003cfigure id=\"attachment_11629488\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11629488 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27941_fireworks-qut-800x1133.jpg\" alt=\"\" width=\"800\" height=\"1133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27941_fireworks-qut-800x1133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27941_fireworks-qut-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27941_fireworks-qut-1020x1445.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27941_fireworks-qut-960x1360.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27941_fireworks-qut-240x340.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27941_fireworks-qut-375x531.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27941_fireworks-qut-520x737.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27941_fireworks-qut.jpg 1059w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fred Lyon took “Chop Suey, Fireworks During Chinese New Year” in Chinatown in midcentury San Francisco.\u003c/figcaption>\u003c/figure>\n\u003cp>He gets mad at his body because it limits what he can do, but Lyon is not given to lamenting his various aches and pains — or to hearing about anyone else’s.\u003c/p>\n\u003cp>“I’m on my way out and I want to have things my way,” he said. “I don’t want to waste time with people who just want to tell me where they hurt today. That’s what old people do — and they bore the hell out of me. I want to be around people who are doing stuff.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">L\u003c/span>\u003c/p>\u003cp>yon is doing plenty. Besides promoting his new book, he is going through his files — including 22,000 digitized images — to find candidates for either future projects or the trash bin.\u003c/p>\n\u003cp>“The moment you die, people attach tremendous importance to your garbage,” he said. “I’ve done everything except combat. Aerials, underwater, whatever it takes to get the best perspective. But there are things I did as exercises or experiments, and I don’t want those photos floating around. I’ve got to throw away all the bad images.”\u003c/p>\n\u003cp>He has taken so many pictures that he doesn’t always remember when or where they were shot. For instance, he and his wife have spent hours driving around San Francisco trying to figure out the neighborhood where “Houses on the Hills” — on display in the Leica show — is located. “Perhaps we should have a contest,” he said. “Excelsior? Crocker-Amazon?”\u003c/p>\n\u003cfigure id=\"attachment_11629489\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11629489 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut.jpg\" alt=\"Fred Lyon has taken so many pictures that he doesn't always remember when or where they were shot. He and his wife have spent hours driving around San Francisco trying to figure out the neighborhood where "Houses on the Hills" is located.\" width=\"1500\" height=\"1166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-1180x917.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-960x746.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-375x292.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-520x404.jpg 520w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fred Lyon has taken so many pictures that he doesn’t always remember when or where they were shot. He and his wife have spent hours driving around San Francisco trying to figure out the neighborhood where ‘Houses on the Hills’ is located. \u003ccite>(Fred Lyon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2004, Lyon switched from film to digital, and he still marvels at how much it has simplified life. “Before, a slide could only be in one place in the file cabinet,” he said. “In the computer, it can be anywhere and I can put together collections quickly.”\u003c/p>\n\u003cp>He has become a fan of mobile photography. “It’s a wonderful time because everybody takes pictures now,” Lyon said. “They’re seeing things and people as they never did before. It’s sensitizing them visually. And people are also more relaxed about being photographed.”\u003c/p>\n\u003cp>But he uses a Nikon D300 and most of the photographers he admires are of a different era: Arnold Genthe, Andre Kertesz, Henri Cartier-Bresson, Robert Doisneau and Jacques-Henri Lartigue — as well as \u003ca href=\"https://www.icp.org/browse/archive/constituents/brassa%C3%AF-gyula-hal%C3%A1sz?all/all/all/all/0\">Brassai,\u003c/a> with whom he’s sometimes compared.\u003c/p>\n\u003cfigure id=\"attachment_11629492\" class=\"wp-caption aligncenter\" style=\"max-width: 1140px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11629492\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27938_cannery-row-qut.jpg\" alt=\"'After Hours Jam, Monterey Jazz Festival, Cannery Row' is one of Fred Lyon's favorite photos. It was taken in 1958.\" width=\"1140\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27938_cannery-row-qut.jpg 1140w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27938_cannery-row-qut-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27938_cannery-row-qut-800x1053.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27938_cannery-row-qut-1020x1342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27938_cannery-row-qut-960x1263.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27938_cannery-row-qut-240x316.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27938_cannery-row-qut-375x493.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27938_cannery-row-qut-520x684.jpg 520w\" sizes=\"(max-width: 1140px) 100vw, 1140px\">\u003cfigcaption class=\"wp-caption-text\">‘After Hours Jam, Monterey Jazz Festival, Cannery Row’ is one of Fred Lyon’s favorite photos. It was taken in 1958. \u003ccite>(Fred Lyon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">L\u003c/span>\u003c/p>\u003cp>yon became fascinated with photography as a young teenager. “Cameras were shiny objects,” he said. “I knew a guy who had one and he always seemed to have a lot of cute girls around him. I thought that if I had a camera, maybe I’d get girls, too.”\u003c/p>\n\u003cp>He skipped two grades, graduated from high school early, apprenticed at the Gabriel Moulin Studio in San Francisco at age 14 and studied at the Art Center School in Los Angeles, where Ansel Adams was a teacher, a year later. Lyon was a Navy photographer during World War II and then shot fashion in New York before returning in 1946 to the Bay Area as heir apparent to the family real estate business. But he had other ideas.\u003c/p>\n\u003cp>“Photography wasn’t really an honorable profession,” Lyon said. “It wasn’t a profession at all. When our family physician found out what I was doing, he said, ‘Oh Frederick, that’s no work for a man.’ But it’s the ideal pursuit for an inherently nosy person. You get to peek into everyone else’s life.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I don’t want to waste time with people who just want to tell me where they hurt today. That’s what old people do — and they bore the hell out of me. I want to be around people who are doing stuff.’\u003ccite>Photographer Fred Lyon\u003c/cite>\u003c/aside>\n\u003cp>Lyon has had neither the time nor inclination to embrace nostalgia, but there are things he misses about the old San Francisco: He used to swim at \u003ca href=\"https://www.nps.gov/goga/learn/historyculture/sutro-baths.htm\">Sutro Baths.\u003c/a> Kids played in the streets. People didn’t hurry and weren’t on “their damn iPhones all the time.” There wasn’t much traffic or all those “killer buses.” San Franciscans didn’t dress like they were camping, and didn’t wear baseball caps backward in good restaurants.\u003c/p>\n\u003cp>“Now that I’m officially an antique, I can say that I’m old-fashioned,” Lyon said.\u003c/p>\n\u003cp>And life was so much easier decades ago. “At the end of the month the rent was due and I had to create excitement,” he said. “I remember going into the office of the Golden Gate Bridge and saying it would be fun to photograph the bridge painters (for a magazine). The guy says, ‘That sounds fine. Go out and see Joe. He’s the foreman. He’ll fix you up.’ I crawled around the bridge for a couple of weeks. Now you’d have to put up $10 million in insurance.”\u003c/p>\n\u003cp>But Lyon loves San Francisco in its current incarnation, especially certain things: The profusion of Thai restaurants. Bicycles everywhere. Fantastic fruits and vegetables. All the watercraft on the bay. A revitalized North Beach. The \u003ca href=\"https://www.nps.gov/goga/planyourvisit/landsend.htm\">Lands End Lookout.\u003c/a> And a lot more sidewalk trees, which “cover up some execrable architecture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I see pictures I would like to take,” Lyon said. “I need another lifetime to photograph San Francisco. But my life has been so much fun I can’t believe it. I keep thinking I’m being softened up for something really grim. And it hasn’t happened yet.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Taylor Swift's Attorney Rebuked Over Demand for Article's Retraction",
"title": "Taylor Swift's Attorney Rebuked Over Demand for Article's Retraction",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Just four days before the release of her newest album, a letter from Taylor Swift's attorney demanding that a website retract and delete an article critical of Swift has drawn a sharp (but also winking) rebuke from the American Civil Liberties Union.\u003c/p>\n\u003cp>A letter dated October 25 and addressed to Meghan Herning, the executive editor of a small California blog named PopFront, claimed that the site's article titled \"Swiftly to the alt-right: Taylor subtly gets the lower case kkk in formation\" was defamatory and that if it was not retracted and removed, \"Ms. Swift is prepared to proceed with litigation,\" according to \u003ca href=\"https://www.aclunc.org/docs/REDACTED_v1_Taylor_Swift_PopFront_letter.pdf\">a copy of it\u003c/a> made public by the ACLU.\u003c/p>\n\u003cp>(The letter's author, attorney William J. Briggs II, did not respond to a request confirming its authenticity, nor did a Swift representative respond to a request confirming that Briggs represents Swift.)\u003c/p>\n\u003cp>The \u003ca href=\"http://popfront.us/2017/09/swiftly-to-the-alt-right-taylor-subtly-get-the-lower-case-kkk-in-formation/\">article in question\u003c/a> — which veers between Kanye West's interruption of Swift at an awards show, the appropriation of Swift by white nationalists, the eugenics movement of the early 20th century, World War II and American silence toward the Nazi Party and the lyrics of Swift's recent single \"Look What You Made Me Do\" — ultimately argues that Swift's perceived silence on political issues \"is not innocent, it is calculated.\" The article argues that by not tacitly embracing progressive politics, Swift \"could well be construed as her lending support to the voices rising against embracing diversity and inclusion emblematic of Trump supporters.\"\u003c/p>\n\u003cp>The article's rhetorical veracity is not the point for the ACLU, however — only that PopFront was stating an opinion about Swift, not asserting any facts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In its response, the ACLU of Northern California \u003ca href=\"http://www.aclunc.org/docs/Swift_letter_final.pdf\">writes\u003c/a> that \"Ms. Herning and PopFront will not in any way accede\" to the demands. Swift is a public figure — as the ACLU explains — a designation which gives critics and journalists broad protections in what they can legally write about those figures. Anyone suing for defamation on behalf of a public figure must prove both that the writer they're suing published false information and was aware beforehand it was false and published it anyway. As well, opinion is, by definition, not defamation.\u003c/p>\n\u003cp>The ACLU writes that Briggs' letter, a \"threat\" \u003ca href=\"http://popfront.us/2017/11/taylor-swift-tries-to-silence-popfront-with-cease-and-desist-letter/\">according\u003c/a> to PopFront, does not convincingly argue that the blog purposefully defamed Swift. \"Criticism is never pleasant, but a celebrity has to shake it off, even if the critique may damage her reputation,\" reads the ACLU's letter — shoehorning in two references, one to Swift's upcoming album \u003cem>Reputation \u003c/em>and the other to her 2014 hit \"Shake It Off,\" in a single sentence.\u003c/p>\n\u003cp>In his letter, Briggs pointed to two instances that seem to undercut any connection between Swift and far-right political movements. He refers to a \u003cem>Washington Post\u003c/em> story without any Swift comment that says there is no reason to think she is a neo-Nazi; he also quotes one of Swift's lawyers as saying it was safe to say \"the singer is not amused\" by the allegations. Briggs' cease-and-desist itself could possibly be taken as a third denial.\u003c/p>\n\u003cp>In a PopFront post on Monday, both \u003cem>Broadly\u003c/em>, a Vice vertical \"devoted to representing the multiplicity of women's experiences,\" and Complex Media were cited as publishing similar articles addressing the alt-right's appropriation of Swift. Requests to both asking whether they had received similar letters from Swift's attorneys were not immediately returned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Reputation\u003c/em>, Swift's sixth studio album, is out on Nov. 10.\u003c/p>\n\n",
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"excerpt": "The lawyer accuses a small California website of defaming Swift; the ACLU accuses Swift's team of legal overreach.",
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"description": "The lawyer accuses a small California website of defaming Swift; the ACLU accuses Swift's team of legal overreach.",
"title": "Taylor Swift's Attorney Rebuked Over Demand for Article's Retraction | KQED",
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"headline": "Taylor Swift's Attorney Rebuked Over Demand for Article's Retraction",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just four days before the release of her newest album, a letter from Taylor Swift's attorney demanding that a website retract and delete an article critical of Swift has drawn a sharp (but also winking) rebuke from the American Civil Liberties Union.\u003c/p>\n\u003cp>A letter dated October 25 and addressed to Meghan Herning, the executive editor of a small California blog named PopFront, claimed that the site's article titled \"Swiftly to the alt-right: Taylor subtly gets the lower case kkk in formation\" was defamatory and that if it was not retracted and removed, \"Ms. Swift is prepared to proceed with litigation,\" according to \u003ca href=\"https://www.aclunc.org/docs/REDACTED_v1_Taylor_Swift_PopFront_letter.pdf\">a copy of it\u003c/a> made public by the ACLU.\u003c/p>\n\u003cp>(The letter's author, attorney William J. Briggs II, did not respond to a request confirming its authenticity, nor did a Swift representative respond to a request confirming that Briggs represents Swift.)\u003c/p>\n\u003cp>The \u003ca href=\"http://popfront.us/2017/09/swiftly-to-the-alt-right-taylor-subtly-get-the-lower-case-kkk-in-formation/\">article in question\u003c/a> — which veers between Kanye West's interruption of Swift at an awards show, the appropriation of Swift by white nationalists, the eugenics movement of the early 20th century, World War II and American silence toward the Nazi Party and the lyrics of Swift's recent single \"Look What You Made Me Do\" — ultimately argues that Swift's perceived silence on political issues \"is not innocent, it is calculated.\" The article argues that by not tacitly embracing progressive politics, Swift \"could well be construed as her lending support to the voices rising against embracing diversity and inclusion emblematic of Trump supporters.\"\u003c/p>\n\u003cp>The article's rhetorical veracity is not the point for the ACLU, however — only that PopFront was stating an opinion about Swift, not asserting any facts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In its response, the ACLU of Northern California \u003ca href=\"http://www.aclunc.org/docs/Swift_letter_final.pdf\">writes\u003c/a> that \"Ms. Herning and PopFront will not in any way accede\" to the demands. Swift is a public figure — as the ACLU explains — a designation which gives critics and journalists broad protections in what they can legally write about those figures. Anyone suing for defamation on behalf of a public figure must prove both that the writer they're suing published false information and was aware beforehand it was false and published it anyway. As well, opinion is, by definition, not defamation.\u003c/p>\n\u003cp>The ACLU writes that Briggs' letter, a \"threat\" \u003ca href=\"http://popfront.us/2017/11/taylor-swift-tries-to-silence-popfront-with-cease-and-desist-letter/\">according\u003c/a> to PopFront, does not convincingly argue that the blog purposefully defamed Swift. \"Criticism is never pleasant, but a celebrity has to shake it off, even if the critique may damage her reputation,\" reads the ACLU's letter — shoehorning in two references, one to Swift's upcoming album \u003cem>Reputation \u003c/em>and the other to her 2014 hit \"Shake It Off,\" in a single sentence.\u003c/p>\n\u003cp>In his letter, Briggs pointed to two instances that seem to undercut any connection between Swift and far-right political movements. He refers to a \u003cem>Washington Post\u003c/em> story without any Swift comment that says there is no reason to think she is a neo-Nazi; he also quotes one of Swift's lawyers as saying it was safe to say \"the singer is not amused\" by the allegations. Briggs' cease-and-desist itself could possibly be taken as a third denial.\u003c/p>\n\u003cp>In a PopFront post on Monday, both \u003cem>Broadly\u003c/em>, a Vice vertical \"devoted to representing the multiplicity of women's experiences,\" and Complex Media were cited as publishing similar articles addressing the alt-right's appropriation of Swift. Requests to both asking whether they had received similar letters from Swift's attorneys were not immediately returned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Reputation\u003c/em>, Swift's sixth studio album, is out on Nov. 10.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the two men charged with involuntary manslaughter in Oakland's Ghost Ship warehouse fire last December says the building's owner shares responsibility for the 36 deaths in the blaze.\u003c/p>\n\u003cp>Derick Almena said in a jailhouse interview airing on KTVU Monday night that he told owner Chor Ng he planned to use the Oakland warehouse as an arts space and community center and that she knew people would be coming in and out.\u003c/p>\n\u003cp>Almena said he thought it would be the building owner's responsibility to inform the city that artists would be occupying it, but that city officials never inspected the cluttered warehouse.\u003c/p>\n\u003cp>\"They definitely rented me something that they knew was unsafe. They definitely did,\" he said.\u003c/p>\n\u003cp>Attorneys for Ng have denied she knew people lived in the warehouse. Keith Bremer, an attorney for Ng, declined to comment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Almena rented the warehouse in 2013 and lived there with his wife and two young children. Max Harris, who is also charged in the case, also lived in the building and helped Almena book musical acts and sublet the space to artists looking for affordable housing.\u003c/p>\n\u003cp>Last Dec. 2, a fire engulfed the structure during a musical performance that dozens attended.\u003c/p>\n\u003cp>In \u003ca href=\"https://ww2.kqed.org/news/2017/06/05/two-reportedly-charged-with-manslaughter-in-oaklands-ghost-ship-fire/\" target=\"_blank\" rel=\"noopener\">announcing charges\u003c/a> against Almena and Harris earlier this year, Alameda County District Attorney Nancy O'Malley said the pair turned the warehouse into a \"death trap\" by illegally converting the building into an entertainment venue and housing for artists.\u003c/p>\n\u003cp>O'Malley argued that once the men rented living space to tenants, they were responsible for the installation of sprinklers and to ensure the building was safe. Instead, the men cluttered the warehouse with flammable materials, she said.\u003c/p>\n\u003cp>Lawyers for Almena and Harris say they are scapegoats and that the building's owner, who Almena described during the interview as \"deceitful and greedy,\" should face criminal charges.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In September, Almena and Harris pleaded not guilty. Each faces 60 years in prison if convicted.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the two men charged with involuntary manslaughter in Oakland's Ghost Ship warehouse fire last December says the building's owner shares responsibility for the 36 deaths in the blaze.\u003c/p>\n\u003cp>Derick Almena said in a jailhouse interview airing on KTVU Monday night that he told owner Chor Ng he planned to use the Oakland warehouse as an arts space and community center and that she knew people would be coming in and out.\u003c/p>\n\u003cp>Almena said he thought it would be the building owner's responsibility to inform the city that artists would be occupying it, but that city officials never inspected the cluttered warehouse.\u003c/p>\n\u003cp>\"They definitely rented me something that they knew was unsafe. They definitely did,\" he said.\u003c/p>\n\u003cp>Attorneys for Ng have denied she knew people lived in the warehouse. Keith Bremer, an attorney for Ng, declined to comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Almena rented the warehouse in 2013 and lived there with his wife and two young children. Max Harris, who is also charged in the case, also lived in the building and helped Almena book musical acts and sublet the space to artists looking for affordable housing.\u003c/p>\n\u003cp>Last Dec. 2, a fire engulfed the structure during a musical performance that dozens attended.\u003c/p>\n\u003cp>In \u003ca href=\"https://ww2.kqed.org/news/2017/06/05/two-reportedly-charged-with-manslaughter-in-oaklands-ghost-ship-fire/\" target=\"_blank\" rel=\"noopener\">announcing charges\u003c/a> against Almena and Harris earlier this year, Alameda County District Attorney Nancy O'Malley said the pair turned the warehouse into a \"death trap\" by illegally converting the building into an entertainment venue and housing for artists.\u003c/p>\n\u003cp>O'Malley argued that once the men rented living space to tenants, they were responsible for the installation of sprinklers and to ensure the building was safe. Instead, the men cluttered the warehouse with flammable materials, she said.\u003c/p>\n\u003cp>Lawyers for Almena and Harris say they are scapegoats and that the building's owner, who Almena described during the interview as \"deceitful and greedy,\" should face criminal charges.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In September, Almena and Harris pleaded not guilty. Each faces 60 years in prison if convicted.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We know it can be hard to keep up with everything that’s going on in the world, the country and your community. So here are five stories from the past week that you may have missed but really shouldn’t.\u003c/p>\n\u003cp>\u003cstrong>1. \u003ca href=\"https://ww2.kqed.org/futureofyou/2017/10/31/the-crippling-ransomware-attack-on-kqed-the-inside-story/\" target=\"_blank\" rel=\"noopener\">It can happen to anyone\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11627138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/ww2.kqed_.orgRansomwarePanel-800x428-bcf011312ef945fd4495f731303de5dbfd05b9cc.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11627138 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/ww2.kqed_.orgRansomwarePanel-800x428-bcf011312ef945fd4495f731303de5dbfd05b9cc.jpg\" alt=\"\" width=\"800\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/ww2.kqed_.orgRansomwarePanel-800x428-bcf011312ef945fd4495f731303de5dbfd05b9cc.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/ww2.kqed_.orgRansomwarePanel-800x428-bcf011312ef945fd4495f731303de5dbfd05b9cc-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/ww2.kqed_.orgRansomwarePanel-800x428-bcf011312ef945fd4495f731303de5dbfd05b9cc-240x128.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/ww2.kqed_.orgRansomwarePanel-800x428-bcf011312ef945fd4495f731303de5dbfd05b9cc-375x201.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/ww2.kqed_.orgRansomwarePanel-800x428-bcf011312ef945fd4495f731303de5dbfd05b9cc-520x278.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">KQED, one of the largest public media companies in America, was hit by a ransomware attack in June. The disruption was barely visible to the public, but behind the scenes, employees struggled with Rube Goldbergian workarounds while tech staff worked long months to rebuild a more secure system. \u003ccite>(Mark Fiore/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most popular story on our site this week was the inside story of the \u003ca href=\"https://ww2.kqed.org/futureofyou/2017/10/31/the-crippling-ransomware-attack-on-kqed-the-inside-story/\" target=\"_blank\" rel=\"noopener\">crippling ransomware attack\u003c/a> that hit KQED this past summer. Phones, computers, internet, printers and more all went down as hackers demanded a massive bitcoin ransom in exchange for the release of our digital world. In the words of KQED editor Jon Brooks:\u003c/p>\n\u003cblockquote>\u003cp>KQED, one of the largest public media companies in America, has been hobbling its way to recovery ever since. What was it like? Think of a really boring episode of “The Twilight Zone”—or better yet, “Black Mirror.” Or getting stuck in an absurdist satire about human dependence on technology. Everyone had their particular breaking point, triggered by one Rube Goldbergian workaround or another.\u003c/p>\u003c/blockquote>\n\u003cp>Safe to say, it’s been a stressful few months for KQED’s staff from the newsroom to the folks in IT trying to make sure this never happens again.\u003c/p>\n\u003cp>\u003cstrong>2. \u003ca href=\"https://ww2.kqed.org/science/2017/10/30/wildfires-can-attack-your-house-from-the-inside-heres-how-to-prevent-it/\" target=\"_blank\" rel=\"noopener\">News you can use\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11628310\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/WIldfire_2013_IBHS_01-web-800x450.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11628310\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/WIldfire_2013_IBHS_01-web-800x450.jpg\" alt=\"A house undergoes testing in the Insurance Institute for Business & Home Safety's lab.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/WIldfire_2013_IBHS_01-web-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/WIldfire_2013_IBHS_01-web-800x450-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/WIldfire_2013_IBHS_01-web-800x450-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/WIldfire_2013_IBHS_01-web-800x450-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/WIldfire_2013_IBHS_01-web-800x450-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A house undergoes testing in the Insurance Institute for Business & Home Safety’s lab. \u003ccite>(Insurance Institute for Business & Home Safety)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re continuing to learn about how we can all better \u003ca href=\"https://ww2.kqed.org/science/2017/10/30/wildfires-can-attack-your-house-from-the-inside-heres-how-to-prevent-it/\" target=\"_blank\" rel=\"noopener\">protect ourselves and our homes\u003c/a> from wildfires. Even buildings not in the direct path of a fire can be in danger from a tiny offender:\u003c/p>\n\u003cblockquote>\u003cp>“During a wildfire, the major source of ignition is the wind-blown ember that lands on or near the house,” says Steve Quarles of the Insurance Institute for Business and Home Safety. The wind can carry embers half a mile to a mile ahead of the fire, igniting homes far from the main burn area. But, there are some things homeowners can do to reduce the risk.\u003c/p>\u003c/blockquote>\n\u003cp>Those things include creating defensible space around your home, properly covering your vents to keep embers from getting inside your home and sparking, and keeping your gutters and your roof clear.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>3. \u003ca href=\"https://ww2.kqed.org/news/2017/10/19/how-a-san-francisco-killing-became-part-of-the-u-s-immigration-debate/\" target=\"_blank\" rel=\"noopener\">The Kathryn Steinle trial\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11627350\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11627350\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut-1020x765.jpg\" alt=\"A courtroom painting depicting defense attorney Matt Gonzalez's opening statement in the Kathryn Steinle murder trial at the San Francisco Hall of Justice on October 23, 2017.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A courtroom drawing depicting defense attorney Matt Gonzalez’s opening statement in the Kathryn Steinle murder trial at the San Francisco Hall of Justice on Oct. 23, 2017. \u003ccite>(Vicki Ellen Behringer/Courtroom Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The prosecution rested its case this week in the trial of Jose Ines Garcia Zarate, a Mexican citizen accused of killing Kathryn Steinle at San Francisco’s Pier 14 in July 2015. Garcia Zarate’s defense team asserts that he shot Steinle accidentally when he picked up a gun wrapped in cloth.\u003c/p>\n\u003cp>The case has gained \u003ca href=\"https://ww2.kqed.org/news/2017/10/19/how-a-san-francisco-killing-became-part-of-the-u-s-immigration-debate/\" target=\"_blank\" rel=\"noopener\">national attention\u003c/a> — including from President Trump — as part of the debate over immigration and so-called sanctuary cities. Garcia Zarate was in the country illegally when the shooting took place, and San Francisco authorities chose to release him instead of honoring a detention request from federal immigration officials.\u003c/p>\n\u003cul>\n\u003cli>A retired San Francisco \u003ca href=\"https://ww2.kqed.org/news/2017/10/30/bullet-trajectory-and-ricochet-shot-central-to-steinle-murder-trial/\" target=\"_blank\" rel=\"noopener\">crime scene investigator testified:\u003c/a> “A human being held a firearm, pointed it in the direction of Ms. Steinle, pulled the trigger and fired, killing her. That is the only way this could have occurred, that is reasonable.” The testimony hits directly at the defense’s claim that the gun went off accidentally.\u003c/li>\n\u003cli>The defense wants members of the jury to be able to try \u003ca href=\"https://ww2.kqed.org/news/2017/10/31/defense-in-steinle-murder-trial-wants-jury-to-dry-fire-gun-to-test-trigger-pull/\" target=\"_blank\" rel=\"noopener\">pulling the trigger\u003c/a> on the gun that killed Steinle to demonstrate the potential for accidentally firing it.\u003c/li>\n\u003cli>Jurors watched video of Garcia Zarate’s \u003ca href=\"https://ww2.kqed.org/news/2017/11/01/defendant-in-steinle-murder-trial-told-police-he-fired-threw-gun-in-bay-to-stop-it-from-shooting/\" target=\"_blank\" rel=\"noopener\">first interview \u003c/a>with police after the killing.\u003c/li>\n\u003cli>The San Francisco police investigator in charge of the investigation testified that he \u003ca href=\"https://ww2.kqed.org/news/2017/11/02/testimony-steinle-homicide-inspectors-questions-limited-by-federal-land-rangers-attorney/\" target=\"_blank\" rel=\"noopener\">wasn’t allowed to ask\u003c/a> a Bureau of Land Management agent about the firearm that was stolen from his car in San Francisco and eventually used to kill Steinle.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>4. \u003ca href=\"https://ww2.kqed.org/news/2017/10/31/for-chinas-gold-rush-prospectors-bone-scraping-was-the-last-way-home/\" target=\"_blank\" rel=\"noopener\">Did you know?\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11627008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/ww2.kqed_.orgww2_.kqed_.orgRS27806_IMG_-ba7d1d018dda8da192a00f8bfd02b81b7aba19f4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11627008\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/ww2.kqed_.orgww2_.kqed_.orgRS27806_IMG_-ba7d1d018dda8da192a00f8bfd02b81b7aba19f4.jpg\" alt=\"Many Chinese communities during the Gold Rush did not have their own cemeteries. Others had several, each dedication to different families coming from different regions of China.\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Many Chinese communities during the Gold Rush did not have their own cemeteries. Others had several, each dedication to different families coming from different regions of China.\u003c/figcaption>\u003c/figure>\n\u003cp>Chinese immigrants who came to California during the Gold Rush went to great lengths to have their bones returned to China so they could be buried with their ancestors, and it involved \u003ca href=\"https://ww2.kqed.org/news/2017/10/31/for-chinas-gold-rush-prospectors-bone-scraping-was-the-last-way-home/\" target=\"_blank\" rel=\"noopener\">“bone scraping.”\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>5. \u003ca href=\"https://ww2.kqed.org/news/2017/11/03/welcome-to-rough-and-ready-the-tiny-town-that-used-to-be-a-republic/\" target=\"_blank\" rel=\"noopener\">A place called what?!\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11628113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/ww2.kqed_.orgww2_.kqed_.orgRoughReadyHo-d12702bcebb3ccdfc7b62f6b5d05fd16962d2819.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11628113\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/ww2.kqed_.orgww2_.kqed_.orgRoughReadyHo-d12702bcebb3ccdfc7b62f6b5d05fd16962d2819.jpg\" alt=\"The old Rough and Ready Hotel in Rough and Ready, California.\" width=\"800\" height=\"534\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The old Rough and Ready Hotel in Rough and Ready, California.\u003c/figcaption>\u003c/figure>\n\u003cp>Have you ever heard of \u003ca href=\"https://ww2.kqed.org/news/2017/11/03/welcome-to-rough-and-ready-the-tiny-town-that-used-to-be-a-republic/\" target=\"_blank\" rel=\"noopener\">Rough and Ready, California\u003c/a>?\u003c/p>\n\u003ch1>\u003ca href=\"https://ww2.kqed.org/news/2017/11/02/el-camino-not-so-real-the-true-story-of-the-ancient-road/\" target=\"_blank\" rel=\"noopener\">Before you go…\u003c/a>\u003c/h1>\n\u003cp>Check out this video debunking the myths behind the Peninsula’s El Camino Real:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ntvWwsaUSQc\u003c/p>\n\n",
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"title": "In Case You Missed It: Cybersecurity Isn't Just About Elections | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We know it can be hard to keep up with everything that’s going on in the world, the country and your community. So here are five stories from the past week that you may have missed but really shouldn’t.\u003c/p>\n\u003cp>\u003cstrong>1. \u003ca href=\"https://ww2.kqed.org/futureofyou/2017/10/31/the-crippling-ransomware-attack-on-kqed-the-inside-story/\" target=\"_blank\" rel=\"noopener\">It can happen to anyone\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11627138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/ww2.kqed_.orgRansomwarePanel-800x428-bcf011312ef945fd4495f731303de5dbfd05b9cc.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11627138 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/ww2.kqed_.orgRansomwarePanel-800x428-bcf011312ef945fd4495f731303de5dbfd05b9cc.jpg\" alt=\"\" width=\"800\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/ww2.kqed_.orgRansomwarePanel-800x428-bcf011312ef945fd4495f731303de5dbfd05b9cc.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/ww2.kqed_.orgRansomwarePanel-800x428-bcf011312ef945fd4495f731303de5dbfd05b9cc-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/ww2.kqed_.orgRansomwarePanel-800x428-bcf011312ef945fd4495f731303de5dbfd05b9cc-240x128.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/ww2.kqed_.orgRansomwarePanel-800x428-bcf011312ef945fd4495f731303de5dbfd05b9cc-375x201.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/ww2.kqed_.orgRansomwarePanel-800x428-bcf011312ef945fd4495f731303de5dbfd05b9cc-520x278.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">KQED, one of the largest public media companies in America, was hit by a ransomware attack in June. The disruption was barely visible to the public, but behind the scenes, employees struggled with Rube Goldbergian workarounds while tech staff worked long months to rebuild a more secure system. \u003ccite>(Mark Fiore/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most popular story on our site this week was the inside story of the \u003ca href=\"https://ww2.kqed.org/futureofyou/2017/10/31/the-crippling-ransomware-attack-on-kqed-the-inside-story/\" target=\"_blank\" rel=\"noopener\">crippling ransomware attack\u003c/a> that hit KQED this past summer. Phones, computers, internet, printers and more all went down as hackers demanded a massive bitcoin ransom in exchange for the release of our digital world. In the words of KQED editor Jon Brooks:\u003c/p>\n\u003cblockquote>\u003cp>KQED, one of the largest public media companies in America, has been hobbling its way to recovery ever since. What was it like? Think of a really boring episode of “The Twilight Zone”—or better yet, “Black Mirror.” Or getting stuck in an absurdist satire about human dependence on technology. Everyone had their particular breaking point, triggered by one Rube Goldbergian workaround or another.\u003c/p>\u003c/blockquote>\n\u003cp>Safe to say, it’s been a stressful few months for KQED’s staff from the newsroom to the folks in IT trying to make sure this never happens again.\u003c/p>\n\u003cp>\u003cstrong>2. \u003ca href=\"https://ww2.kqed.org/science/2017/10/30/wildfires-can-attack-your-house-from-the-inside-heres-how-to-prevent-it/\" target=\"_blank\" rel=\"noopener\">News you can use\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11628310\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/WIldfire_2013_IBHS_01-web-800x450.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11628310\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/WIldfire_2013_IBHS_01-web-800x450.jpg\" alt=\"A house undergoes testing in the Insurance Institute for Business & Home Safety's lab.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/WIldfire_2013_IBHS_01-web-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/WIldfire_2013_IBHS_01-web-800x450-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/WIldfire_2013_IBHS_01-web-800x450-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/WIldfire_2013_IBHS_01-web-800x450-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/WIldfire_2013_IBHS_01-web-800x450-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A house undergoes testing in the Insurance Institute for Business & Home Safety’s lab. \u003ccite>(Insurance Institute for Business & Home Safety)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re continuing to learn about how we can all better \u003ca href=\"https://ww2.kqed.org/science/2017/10/30/wildfires-can-attack-your-house-from-the-inside-heres-how-to-prevent-it/\" target=\"_blank\" rel=\"noopener\">protect ourselves and our homes\u003c/a> from wildfires. Even buildings not in the direct path of a fire can be in danger from a tiny offender:\u003c/p>\n\u003cblockquote>\u003cp>“During a wildfire, the major source of ignition is the wind-blown ember that lands on or near the house,” says Steve Quarles of the Insurance Institute for Business and Home Safety. The wind can carry embers half a mile to a mile ahead of the fire, igniting homes far from the main burn area. But, there are some things homeowners can do to reduce the risk.\u003c/p>\u003c/blockquote>\n\u003cp>Those things include creating defensible space around your home, properly covering your vents to keep embers from getting inside your home and sparking, and keeping your gutters and your roof clear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>3. \u003ca href=\"https://ww2.kqed.org/news/2017/10/19/how-a-san-francisco-killing-became-part-of-the-u-s-immigration-debate/\" target=\"_blank\" rel=\"noopener\">The Kathryn Steinle trial\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11627350\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11627350\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut-1020x765.jpg\" alt=\"A courtroom painting depicting defense attorney Matt Gonzalez's opening statement in the Kathryn Steinle murder trial at the San Francisco Hall of Justice on October 23, 2017.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27815_IMG_3420-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A courtroom drawing depicting defense attorney Matt Gonzalez’s opening statement in the Kathryn Steinle murder trial at the San Francisco Hall of Justice on Oct. 23, 2017. \u003ccite>(Vicki Ellen Behringer/Courtroom Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The prosecution rested its case this week in the trial of Jose Ines Garcia Zarate, a Mexican citizen accused of killing Kathryn Steinle at San Francisco’s Pier 14 in July 2015. Garcia Zarate’s defense team asserts that he shot Steinle accidentally when he picked up a gun wrapped in cloth.\u003c/p>\n\u003cp>The case has gained \u003ca href=\"https://ww2.kqed.org/news/2017/10/19/how-a-san-francisco-killing-became-part-of-the-u-s-immigration-debate/\" target=\"_blank\" rel=\"noopener\">national attention\u003c/a> — including from President Trump — as part of the debate over immigration and so-called sanctuary cities. Garcia Zarate was in the country illegally when the shooting took place, and San Francisco authorities chose to release him instead of honoring a detention request from federal immigration officials.\u003c/p>\n\u003cul>\n\u003cli>A retired San Francisco \u003ca href=\"https://ww2.kqed.org/news/2017/10/30/bullet-trajectory-and-ricochet-shot-central-to-steinle-murder-trial/\" target=\"_blank\" rel=\"noopener\">crime scene investigator testified:\u003c/a> “A human being held a firearm, pointed it in the direction of Ms. Steinle, pulled the trigger and fired, killing her. That is the only way this could have occurred, that is reasonable.” The testimony hits directly at the defense’s claim that the gun went off accidentally.\u003c/li>\n\u003cli>The defense wants members of the jury to be able to try \u003ca href=\"https://ww2.kqed.org/news/2017/10/31/defense-in-steinle-murder-trial-wants-jury-to-dry-fire-gun-to-test-trigger-pull/\" target=\"_blank\" rel=\"noopener\">pulling the trigger\u003c/a> on the gun that killed Steinle to demonstrate the potential for accidentally firing it.\u003c/li>\n\u003cli>Jurors watched video of Garcia Zarate’s \u003ca href=\"https://ww2.kqed.org/news/2017/11/01/defendant-in-steinle-murder-trial-told-police-he-fired-threw-gun-in-bay-to-stop-it-from-shooting/\" target=\"_blank\" rel=\"noopener\">first interview \u003c/a>with police after the killing.\u003c/li>\n\u003cli>The San Francisco police investigator in charge of the investigation testified that he \u003ca href=\"https://ww2.kqed.org/news/2017/11/02/testimony-steinle-homicide-inspectors-questions-limited-by-federal-land-rangers-attorney/\" target=\"_blank\" rel=\"noopener\">wasn’t allowed to ask\u003c/a> a Bureau of Land Management agent about the firearm that was stolen from his car in San Francisco and eventually used to kill Steinle.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>4. \u003ca href=\"https://ww2.kqed.org/news/2017/10/31/for-chinas-gold-rush-prospectors-bone-scraping-was-the-last-way-home/\" target=\"_blank\" rel=\"noopener\">Did you know?\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11627008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/ww2.kqed_.orgww2_.kqed_.orgRS27806_IMG_-ba7d1d018dda8da192a00f8bfd02b81b7aba19f4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11627008\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/ww2.kqed_.orgww2_.kqed_.orgRS27806_IMG_-ba7d1d018dda8da192a00f8bfd02b81b7aba19f4.jpg\" alt=\"Many Chinese communities during the Gold Rush did not have their own cemeteries. Others had several, each dedication to different families coming from different regions of China.\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Many Chinese communities during the Gold Rush did not have their own cemeteries. Others had several, each dedication to different families coming from different regions of China.\u003c/figcaption>\u003c/figure>\n\u003cp>Chinese immigrants who came to California during the Gold Rush went to great lengths to have their bones returned to China so they could be buried with their ancestors, and it involved \u003ca href=\"https://ww2.kqed.org/news/2017/10/31/for-chinas-gold-rush-prospectors-bone-scraping-was-the-last-way-home/\" target=\"_blank\" rel=\"noopener\">“bone scraping.”\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>5. \u003ca href=\"https://ww2.kqed.org/news/2017/11/03/welcome-to-rough-and-ready-the-tiny-town-that-used-to-be-a-republic/\" target=\"_blank\" rel=\"noopener\">A place called what?!\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11628113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/ww2.kqed_.orgww2_.kqed_.orgRoughReadyHo-d12702bcebb3ccdfc7b62f6b5d05fd16962d2819.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11628113\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/ww2.kqed_.orgww2_.kqed_.orgRoughReadyHo-d12702bcebb3ccdfc7b62f6b5d05fd16962d2819.jpg\" alt=\"The old Rough and Ready Hotel in Rough and Ready, California.\" width=\"800\" height=\"534\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The old Rough and Ready Hotel in Rough and Ready, California.\u003c/figcaption>\u003c/figure>\n\u003cp>Have you ever heard of \u003ca href=\"https://ww2.kqed.org/news/2017/11/03/welcome-to-rough-and-ready-the-tiny-town-that-used-to-be-a-republic/\" target=\"_blank\" rel=\"noopener\">Rough and Ready, California\u003c/a>?\u003c/p>\n\u003ch1>\u003ca href=\"https://ww2.kqed.org/news/2017/11/02/el-camino-not-so-real-the-true-story-of-the-ancient-road/\" target=\"_blank\" rel=\"noopener\">Before you go…\u003c/a>\u003c/h1>\n\u003cp>Check out this video debunking the myths behind the Peninsula’s El Camino Real:\u003c/p>\n\u003cp>\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/ntvWwsaUSQc'\n title='//www.youtube.com/embed/ntvWwsaUSQc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>The KQED Book Nook is tucked away on the third floor of the KQED building in the Mission District of San Francisco. It’s the perfect place to talk to authors about their new work, their lives and more.\u003c/em>\u003c/p>\n\u003cp>David Eagleman and Anthony Brandt are the co-authors of “The Runaway Species: How Human Creativity Remakes the World.” Eagleman is a neuroscientist, Stanford professor, and host of the PBS show \u003ca href=\"https://www.pbs.org/the-brain-with-david-eagleman/home/?utm_source=promourl&utm_medium=direct&utm_campaign=brain_2015\" target=\"_blank\" rel=\"noopener\">“The Brain.”\u003c/a> Brandt is a composer and professor at Rice University in Houston.\u003c/p>\n\u003cp>\u003cstrong>If you had to describe your book in 10 words or fewer, how would you describe it?\u003c/strong>\u003c/p>\n\u003cp>Anthony Brandt: Creativity is part of every human brain. We need to cultivate it.\u003c/p>\n\u003cp>David Eagleman: Ditto\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>What is the question that you’re tired of being asked about the book?\u003c/strong>\u003c/p>\n\u003cp>Brandt: I don’t know that we’re tired of it, but there’s a lot of curiosity about AI (artificial intelligence) and whether it’s going to be looking over our shoulder creatively anytime soon.\u003c/p>\n\u003cp>Eagleman: We’ve been asked a lot whether creativity also has a negative side which it definitely does for humans, but I think we both clearly feel that the positive sides of creativity have completely overwhelmed the negative sides in the sense that we have as a species risen up from all the other species, and we’re doing incredible things like getting to the moon or creating the Internet and curing cancer and figuring out our genomes and so on. And as far as we can tell none of our animal cousins are doing this.\u003c/p>\n\u003cp>\u003cstrong>What is the question about the book you wish someone would ask?\u003c/strong>\u003c/p>\n\u003cp>Brandt: One of our driving forces in the book was to argue for more arts and creativity in the schools, and I don’t think we can get asked that question enough because it’s so important to both of us. We need to take a hard look at the way we’re educating our kids and have a real remodeling of the strategies and the approaches and what we’re doing.\u003c/p>\n\u003cp>\u003cstrong>What is creativity?\u003c/strong>\u003c/p>\n\u003cp>Eagleman: Creativity is taking in the world and remixing it to bring out new versions of it. The piece of it also that’s often under appreciated is the filtering piece which is to say we come up with lots of novel worlds every moment of our lives and most of them don’t make sense in some way and they don’t stick. And so we filter those out. But that’s what creativity is about.\u003c/p>\n\u003cp>Brandt: It’s a tension between the familiar and the novel and trying to find the sweet spot in between them.\u003c/p>\n\u003cp>\u003cstrong>Who is the most creative person around right now?\u003c/strong>\u003c/p>\n\u003cp>Eagleman: I think we would strongly answer that that is impossible to know, and the reason is that creativity is always judged in retrospect. All throughout history there have been people who come up with big ideas that are totally not appreciated in their time and they only emerge later as having been really creative geniuses. By the same token there are people who are appreciated in their lifetimes doing something really wonderful and then later it’s seen that it’s sort of trite and they don’t stick around and everywhere in between that. So challenge is that it’s just really hard to tell what qualifies as creative because sometimes that takes a lot of time to figure out.[contextly_sidebar id=”ywoXHGmxuBhl4x6LX6ONmsy1nsVs7J8m”]\u003c/p>\n\u003cp>Brandt: And that’s a reminder of how we can’t prejudge children either, and we have to be very careful. The very idea that we could pick out the most creative person often gives us the illusion that we can then identify in children who are the most promising. Society is too fickle and it’s too often wrong. You have to give everyone a chance and see where it leads.\u003c/p>\n\u003cp>\u003cstrong>What’s the most creative thing that you have done so far in your life?\u003c/strong>\u003c/p>\n\u003cp>Eagleman: So I’m a neuroscientist, but I wrote a book of 40 short stories called “\u003ca href=\"https://www.goodreads.com/book/show/4948826-sum\" target=\"_blank\" rel=\"noopener\">Sum\u003c/a>,” and that’s been such a lovely part of my life because it really took off. I’m happy to say it became an international bestseller. It’s in 32 languages now. It was turned into two operas by Brian Eno at the Sydney Opera House and by Max Richter at the Royal Opera House in London, and that’s been a very special part of my life.\u003c/p>\n\u003cp>Brandt: I’d say my chamber opera “\u003ca href=\"https://www.youtube.com/watch?v=TuLCaU_GZmQ\" target=\"_blank\" rel=\"noopener\">Ulysses Home\u003c/a>” which is about a soldier coming home with post-traumatic stress disorder. Writing something that so clearly connected with the community but being able to do it in a avant garde musical way was really very satisfying.\u003c/p>\n\u003cp>\u003cstrong>What is the place that gives you the most inspiration?\u003c/strong>\u003c/p>\n\u003cp>Eagleman: I go to IHOP, and the reason is I can get a lot of work done when I sit down at IHOP. I spend most of my time digesting the world whether that’s at my startup company or on the Stanford campus or reading, you know taking things in. What you actually need to have creative output is also time to digest the world, and so personally I’m going to I hope I always have for my whole writing career. It’s because it’s just just the right level of boring there as opposed to something like Starbucks which is really interesting if you look at all the attractive people coming in and out. IHOP is really boring, and I can sit there with bottomless coffee and really get stuff done.\u003c/p>\n\u003cp>Brandt: I think a great concert because of one of the things that you know I feel very strongly is that a great piece of music is actually acting out the creative process right in front of you in real time so you can experience it. You start from some starting point and then you hear a composer like Beethoven working through the ideas in that sweet spot between novelty and familiarity. You know where they’re coming from but you don’t see where they’re going. I just love sitting through that as a way of generating my own thoughts.\u003c/p>\n\u003cp>\u003cstrong>What is the best science book for a non-science person?\u003c/strong>\u003c/p>\n\u003cp>Eagleman: I really enjoyed Jeff Hawkins book called “\u003ca href=\"https://www.goodreads.com/book/show/27539.On_Intelligence\" target=\"_blank\" rel=\"noopener\">On Intelligence\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>What is the best music book for a non-music person?\u003c/strong>\u003c/p>\n\u003cp>Brandt: It wouldn’t be a book. It would be a piece. I’ll say Beethoven’s Ninth Symphony.\u003c/p>\n\u003cp>\u003cstrong>What’s on your to-read list right now?\u003c/strong>\u003c/p>\n\u003cp>Eagleman: Well I got halfway done with E.O. Wilson’s “\u003ca href=\"https://www.goodreads.com/book/show/20665570-the-meaning-of-human-existence?ac=1&from_search=true\" target=\"_blank\" rel=\"noopener\">The Meaning of Human Existence\u003c/a>,” but then I had to return it to the library because of the due date so I’m looking forward to finishing that. I also just got “\u003ca href=\"https://www.goodreads.com/book/show/20518872-the-three-body-problem?from_search=true\" target=\"_blank\" rel=\"noopener\">The Three-Body Problem\u003c/a>,” which is a science fiction book. I never read science fiction but this seems very interesting.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Brandt: David has highly recommended the book “\u003ca href=\"https://www.goodreads.com/book/show/23692271-sapiens?ac=1&from_search=true\" target=\"_blank\" rel=\"noopener\">Sapiens\u003c/a>,” so I’m interested in reading that.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The KQED Book Nook is tucked away on the third floor of the KQED building in the Mission District of San Francisco. It’s the perfect place to talk to authors about their new work, their lives and more.\u003c/em>\u003c/p>\n\u003cp>David Eagleman and Anthony Brandt are the co-authors of “The Runaway Species: How Human Creativity Remakes the World.” Eagleman is a neuroscientist, Stanford professor, and host of the PBS show \u003ca href=\"https://www.pbs.org/the-brain-with-david-eagleman/home/?utm_source=promourl&utm_medium=direct&utm_campaign=brain_2015\" target=\"_blank\" rel=\"noopener\">“The Brain.”\u003c/a> Brandt is a composer and professor at Rice University in Houston.\u003c/p>\n\u003cp>\u003cstrong>If you had to describe your book in 10 words or fewer, how would you describe it?\u003c/strong>\u003c/p>\n\u003cp>Anthony Brandt: Creativity is part of every human brain. We need to cultivate it.\u003c/p>\n\u003cp>David Eagleman: Ditto\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>What is the question that you’re tired of being asked about the book?\u003c/strong>\u003c/p>\n\u003cp>Brandt: I don’t know that we’re tired of it, but there’s a lot of curiosity about AI (artificial intelligence) and whether it’s going to be looking over our shoulder creatively anytime soon.\u003c/p>\n\u003cp>Eagleman: We’ve been asked a lot whether creativity also has a negative side which it definitely does for humans, but I think we both clearly feel that the positive sides of creativity have completely overwhelmed the negative sides in the sense that we have as a species risen up from all the other species, and we’re doing incredible things like getting to the moon or creating the Internet and curing cancer and figuring out our genomes and so on. And as far as we can tell none of our animal cousins are doing this.\u003c/p>\n\u003cp>\u003cstrong>What is the question about the book you wish someone would ask?\u003c/strong>\u003c/p>\n\u003cp>Brandt: One of our driving forces in the book was to argue for more arts and creativity in the schools, and I don’t think we can get asked that question enough because it’s so important to both of us. We need to take a hard look at the way we’re educating our kids and have a real remodeling of the strategies and the approaches and what we’re doing.\u003c/p>\n\u003cp>\u003cstrong>What is creativity?\u003c/strong>\u003c/p>\n\u003cp>Eagleman: Creativity is taking in the world and remixing it to bring out new versions of it. The piece of it also that’s often under appreciated is the filtering piece which is to say we come up with lots of novel worlds every moment of our lives and most of them don’t make sense in some way and they don’t stick. And so we filter those out. But that’s what creativity is about.\u003c/p>\n\u003cp>Brandt: It’s a tension between the familiar and the novel and trying to find the sweet spot in between them.\u003c/p>\n\u003cp>\u003cstrong>Who is the most creative person around right now?\u003c/strong>\u003c/p>\n\u003cp>Eagleman: I think we would strongly answer that that is impossible to know, and the reason is that creativity is always judged in retrospect. All throughout history there have been people who come up with big ideas that are totally not appreciated in their time and they only emerge later as having been really creative geniuses. By the same token there are people who are appreciated in their lifetimes doing something really wonderful and then later it’s seen that it’s sort of trite and they don’t stick around and everywhere in between that. So challenge is that it’s just really hard to tell what qualifies as creative because sometimes that takes a lot of time to figure out.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Brandt: And that’s a reminder of how we can’t prejudge children either, and we have to be very careful. The very idea that we could pick out the most creative person often gives us the illusion that we can then identify in children who are the most promising. Society is too fickle and it’s too often wrong. You have to give everyone a chance and see where it leads.\u003c/p>\n\u003cp>\u003cstrong>What’s the most creative thing that you have done so far in your life?\u003c/strong>\u003c/p>\n\u003cp>Eagleman: So I’m a neuroscientist, but I wrote a book of 40 short stories called “\u003ca href=\"https://www.goodreads.com/book/show/4948826-sum\" target=\"_blank\" rel=\"noopener\">Sum\u003c/a>,” and that’s been such a lovely part of my life because it really took off. I’m happy to say it became an international bestseller. It’s in 32 languages now. It was turned into two operas by Brian Eno at the Sydney Opera House and by Max Richter at the Royal Opera House in London, and that’s been a very special part of my life.\u003c/p>\n\u003cp>Brandt: I’d say my chamber opera “\u003ca href=\"https://www.youtube.com/watch?v=TuLCaU_GZmQ\" target=\"_blank\" rel=\"noopener\">Ulysses Home\u003c/a>” which is about a soldier coming home with post-traumatic stress disorder. Writing something that so clearly connected with the community but being able to do it in a avant garde musical way was really very satisfying.\u003c/p>\n\u003cp>\u003cstrong>What is the place that gives you the most inspiration?\u003c/strong>\u003c/p>\n\u003cp>Eagleman: I go to IHOP, and the reason is I can get a lot of work done when I sit down at IHOP. I spend most of my time digesting the world whether that’s at my startup company or on the Stanford campus or reading, you know taking things in. What you actually need to have creative output is also time to digest the world, and so personally I’m going to I hope I always have for my whole writing career. It’s because it’s just just the right level of boring there as opposed to something like Starbucks which is really interesting if you look at all the attractive people coming in and out. IHOP is really boring, and I can sit there with bottomless coffee and really get stuff done.\u003c/p>\n\u003cp>Brandt: I think a great concert because of one of the things that you know I feel very strongly is that a great piece of music is actually acting out the creative process right in front of you in real time so you can experience it. You start from some starting point and then you hear a composer like Beethoven working through the ideas in that sweet spot between novelty and familiarity. You know where they’re coming from but you don’t see where they’re going. I just love sitting through that as a way of generating my own thoughts.\u003c/p>\n\u003cp>\u003cstrong>What is the best science book for a non-science person?\u003c/strong>\u003c/p>\n\u003cp>Eagleman: I really enjoyed Jeff Hawkins book called “\u003ca href=\"https://www.goodreads.com/book/show/27539.On_Intelligence\" target=\"_blank\" rel=\"noopener\">On Intelligence\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>What is the best music book for a non-music person?\u003c/strong>\u003c/p>\n\u003cp>Brandt: It wouldn’t be a book. It would be a piece. I’ll say Beethoven’s Ninth Symphony.\u003c/p>\n\u003cp>\u003cstrong>What’s on your to-read list right now?\u003c/strong>\u003c/p>\n\u003cp>Eagleman: Well I got halfway done with E.O. Wilson’s “\u003ca href=\"https://www.goodreads.com/book/show/20665570-the-meaning-of-human-existence?ac=1&from_search=true\" target=\"_blank\" rel=\"noopener\">The Meaning of Human Existence\u003c/a>,” but then I had to return it to the library because of the due date so I’m looking forward to finishing that. I also just got “\u003ca href=\"https://www.goodreads.com/book/show/20518872-the-three-body-problem?from_search=true\" target=\"_blank\" rel=\"noopener\">The Three-Body Problem\u003c/a>,” which is a science fiction book. I never read science fiction but this seems very interesting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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