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"content": "\u003cp>While most retailers head into a post-Thanksgiving shopping frenzy, many people in the Bay Area will \u003ca href=\"https://ww2.kqed.org/news/2017/11/22/photos-bay-areas-best-hikes-chosen-by-you/\" target=\"_blank\" rel=\"noopener\">head for the hills\u003c/a>.\u003c/p>\n\u003cp>The holiday shopping season traditionally begins on \"Black Friday\" and it's when we hear stories of stampedes at Walmart and urgent pleas to drop everything and go to the nearest mall.\u003c/p>\n\u003cp>Outdoor retailer REI even worked with a San Francisco ad agency to create an \u003ca href=\"http://www.adweek.com/brand-marketing/reis-anti-black-friday-campaign-optoutside-wins-titanium-grand-prix-cannes-172256/#/\" target=\"_blank\" rel=\"noopener\">award-winning campaign\u003c/a> that capitalizes on the anti-Black Friday backlash.\u003c/p>\n\u003cp>Personally, I'm looking forward to a hike.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://californiatypewritermovie.com\">“California Typewriter”\u003c/a> is a new documentary film by Doug Nichol. It’s an ode to analog, a visual poem dedicated to the typewriter. It’s named for a \u003ca href=\"https://www.californiatypewriter.com/\">Berkeley repair shop \u003c/a>struggling to stay afloat in the digital age.\u003c/em>\u003c/p>\n\u003cp>Filmmaker Doug Nichol told Sasha Khokha, host of The California Report Magazine, about a few of the typewriter-obsessed people who appear in the film:\u003c/p>\n\u003cp>\u003cstrong>Ken Alexander, typewriter repair technician at California Typewriter in Berkeley\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11631631\" class=\"wp-caption alignright\" style=\"max-width: 411px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11631631\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut-800x1123.jpg\" alt=\"\" width=\"411\" height=\"577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut-800x1123.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut-1020x1432.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut-1180x1656.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut-960x1348.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut-240x337.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut-375x526.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut-520x730.jpg 520w\" sizes=\"(max-width: 411px) 100vw, 411px\">\u003cfigcaption class=\"wp-caption-text\">California Typewriter repair expert Ken Alexander, wheeling typewriters to a Berkeley car wash to hose them down before repairing them. \u003ccite>(Still from California Typewriter, courtesy Doug Nichol)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>“I feel something for these machines. I’ll look at ’em and my mind just goes, ‘Where has this machine been at?’ If they could talk, they could tell some stories. You never know where these typewriters come from. One could have come from some famous person’s library across the world, and it made it to this shop in Berkeley.”\u003c/em>\u003cem> – Ken Alexander\u003c/em>\u003c/p>\n\u003cp>Doug Nichol: Ken Alexander loves repairing typewriters. But Ken’s job is really the first casualty of the digital revolution. We didn’t need typewriters anymore once computers came around. So you didn’t need a typewriter repairman. But he’s been working for the last 30 years trying to keep it going for the few people who love typewriters. At the shop, most of the new customers are all kids. They’re bringing in their parents, telling them they want a typewriter. They’ve grown up touching glass, touching iPhones and iPads, and I think they find it interesting to see how you push a letter and it forms a letter on the page.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Silvi Alcivar, poet\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11631830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11631830\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Silvi Alcivar is a San Francisco-based “poet on demand,” who hand-types original poems for customers at her mobile store. \u003ccite>(Still from California Typewriter, courtesy Doug Nichol)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>“If you were to ask me to speak a poem, I couldn’t do it. If you were to put me in front of a typewriter, it happens. My typewriter is the truest love of my life. There’s something about it that’s built well, and if you care for it, it’s just going to keep working. I do worry that someday there might not be somebody who knows how to fix it.\u003c/em>\u003c/p>\n\u003cp>“I often think about what I do as counseling. People come to me with some big stuff. I write a lot of poems about death. I wrote a poem for a man who had lost his wife three months ago, and they had been married for 43 years. When he made his request, he could barely talk. Somebody’s desire for words sometimes is a desire for something more.” – \u003ca href=\"http://thepoetrystore.net/\">Silvi Alcivar,\u003c/a> poet\u003c/p>\n\u003cp>\u003cstrong>Tom Hanks, actor\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11631637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11631637\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut.jpg 1909w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Hanks has a collection of more than 250 typewriters. \u003ccite>(Still from California Typewriter, courtesy Doug Nichol)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>“There is a wonderful way to spend time typing. You get to think about it. You get to romantically sit back and ponder what your next words are going to be. And that is a pleasant, tactile action. It actually turns writing or composing into a very specific, physical process that has a soundtrack to it.” – Tom Hanks\u003c/em>\u003c/p>\n\u003cp>Nichol: When we filmed Tom Hanks, he had 270 typewriters. He loves the sound of typewriters, the difference between a Smith-Corona and Olympia. Every one of them have their own sound. They’re like snowflakes in a way. Every one of them is unique, from their sound to the letters that they make. Every font is slightly different. They’re totally original.\u003c/p>\n\u003cp>\u003cstrong>Jeremy Mayer, West Oakland artist\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11631653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11631653\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland sculptor Jeremy Mayer makes new, futuristic creations out of old typewriters. \u003ccite>(Still from California Typewriter, Courtesy Doug Nichol)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>“This is how I choose to appreciate the typewriter. By dissecting it and bringing out the little bits and pieces that are us in them. Some of my favorite things to do are the human figures, because I find every curve on the human body in here in one of these typewriters.” – Jeremy Mayer\u003c/em>\u003c/p>\n\u003cp>Nichol: \u003ca href=\"http://jeremymayer.com/Artist.asp?ArtistID=18688&Akey=23SVCF6T\">Jeremy Mayer\u003c/a> was one of the first people I met at California Typewriter. He loves the typewriters, but he loves what’s in them. He sees the typewriter as a kind of erector set, where he can take them all apart, the pieces, and put them back together. One of his sculptures is in Mark Zuckerberg’s office, and his work has taken off. The tech folks understand the role the typewriter played. They appreciate that tactile quality that’s disappearing as we touch glass and are removed from more tangible things.\u003c/p>\n\u003cp>\u003cstrong>David McCullough, historian and writer\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11631655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11631655 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Historian and author David McCullough has written every one of his books on the same typewriter, including his Pulitzer Prize-winning books “Truman” and “John Adams.” \u003ccite>(Still from California Typewriter, Courtesy Doug Nichol )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>“People tell me I could do much better, I could go faster and have less to contend with if I were to use a computer. But I don’t want to go faster. If anything, I prefer to go slower. To me, it’s understandable. I press the key and another key comes up and prints a letter on a piece of paper, and you can pull it out and it’s a piece of paper on which you have printed something. You have made that. It’s tangible. It’s real.” – David McCullough\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nichol: David McCullough has written every one of his books on that same typewriter. He believes it’s a tool. When you write on a typewriter you have to think about what you’re going to write before you commit it to paper.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://californiatypewritermovie.com\">“California Typewriter”\u003c/a> is a new documentary film by Doug Nichol. It’s an ode to analog, a visual poem dedicated to the typewriter. It’s named for a \u003ca href=\"https://www.californiatypewriter.com/\">Berkeley repair shop \u003c/a>struggling to stay afloat in the digital age.\u003c/em>\u003c/p>\n\u003cp>Filmmaker Doug Nichol told Sasha Khokha, host of The California Report Magazine, about a few of the typewriter-obsessed people who appear in the film:\u003c/p>\n\u003cp>\u003cstrong>Ken Alexander, typewriter repair technician at California Typewriter in Berkeley\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11631631\" class=\"wp-caption alignright\" style=\"max-width: 411px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11631631\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut-800x1123.jpg\" alt=\"\" width=\"411\" height=\"577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut-800x1123.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut-1020x1432.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut-1180x1656.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut-960x1348.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut-240x337.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut-375x526.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27988_KenTypeWagon-qut-520x730.jpg 520w\" sizes=\"(max-width: 411px) 100vw, 411px\">\u003cfigcaption class=\"wp-caption-text\">California Typewriter repair expert Ken Alexander, wheeling typewriters to a Berkeley car wash to hose them down before repairing them. \u003ccite>(Still from California Typewriter, courtesy Doug Nichol)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>“I feel something for these machines. I’ll look at ’em and my mind just goes, ‘Where has this machine been at?’ If they could talk, they could tell some stories. You never know where these typewriters come from. One could have come from some famous person’s library across the world, and it made it to this shop in Berkeley.”\u003c/em>\u003cem> – Ken Alexander\u003c/em>\u003c/p>\n\u003cp>Doug Nichol: Ken Alexander loves repairing typewriters. But Ken’s job is really the first casualty of the digital revolution. We didn’t need typewriters anymore once computers came around. So you didn’t need a typewriter repairman. But he’s been working for the last 30 years trying to keep it going for the few people who love typewriters. At the shop, most of the new customers are all kids. They’re bringing in their parents, telling them they want a typewriter. They’ve grown up touching glass, touching iPhones and iPads, and I think they find it interesting to see how you push a letter and it forms a letter on the page.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Silvi Alcivar, poet\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11631830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11631830\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28004_SilviAlcivar-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Silvi Alcivar is a San Francisco-based “poet on demand,” who hand-types original poems for customers at her mobile store. \u003ccite>(Still from California Typewriter, courtesy Doug Nichol)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>“If you were to ask me to speak a poem, I couldn’t do it. If you were to put me in front of a typewriter, it happens. My typewriter is the truest love of my life. There’s something about it that’s built well, and if you care for it, it’s just going to keep working. I do worry that someday there might not be somebody who knows how to fix it.\u003c/em>\u003c/p>\n\u003cp>“I often think about what I do as counseling. People come to me with some big stuff. I write a lot of poems about death. I wrote a poem for a man who had lost his wife three months ago, and they had been married for 43 years. When he made his request, he could barely talk. Somebody’s desire for words sometimes is a desire for something more.” – \u003ca href=\"http://thepoetrystore.net/\">Silvi Alcivar,\u003c/a> poet\u003c/p>\n\u003cp>\u003cstrong>Tom Hanks, actor\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11631637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11631637\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27986_TomHanks-qut.jpg 1909w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Hanks has a collection of more than 250 typewriters. \u003ccite>(Still from California Typewriter, courtesy Doug Nichol)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>“There is a wonderful way to spend time typing. You get to think about it. You get to romantically sit back and ponder what your next words are going to be. And that is a pleasant, tactile action. It actually turns writing or composing into a very specific, physical process that has a soundtrack to it.” – Tom Hanks\u003c/em>\u003c/p>\n\u003cp>Nichol: When we filmed Tom Hanks, he had 270 typewriters. He loves the sound of typewriters, the difference between a Smith-Corona and Olympia. Every one of them have their own sound. They’re like snowflakes in a way. Every one of them is unique, from their sound to the letters that they make. Every font is slightly different. They’re totally original.\u003c/p>\n\u003cp>\u003cstrong>Jeremy Mayer, West Oakland artist\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11631653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11631653\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27989_JeremyTheiaHead-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland sculptor Jeremy Mayer makes new, futuristic creations out of old typewriters. \u003ccite>(Still from California Typewriter, Courtesy Doug Nichol)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>“This is how I choose to appreciate the typewriter. By dissecting it and bringing out the little bits and pieces that are us in them. Some of my favorite things to do are the human figures, because I find every curve on the human body in here in one of these typewriters.” – Jeremy Mayer\u003c/em>\u003c/p>\n\u003cp>Nichol: \u003ca href=\"http://jeremymayer.com/Artist.asp?ArtistID=18688&Akey=23SVCF6T\">Jeremy Mayer\u003c/a> was one of the first people I met at California Typewriter. He loves the typewriters, but he loves what’s in them. He sees the typewriter as a kind of erector set, where he can take them all apart, the pieces, and put them back together. One of his sculptures is in Mark Zuckerberg’s office, and his work has taken off. The tech folks understand the role the typewriter played. They appreciate that tactile quality that’s disappearing as we touch glass and are removed from more tangible things.\u003c/p>\n\u003cp>\u003cstrong>David McCullough, historian and writer\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11631655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11631655 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27985_DavidMcCullough-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Historian and author David McCullough has written every one of his books on the same typewriter, including his Pulitzer Prize-winning books “Truman” and “John Adams.” \u003ccite>(Still from California Typewriter, Courtesy Doug Nichol )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>“People tell me I could do much better, I could go faster and have less to contend with if I were to use a computer. But I don’t want to go faster. If anything, I prefer to go slower. To me, it’s understandable. I press the key and another key comes up and prints a letter on a piece of paper, and you can pull it out and it’s a piece of paper on which you have printed something. You have made that. It’s tangible. It’s real.” – David McCullough\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nichol: David McCullough has written every one of his books on that same typewriter. He believes it’s a tool. When you write on a typewriter you have to think about what you’re going to write before you commit it to paper.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sometimes, crowdsourcing works.\u003c/p>\n\u003cp>When it does, it can lead to improbable gatherings, like the one Friday morning in Noe Valley. There were five of us: a legendary lensman, an interior designer, a retired PG&E electrician, an engineer for United Airlines and me, a fan of photography and geography.\u003c/p>\n\u003cp>After \u003ca href=\"https://ww2.kqed.org/news/2017/11/09/photographer-fred-lyon-is-93-and-still-in-love-with-san-francisco/\">my story\u003c/a> earlier this month about 93-year-old photographer \u003ca href=\"http://www.fredlyon.com/\">Fred Lyon,\u003c/a> KQED asked readers to figure out where the picture \u003ca href=\"https://www.facebook.com/KQEDnews/photos/a.117611171646622.21467.107786349295771/1668921303182260/?type=3&theater\">“Houses on the Hills”\u003c/a> was shot. The image can be seen in his current “San Francisco Noir” exhibition at the \u003ca href=\"http://gallery.leicastoresf.com/exhibitions/current-exhibitions\">Leica Gallery\u003c/a> and in his \u003ca href=\"https://www.leicastoresf.com/248638\">new book\u003c/a> of the same name.\u003c/p>\n\u003cfigure id=\"attachment_11629489\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\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\">\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 spent hours driving around San Francisco searching for the location of ‘Houses on the Hills.’ \u003ccite>(Fred Lyon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lyon, a fourth-generation San Franciscan, has taken tens of thousands of photos in a career that began more than 70 years ago. When I asked where the houses were located, he said: “That’s a question we’ve been wrestling with ever since we discovered this negative about a year ago. Penny and I have spent hours driving around, but to no avail.”\u003c/p>\n\u003cp>Lyon and his wife, interior designer \u003ca href=\"http://www.pennyrozis.com/\">Penelope Rozis,\u003c/a> believed he was looking west, because of the position of the sun, and suspected the houses were in the Excelsior or Crocker-Amazon. But it turns out they’re actually in Noe Valley, on Worth Street. Lyon’s photo, shot facing east from upper Grand View Avenue, captured the back of those dwellings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two San Francisco residents solved the puzzle separately — with very different approaches — after they spotted KQED’s call for help on Facebook.\u003c/p>\n\u003cp>Robert Aranda Jr. moved to the neighborhood 58 years ago with his parents, after they emigrated from Guatemala. He recognized the scene immediately because his house on 22nd Street is just steps from Worth Street. Eric Chesmar, on the other hand, relied on Google Maps and \u003ca href=\"https://www.facebook.com/photo.php?fbid=10214758672623284&set=p.10214758672623284&type=3&theater\">Google Earth.\u003c/a>\u003c/p>\n\u003cp>“You did it with the new technology,” Aranda told Chesmar when we all met up on Worth Street. “Me, I live here.”\u003c/p>\n\u003cp>Chesmar said, “I spent a lot of time zooming in, trying to match the rooflines.”\u003c/p>\n\u003cp>Lyon was thrilled to meet them — and vice versa. “This has been the greatest mystery,” he told Chesmar and Aranda. “I was convinced they had moved a couple of large hills — the government does that, you know.”\u003c/p>\n\u003cp>He added, more seriously, “I was afraid the houses were gone.”\u003c/p>\n\u003cp>But those houses haven’t gone anywhere. And neither have most of the people who live on Worth Street, which is only one block long.\u003c/p>\n\u003cp>“People who live here have been here a long time,” said retired carpenter David Meites, 77, who I chatted with earlier in the morning and has lived on Worth more than 40 years. “It’s like a very small bar. Even if you’re not all that friendly, you’re pushed into saying hello.”\u003c/p>\n\u003cp>Although Worth Street hasn’t changed much since Lyon took his photo in the late ’40s or early ’50s, the same can’t be said for Grand View Avenue, where he was standing when he shot “Houses on the Hills.” He and Rozis could have driven around San Francisco for years without ever solving the puzzle.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I assumed that the camera was pointed west, into the afternoon sun. Actually, it was east, and the morning sun. It’s an incredible relief to know where that is.’\u003ccite>Photographer Fred Lyon\u003c/cite>\u003c/aside>\n\u003cp>That’s because a large brown-shingle house was built on lower Grand View in 1979, and it blocks most of the view that the photographer had enjoyed. After we’d made our way from Worth Street to upper Grand View, we saw how much things had changed. Lyon shuddered and shook his head.\u003c/p>\n\u003cp>“At that time there were many empty lots,” said Lyon, whose memory of being there quickly returned. “I came here because it was a viewpoint.”\u003c/p>\n\u003cfigure id=\"attachment_11632353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11632353 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut.jpg\" alt=\"\" width=\"1920\" height=\"880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut-1180x541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut-960x440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut-520x238.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Here’s a screen shot of an aerial photograph of Worth Street in 1938, on the website of the San Francisco Planning Department. \u003ccite>(David Rumsey Map Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aranda was on a beach in Zihuatanejo, Mexico, when his wife spotted KQED’s request for help. “She said, ‘I bet you can figure this out.’ But I was leery I was correct until I saw the building behind the houses,” he said.\u003c/p>\n\u003cp>That building is \u003ca href=\"http://alvaradoschool.net/\">Alvarado Elementary School\u003c/a> on Douglass Street. It’s where Aranda, 63, a retired electrician at PG&E substations, went to grade school, not long after he arrived from Central America. The ornate cornices that can be glimpsed in the photograph are long gone, Aranda said, because of concerns about earthquake safety.\u003c/p>\n\u003cfigure id=\"attachment_11632361\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11632361\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut-1020x765.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Robert Aranda Jr. takes a selfie on Worth Street in San Francisco with photographer Fred Lyon, whose work he has admired for many years. \u003ccite>(Patricia Yollin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chesmar, a composite engineer with United Airlines at SFO who lives in Bernal Heights, used a different strategy, scouring satellite photos on Google Maps to pinpoint the location: He looked for a hill with a contour that fit Lyon’s picture and for a second taller hill nearby, from where the photo was taken. Since the sun was to the right of the hill — and too high to be west — Lyon must have been facing east or south. Then he searched for buildings with those shapes and windows.\u003c/p>\n\u003cp>That process consumed about two hours. But after he noticed the steep stairway on 22nd Street, between Diamond and Collingwood, it took only another 15 minutes to zero in on where Lyon was standing almost seven decades ago. Then he verified his conclusion on Google Earth.\u003c/p>\n\u003cp>“I had plenty of time,” said Chesmar, 56, who is recovering from a mountain bike accident on Mount Tamalpais that broke his femur six weeks ago. He was recently allowed to drive a car again, but is still on crutches.\u003c/p>\n\u003cfigure id=\"attachment_11632362\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11632362 size-large\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut-1020x765.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Eric Chesmar, left, brought his iPad and Fred Lyon brought his camera to the very spot on upper Grand View Avenue in San Francisco where Lyon shot ‘Houses on the Hills.’ \u003ccite>(Patricia Yollin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Days earlier, when I told Lyon where the houses were situated, he said, “That makes perfect sense — and proves once again that one’s brain and memory are totally unreliable. I assumed that the camera was pointed west, into the afternoon sun. Actually, it was east, and the morning sun. It’s an incredible relief to know where that is.”\u003c/p>\n\u003cp>Leica Gallery director Alex Ramos, who was immensely curious about the location of the houses, also thought it was a sunset photograph with afternoon fog. “My guess was way off,” he said. “Fred must have gotten up early to make this one.”\u003c/p>\n\u003cp>On Friday morning, Lyon and Rozis marveled as Chesmar used his iPad to explain his methodology. “What great detective work,” Rozis remarked. “I can’t tell you how amazing I think it is that you identified this,” Lyon said.\u003c/p>\n\u003cp>When KQED readers took a stab at the elusive location, they were as mystified as Lyon had been. Their guesses included: Potrero Hill, Bernal Heights, the Excelsior, Crocker-Amazon, Daly City, Silver Terrace, the Portola, South San Francisco, the Mission District, Hunters Point and the Inner Sunset.\u003c/p>\n\u003cp>Lyon stood on upper Grand View Avenue — the spot where he’d been with his 4×5 Linhof and tripod around the middle of the last century — and took a few pictures of what is now a vastly altered view. “A lot has changed, but a lot is still the same,” he said of the city.\u003c/p>\n\u003cp>These days, Lyon is usually in discovery mode, looking at old photos and deciding what to keep and what to toss. He continually spots new things — and so do some of the people who look at his pictures.\u003c/p>\n\u003cp>Lyon described his image of three men pushing a cable car at the Powell Street turnaround. A woman told him that her father was one of them — his pipe was clenched in his mouth and he always wore his hat that way. “And I thought, isn’t this a sweet moment,” Lyon recalled. “And then she said, ‘One day he took the family Cadillac and his secretary, and nobody’s seen him since.’ Don’t tell me these things. I’m a romantic and I don’t want to know that.”\u003c/p>\n\u003cp>Unlike many of the photographs Lyon made for Life, Look and other publications, “Houses on the Hills” is horizontal. “I realized early on that magazine pages were vertical and you got paid by the page,” he said. “I didn’t want to settle for horizontals, so I forced verticals. And I thought that was fine because I was starving.”\u003c/p>\n\u003cp>“You’re not now,” Aranda said.\u003c/p>\n\u003cp>“No,” Lyon agreed. “If anything, I’m overfed.”\u003c/p>\n\u003cfigure id=\"attachment_11632363\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11632363 size-large\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut-1020x765.jpg\" alt=\"Fred Lyon gave Robert Aranda Jr. a digital print of his "Houses on the Hills" photograph. It is temporarily keeping company with tequila bottles on Aranda's dining room table in the Noe Valley neighborhood of San Francisco.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Fred Lyon gave Robert Aranda Jr. a digital print of his ‘Houses on the Hills’ photograph. It is temporarily keeping company with tequila bottles on Aranda’s dining room table in the Noe Valley neighborhood of San Francisco. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it was time to leave, a grateful Lyon presented Aranda and Chesmar with digital prints of “Houses on the Hills.” Aranda started to choke up. When I mentioned that the silver gelatin version on display at the Leica Gallery is priced at $5,000, they looked even more stunned.\u003c/p>\n\u003cp>Aranda, a big fan of Lyon’s work, said he’ll get the photograph matted and framed as soon as he can. We walked over to his house and he showed me exactly where it will go, in a prominent spot in the front hallway. Then he propped it up on the dining room table. surrounded by tequila bottles, and admired the view Lyon had enjoyed — one that has seemingly vanished.\u003c/p>\n\u003cp>But there \u003cem>is\u003c/em> a way to see it. Vincent Galea, 80, who has lived on Worth for 40-plus years, invited me to climb to the top of his terraced backyard garden, behind his house on the west side of the street. That is where Lyon’s houses on the hills can still be seen.\u003c/p>\n\u003cp>Galea’s home, in fact, is one of those houses. But he hadn’t realized it until that moment, when we looked at a photocopy of the image that I’d brought along.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’d seen the picture before and I didn’t put it together,” Galea said. “But I knew it was in the neighborhood.”\u003c/p>\n\u003cfigure id=\"attachment_11632354\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11632354 size-large\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut-1020x765.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The backs of the Worth Street houses that Fred Lyon photographed decades ago can still be seen behind the home of Vincent Galea, at the top of his lush terraced garden. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Fred Lyon, 93, the city's most famous and prolific photographer, couldn't remember where he shot 'Houses on the Hills' almost seven decades ago. Two KQED readers figured it out.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, crowdsourcing works.\u003c/p>\n\u003cp>When it does, it can lead to improbable gatherings, like the one Friday morning in Noe Valley. There were five of us: a legendary lensman, an interior designer, a retired PG&E electrician, an engineer for United Airlines and me, a fan of photography and geography.\u003c/p>\n\u003cp>After \u003ca href=\"https://ww2.kqed.org/news/2017/11/09/photographer-fred-lyon-is-93-and-still-in-love-with-san-francisco/\">my story\u003c/a> earlier this month about 93-year-old photographer \u003ca href=\"http://www.fredlyon.com/\">Fred Lyon,\u003c/a> KQED asked readers to figure out where the picture \u003ca href=\"https://www.facebook.com/KQEDnews/photos/a.117611171646622.21467.107786349295771/1668921303182260/?type=3&theater\">“Houses on the Hills”\u003c/a> was shot. The image can be seen in his current “San Francisco Noir” exhibition at the \u003ca href=\"http://gallery.leicastoresf.com/exhibitions/current-exhibitions\">Leica Gallery\u003c/a> and in his \u003ca href=\"https://www.leicastoresf.com/248638\">new book\u003c/a> of the same name.\u003c/p>\n\u003cfigure id=\"attachment_11629489\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\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\">\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 spent hours driving around San Francisco searching for the location of ‘Houses on the Hills.’ \u003ccite>(Fred Lyon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lyon, a fourth-generation San Franciscan, has taken tens of thousands of photos in a career that began more than 70 years ago. When I asked where the houses were located, he said: “That’s a question we’ve been wrestling with ever since we discovered this negative about a year ago. Penny and I have spent hours driving around, but to no avail.”\u003c/p>\n\u003cp>Lyon and his wife, interior designer \u003ca href=\"http://www.pennyrozis.com/\">Penelope Rozis,\u003c/a> believed he was looking west, because of the position of the sun, and suspected the houses were in the Excelsior or Crocker-Amazon. But it turns out they’re actually in Noe Valley, on Worth Street. Lyon’s photo, shot facing east from upper Grand View Avenue, captured the back of those dwellings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two San Francisco residents solved the puzzle separately — with very different approaches — after they spotted KQED’s call for help on Facebook.\u003c/p>\n\u003cp>Robert Aranda Jr. moved to the neighborhood 58 years ago with his parents, after they emigrated from Guatemala. He recognized the scene immediately because his house on 22nd Street is just steps from Worth Street. Eric Chesmar, on the other hand, relied on Google Maps and \u003ca href=\"https://www.facebook.com/photo.php?fbid=10214758672623284&set=p.10214758672623284&type=3&theater\">Google Earth.\u003c/a>\u003c/p>\n\u003cp>“You did it with the new technology,” Aranda told Chesmar when we all met up on Worth Street. “Me, I live here.”\u003c/p>\n\u003cp>Chesmar said, “I spent a lot of time zooming in, trying to match the rooflines.”\u003c/p>\n\u003cp>Lyon was thrilled to meet them — and vice versa. “This has been the greatest mystery,” he told Chesmar and Aranda. “I was convinced they had moved a couple of large hills — the government does that, you know.”\u003c/p>\n\u003cp>He added, more seriously, “I was afraid the houses were gone.”\u003c/p>\n\u003cp>But those houses haven’t gone anywhere. And neither have most of the people who live on Worth Street, which is only one block long.\u003c/p>\n\u003cp>“People who live here have been here a long time,” said retired carpenter David Meites, 77, who I chatted with earlier in the morning and has lived on Worth more than 40 years. “It’s like a very small bar. Even if you’re not all that friendly, you’re pushed into saying hello.”\u003c/p>\n\u003cp>Although Worth Street hasn’t changed much since Lyon took his photo in the late ’40s or early ’50s, the same can’t be said for Grand View Avenue, where he was standing when he shot “Houses on the Hills.” He and Rozis could have driven around San Francisco for years without ever solving the puzzle.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I assumed that the camera was pointed west, into the afternoon sun. Actually, it was east, and the morning sun. It’s an incredible relief to know where that is.’\u003ccite>Photographer Fred Lyon\u003c/cite>\u003c/aside>\n\u003cp>That’s because a large brown-shingle house was built on lower Grand View in 1979, and it blocks most of the view that the photographer had enjoyed. After we’d made our way from Worth Street to upper Grand View, we saw how much things had changed. Lyon shuddered and shook his head.\u003c/p>\n\u003cp>“At that time there were many empty lots,” said Lyon, whose memory of being there quickly returned. “I came here because it was a viewpoint.”\u003c/p>\n\u003cfigure id=\"attachment_11632353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11632353 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut.jpg\" alt=\"\" width=\"1920\" height=\"880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut-1180x541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut-960x440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28074_1938-worth-st-qut-520x238.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Here’s a screen shot of an aerial photograph of Worth Street in 1938, on the website of the San Francisco Planning Department. \u003ccite>(David Rumsey Map Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aranda was on a beach in Zihuatanejo, Mexico, when his wife spotted KQED’s request for help. “She said, ‘I bet you can figure this out.’ But I was leery I was correct until I saw the building behind the houses,” he said.\u003c/p>\n\u003cp>That building is \u003ca href=\"http://alvaradoschool.net/\">Alvarado Elementary School\u003c/a> on Douglass Street. It’s where Aranda, 63, a retired electrician at PG&E substations, went to grade school, not long after he arrived from Central America. The ornate cornices that can be glimpsed in the photograph are long gone, Aranda said, because of concerns about earthquake safety.\u003c/p>\n\u003cfigure id=\"attachment_11632361\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11632361\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut-1020x765.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28070_mystery-robert-fred-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Robert Aranda Jr. takes a selfie on Worth Street in San Francisco with photographer Fred Lyon, whose work he has admired for many years. \u003ccite>(Patricia Yollin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chesmar, a composite engineer with United Airlines at SFO who lives in Bernal Heights, used a different strategy, scouring satellite photos on Google Maps to pinpoint the location: He looked for a hill with a contour that fit Lyon’s picture and for a second taller hill nearby, from where the photo was taken. Since the sun was to the right of the hill — and too high to be west — Lyon must have been facing east or south. Then he searched for buildings with those shapes and windows.\u003c/p>\n\u003cp>That process consumed about two hours. But after he noticed the steep stairway on 22nd Street, between Diamond and Collingwood, it took only another 15 minutes to zero in on where Lyon was standing almost seven decades ago. Then he verified his conclusion on Google Earth.\u003c/p>\n\u003cp>“I had plenty of time,” said Chesmar, 56, who is recovering from a mountain bike accident on Mount Tamalpais that broke his femur six weeks ago. He was recently allowed to drive a car again, but is still on crutches.\u003c/p>\n\u003cfigure id=\"attachment_11632362\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11632362 size-large\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut-1020x765.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28071_msytery-eric-fred-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Eric Chesmar, left, brought his iPad and Fred Lyon brought his camera to the very spot on upper Grand View Avenue in San Francisco where Lyon shot ‘Houses on the Hills.’ \u003ccite>(Patricia Yollin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Days earlier, when I told Lyon where the houses were situated, he said, “That makes perfect sense — and proves once again that one’s brain and memory are totally unreliable. I assumed that the camera was pointed west, into the afternoon sun. Actually, it was east, and the morning sun. It’s an incredible relief to know where that is.”\u003c/p>\n\u003cp>Leica Gallery director Alex Ramos, who was immensely curious about the location of the houses, also thought it was a sunset photograph with afternoon fog. “My guess was way off,” he said. “Fred must have gotten up early to make this one.”\u003c/p>\n\u003cp>On Friday morning, Lyon and Rozis marveled as Chesmar used his iPad to explain his methodology. “What great detective work,” Rozis remarked. “I can’t tell you how amazing I think it is that you identified this,” Lyon said.\u003c/p>\n\u003cp>When KQED readers took a stab at the elusive location, they were as mystified as Lyon had been. Their guesses included: Potrero Hill, Bernal Heights, the Excelsior, Crocker-Amazon, Daly City, Silver Terrace, the Portola, South San Francisco, the Mission District, Hunters Point and the Inner Sunset.\u003c/p>\n\u003cp>Lyon stood on upper Grand View Avenue — the spot where he’d been with his 4×5 Linhof and tripod around the middle of the last century — and took a few pictures of what is now a vastly altered view. “A lot has changed, but a lot is still the same,” he said of the city.\u003c/p>\n\u003cp>These days, Lyon is usually in discovery mode, looking at old photos and deciding what to keep and what to toss. He continually spots new things — and so do some of the people who look at his pictures.\u003c/p>\n\u003cp>Lyon described his image of three men pushing a cable car at the Powell Street turnaround. A woman told him that her father was one of them — his pipe was clenched in his mouth and he always wore his hat that way. “And I thought, isn’t this a sweet moment,” Lyon recalled. “And then she said, ‘One day he took the family Cadillac and his secretary, and nobody’s seen him since.’ Don’t tell me these things. I’m a romantic and I don’t want to know that.”\u003c/p>\n\u003cp>Unlike many of the photographs Lyon made for Life, Look and other publications, “Houses on the Hills” is horizontal. “I realized early on that magazine pages were vertical and you got paid by the page,” he said. “I didn’t want to settle for horizontals, so I forced verticals. And I thought that was fine because I was starving.”\u003c/p>\n\u003cp>“You’re not now,” Aranda said.\u003c/p>\n\u003cp>“No,” Lyon agreed. “If anything, I’m overfed.”\u003c/p>\n\u003cfigure id=\"attachment_11632363\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11632363 size-large\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut-1020x765.jpg\" alt=\"Fred Lyon gave Robert Aranda Jr. a digital print of his "Houses on the Hills" photograph. It is temporarily keeping company with tequila bottles on Aranda's dining room table in the Noe Valley neighborhood of San Francisco.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28072_mystery-tequila-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Fred Lyon gave Robert Aranda Jr. a digital print of his ‘Houses on the Hills’ photograph. It is temporarily keeping company with tequila bottles on Aranda’s dining room table in the Noe Valley neighborhood of San Francisco. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it was time to leave, a grateful Lyon presented Aranda and Chesmar with digital prints of “Houses on the Hills.” Aranda started to choke up. When I mentioned that the silver gelatin version on display at the Leica Gallery is priced at $5,000, they looked even more stunned.\u003c/p>\n\u003cp>Aranda, a big fan of Lyon’s work, said he’ll get the photograph matted and framed as soon as he can. We walked over to his house and he showed me exactly where it will go, in a prominent spot in the front hallway. Then he propped it up on the dining room table. surrounded by tequila bottles, and admired the view Lyon had enjoyed — one that has seemingly vanished.\u003c/p>\n\u003cp>But there \u003cem>is\u003c/em> a way to see it. Vincent Galea, 80, who has lived on Worth for 40-plus years, invited me to climb to the top of his terraced backyard garden, behind his house on the west side of the street. That is where Lyon’s houses on the hills can still be seen.\u003c/p>\n\u003cp>Galea’s home, in fact, is one of those houses. But he hadn’t realized it until that moment, when we looked at a photocopy of the image that I’d brought along.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’d seen the picture before and I didn’t put it together,” Galea said. “But I knew it was in the neighborhood.”\u003c/p>\n\u003cfigure id=\"attachment_11632354\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11632354 size-large\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut-1020x765.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28073_mystery-houses-on-worth-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The backs of the Worth Street houses that Fred Lyon photographed decades ago can still be seen behind the home of Vincent Galea, at the top of his lush terraced garden. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Which 'Book' Would You Take Out at This Human Library?",
"title": "Which 'Book' Would You Take Out at This Human Library?",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>People go to libraries to learn something new, to escape into a different world. But what if a trip to the library let you spend time with someone you would never otherwise hang out with? That’s what happened at a community college in the Central Valley. Come with us as we visit a human library.\u003c/p>\n\u003cp>Browse the shelves at a more typical library and you’ll find titles like \"Good Night Moon,\" \"Harry Potter and the Sorcerer’s Stone\" and \"The Grapes of Wrath.\" At a Human Library, though, these are the books: Danny Kim, a genocide survivor; Briana Sawyer, a black student; and Bertha Reyes, an immigrant.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcrmag/2017/11/TCRMagHumanLibrary2.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut-800x533.jpg\" Title=\"Which ‘Book’ Would You Take Out at This Human Library?\" program=\"The California Report\"]\u003c/p>\n\u003cp>Last week, these and about two dozen other so-called “books” gathered at Reedley College to take part in the school’s first Human Library. They’re called books because they have their own unique stories to tell, with titles like “Catholic,” “child of deaf adults” or “vegan.” Under a tent on the Reedley College quad, they sit along one side of a long banquet table — called a “bookshelf” — and wait for \"readers\" to sit down and strike up conversation.\u003c/p>\n\u003cp>In a throng of readers waiting for an open chair, Mykel Saucedo looks contemplatively at the list of book titles. He’s already spoken to an LGBTQ individual and a student with autism, and he’s excited to fit in one more conversation before class.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You need to put yourself into other people's shoes to learn some things,” says Saucedo, a Reedley sophomore studying communications.\u003c/p>\n\u003cfigure id=\"attachment_11632289\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut.jpg\">\u003cimg class=\"size-medium wp-image-11632289\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut-800x533.jpg\" alt=\"Organizers printed up this introduction and guide to help readers strike up conversation with books at Reedley College's Human Library event.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Organizers printed up this introduction and guide to help readers strike up conversation with books at Reedley College's Human Library event. \u003ccite>(Kerry Klein/KVPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He chooses a visually impaired man and wastes hardly any time on small talk. He asks a question that in other circumstances may be considered impolite.\u003c/p>\n\u003cp>“Do people make assumptions about you based on your appearance and your visual impairment?” he asks.\u003c/p>\n\u003cp>But the book, a student named Jeffrey Sites living with Bardet-Biedl syndrome, is ready. He explains he’s had to develop a sense of humor about his near blindness.\u003c/p>\n\u003cp>“My last name is Sites, for crying out loud,” he laughs, “so let's just be honest right there.”\u003c/p>\n\u003cp>This is probably the kind of conversation that Rebecca al Haider is hoping for. She teaches English as a Second Language on campus, and she organized the event. She designed it to function similar to a kind of cultural speed dating.\u003c/p>\n\u003cp>Readers “sit down at what we call a bookshelf, the books are there and the books are human, and they get to interview them about the identifiers and ask questions that break stereotypes and prejudices,\" she says.\u003c/p>\n\u003cp>The human library concept was introduced almost 20 years ago by activists protesting violence in Denmark. Since then, it’s grown to a global movement, with events held in dozens of countries and cities all across the U.S. The general objective is to expose people to vastly different life experiences.\u003c/p>\n\u003cp>That’s what inspired Al Haider, too. She advises the college’s multicultural club and encounters lots of students who struggle with discrimination and cultural misunderstandings.\u003c/p>\n\u003cp>“I thought, 'If only people knew my students the way that I know them and their personal stories,'” she says.\u003c/p>\n\u003cp>Although Al Haider may hope for big cultural transformations, she set readers up with some more manageable goals.\u003c/p>\n\u003cp>“We have handed out these papers that have just one question: what's the most important point you learned from this event?” she says. “And if they learned one new point, then we're happy and we see that as success.”\u003c/p>\n\u003cp>The event is packed. Al Haider estimates at least 200 readers have passed through. Some books, like the Muslim and Sikh individuals, have had no breaks — just a constant stream of curious participants.\u003c/p>\n\u003cfigure id=\"attachment_11632288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut.jpg\">\u003cimg class=\"size-medium wp-image-11632288\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut-800x533.jpg\" alt=\"The event's 25 book titles included "Black," "Visually impaired/blind," "Muslim," and "Survivor of domestic violence."\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The event's 25 book titles included \"Black,\" \"Visually impaired/blind,\" \"Muslim,\" and \"Survivor of domestic violence.\" \u003ccite>(Kerry Klein/KVPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most readers tell me they think the event is a great idea. I met one who isn’t even a student at Reedley and drove 12 miles from Orosi just for a chance to have some unusual conversations.\u003c/p>\n\u003cp>But how did the human books feel about this? Did their singular labels leave them feeling misunderstood, or reduced? The consensus is no.\u003c/p>\n\u003cp>Jack DiGiacamo, a Reedley student with autism, says addressing his diagnosis head-on was refreshing.\u003c/p>\n\u003cp>“I wouldn't be the person I am without autism,” he says. “I love talking and sharing with people more about autism.”\u003c/p>\n\u003cp>Darlene Murray, a Reedley professor and the teen mom book, said for her, that label was just a path into a bigger conversation about all of her intersecting labels.\u003c/p>\n\u003cp>“Biracial, female, former teen mom, first generation college student,\" Murray listed them off. \"Whether it's one identifier over another, it's my story and I think that we can learn a lot.”\u003c/p>\n\u003cp>Some conversations feel natural, like two people just trying to get to know each other. But others? Fireworks.\u003c/p>\n\u003cp>Sammy Ashworth is a detective with the Fresno Police Department and one of today’s books. He says one reader who approached him is an ex-con. They both realized this was an opportunity they probably wouldn’t get anywhere else.\u003c/p>\n\u003cp>“They actually told me, 'When I was growing up, before I went to prison, I hated law enforcement. I would just as soon have killed you as be sitting here with you, and now we're sitting here together openly talking together and we have a good dialogue, a good bridge built between us,'” Ashworth says. “It was an amazing conversation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eventually, Al Haider hopes to run the event annually. She’s already thinking about books she’ll recruit next time.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>People go to libraries to learn something new, to escape into a different world. But what if a trip to the library let you spend time with someone you would never otherwise hang out with? That’s what happened at a community college in the Central Valley. Come with us as we visit a human library.\u003c/p>\n\u003cp>Browse the shelves at a more typical library and you’ll find titles like \"Good Night Moon,\" \"Harry Potter and the Sorcerer’s Stone\" and \"The Grapes of Wrath.\" At a Human Library, though, these are the books: Danny Kim, a genocide survivor; Briana Sawyer, a black student; and Bertha Reyes, an immigrant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last week, these and about two dozen other so-called “books” gathered at Reedley College to take part in the school’s first Human Library. They’re called books because they have their own unique stories to tell, with titles like “Catholic,” “child of deaf adults” or “vegan.” Under a tent on the Reedley College quad, they sit along one side of a long banquet table — called a “bookshelf” — and wait for \"readers\" to sit down and strike up conversation.\u003c/p>\n\u003cp>In a throng of readers waiting for an open chair, Mykel Saucedo looks contemplatively at the list of book titles. He’s already spoken to an LGBTQ individual and a student with autism, and he’s excited to fit in one more conversation before class.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You need to put yourself into other people's shoes to learn some things,” says Saucedo, a Reedley sophomore studying communications.\u003c/p>\n\u003cfigure id=\"attachment_11632289\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut.jpg\">\u003cimg class=\"size-medium wp-image-11632289\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut-800x533.jpg\" alt=\"Organizers printed up this introduction and guide to help readers strike up conversation with books at Reedley College's Human Library event.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28067_HumanLibrary3-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Organizers printed up this introduction and guide to help readers strike up conversation with books at Reedley College's Human Library event. \u003ccite>(Kerry Klein/KVPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He chooses a visually impaired man and wastes hardly any time on small talk. He asks a question that in other circumstances may be considered impolite.\u003c/p>\n\u003cp>“Do people make assumptions about you based on your appearance and your visual impairment?” he asks.\u003c/p>\n\u003cp>But the book, a student named Jeffrey Sites living with Bardet-Biedl syndrome, is ready. He explains he’s had to develop a sense of humor about his near blindness.\u003c/p>\n\u003cp>“My last name is Sites, for crying out loud,” he laughs, “so let's just be honest right there.”\u003c/p>\n\u003cp>This is probably the kind of conversation that Rebecca al Haider is hoping for. She teaches English as a Second Language on campus, and she organized the event. She designed it to function similar to a kind of cultural speed dating.\u003c/p>\n\u003cp>Readers “sit down at what we call a bookshelf, the books are there and the books are human, and they get to interview them about the identifiers and ask questions that break stereotypes and prejudices,\" she says.\u003c/p>\n\u003cp>The human library concept was introduced almost 20 years ago by activists protesting violence in Denmark. Since then, it’s grown to a global movement, with events held in dozens of countries and cities all across the U.S. The general objective is to expose people to vastly different life experiences.\u003c/p>\n\u003cp>That’s what inspired Al Haider, too. She advises the college’s multicultural club and encounters lots of students who struggle with discrimination and cultural misunderstandings.\u003c/p>\n\u003cp>“I thought, 'If only people knew my students the way that I know them and their personal stories,'” she says.\u003c/p>\n\u003cp>Although Al Haider may hope for big cultural transformations, she set readers up with some more manageable goals.\u003c/p>\n\u003cp>“We have handed out these papers that have just one question: what's the most important point you learned from this event?” she says. “And if they learned one new point, then we're happy and we see that as success.”\u003c/p>\n\u003cp>The event is packed. Al Haider estimates at least 200 readers have passed through. Some books, like the Muslim and Sikh individuals, have had no breaks — just a constant stream of curious participants.\u003c/p>\n\u003cfigure id=\"attachment_11632288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut.jpg\">\u003cimg class=\"size-medium wp-image-11632288\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut-800x533.jpg\" alt=\"The event's 25 book titles included "Black," "Visually impaired/blind," "Muslim," and "Survivor of domestic violence."\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS28068_HumanLibrary2-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The event's 25 book titles included \"Black,\" \"Visually impaired/blind,\" \"Muslim,\" and \"Survivor of domestic violence.\" \u003ccite>(Kerry Klein/KVPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most readers tell me they think the event is a great idea. I met one who isn’t even a student at Reedley and drove 12 miles from Orosi just for a chance to have some unusual conversations.\u003c/p>\n\u003cp>But how did the human books feel about this? Did their singular labels leave them feeling misunderstood, or reduced? The consensus is no.\u003c/p>\n\u003cp>Jack DiGiacamo, a Reedley student with autism, says addressing his diagnosis head-on was refreshing.\u003c/p>\n\u003cp>“I wouldn't be the person I am without autism,” he says. “I love talking and sharing with people more about autism.”\u003c/p>\n\u003cp>Darlene Murray, a Reedley professor and the teen mom book, said for her, that label was just a path into a bigger conversation about all of her intersecting labels.\u003c/p>\n\u003cp>“Biracial, female, former teen mom, first generation college student,\" Murray listed them off. \"Whether it's one identifier over another, it's my story and I think that we can learn a lot.”\u003c/p>\n\u003cp>Some conversations feel natural, like two people just trying to get to know each other. But others? Fireworks.\u003c/p>\n\u003cp>Sammy Ashworth is a detective with the Fresno Police Department and one of today’s books. He says one reader who approached him is an ex-con. They both realized this was an opportunity they probably wouldn’t get anywhere else.\u003c/p>\n\u003cp>“They actually told me, 'When I was growing up, before I went to prison, I hated law enforcement. I would just as soon have killed you as be sitting here with you, and now we're sitting here together openly talking together and we have a good dialogue, a good bridge built between us,'” Ashworth says. “It was an amazing conversation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eventually, Al Haider hopes to run the event annually. She’s already thinking about books she’ll recruit next time.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Farmers Markets Push for Locally-Sourced Thanksgiving Meals",
"headTitle": "Bay Area Farmers Markets Push for Locally-Sourced Thanksgiving Meals | KQED",
"content": "\u003cp>With Thanksgiving just days away, many people are planning just what exactly will be on the dinner table this Thursday. But vendors at Bay Area farmers markets have been getting ready for this week for months. \u003c/p>\n\u003cp>Now all that preparation is paying off. \u003c/p>\n\u003cp>This Sunday, the San Rafael Civic Center Market saw thousands of shoppers looking for Thanksgiving staples such as beans, potatoes and carrots.\u003c/p>\n\u003cfigure id=\"attachment_11632260\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11632260 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Rosotti of Rosotti Ranch sells several turkey alternatives including goat, veal and chicken. Rosotti recommends roasting a heritage chicken for those hosting a small Thanksgiving. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Agricultural Institute of Marin puts on this market, which regularly sees more than 10,000 people every Sunday. It’s the organizations largest market with more than 200 local vendors, according to CEO Bridgitte Moran.\u003c/p>\n\u003cp>“We’re trying to get the word out to make this a locally-sourced holiday,” Moran said. “Our vendors are small family farmers, and we need to support them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of those farmers is Ken Orchard, of Orchard Farms in Sebastopol. Orchard says he’s been planning for Thanksgiving week since March. Now he’s offering parsnips, rutabagas, celery, sage, shallots and several other vegetables at his stall.\u003c/p>\n\u003cfigure id=\"attachment_11632262\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11632262\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ken Orchard sells Thanksgiving staples including sage and root vegetables. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m selling everything I could think of that’s required in a Thanksgiving recipe,” Orchard said.\u003c/p>\n\u003cp>Another Thanksgiving staple for many Bay Area families is dungeness crab thanks to a fishing season that coincides with the holiday. \u003c/p>\n\u003cp>Gary Root from Sausalito’s Same Day Seafood has been taking crab pre-orders since August.\u003c/p>\n\u003cp>“We have been fishing like crazy this week, and we’re already sold out of dungeness crab this morning,” Root said.\u003c/p>\n\u003cfigure id=\"attachment_11632259\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11632259 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gary Root filets coho salmon at his market stand. He had sold out of dungeness crab by 10 a.m. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thanksgiving is one of Root’s favorite weeks to work at the San Rafael market because he says the holiday is really all about the food.\u003c/p>\n\u003cp>“It’s so much fun to see so many people excited about locally produced food,” he said. “That’s the great part of Thanksgiving, that we can feed ourselves here.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Several Bay Area farmers markets organizations including \u003ca href=\"https://cuesa.org/\">CUESA\u003c/a>, \u003ca href=\"https://agriculturalinstitute.org/\">Agricultural Institute of Marin\u003c/a> and \u003ca href=\"http://www.cafarmersmkts.com/#home\">California Farmers’ Market Association\u003c/a> will be holding a special Wednesday markets this week for folks looking to make last minute purchases for Thursday’s meal.\u003c/p>\n\u003cfigure id=\"attachment_11632263\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11632263\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t forget dinner table centerpieces. Several farmers market floral vendors are offering special holiday centerpieces this week. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With Thanksgiving just days away, many people are planning just what exactly will be on the dinner table this Thursday. But vendors at Bay Area farmers markets have been getting ready for this week for months. \u003c/p>\n\u003cp>Now all that preparation is paying off. \u003c/p>\n\u003cp>This Sunday, the San Rafael Civic Center Market saw thousands of shoppers looking for Thanksgiving staples such as beans, potatoes and carrots.\u003c/p>\n\u003cfigure id=\"attachment_11632260\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11632260 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28059_IMG_1274-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Rosotti of Rosotti Ranch sells several turkey alternatives including goat, veal and chicken. Rosotti recommends roasting a heritage chicken for those hosting a small Thanksgiving. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Agricultural Institute of Marin puts on this market, which regularly sees more than 10,000 people every Sunday. It’s the organizations largest market with more than 200 local vendors, according to CEO Bridgitte Moran.\u003c/p>\n\u003cp>“We’re trying to get the word out to make this a locally-sourced holiday,” Moran said. “Our vendors are small family farmers, and we need to support them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of those farmers is Ken Orchard, of Orchard Farms in Sebastopol. Orchard says he’s been planning for Thanksgiving week since March. Now he’s offering parsnips, rutabagas, celery, sage, shallots and several other vegetables at his stall.\u003c/p>\n\u003cfigure id=\"attachment_11632262\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11632262\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28062_IMG_1287-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ken Orchard sells Thanksgiving staples including sage and root vegetables. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m selling everything I could think of that’s required in a Thanksgiving recipe,” Orchard said.\u003c/p>\n\u003cp>Another Thanksgiving staple for many Bay Area families is dungeness crab thanks to a fishing season that coincides with the holiday. \u003c/p>\n\u003cp>Gary Root from Sausalito’s Same Day Seafood has been taking crab pre-orders since August.\u003c/p>\n\u003cp>“We have been fishing like crazy this week, and we’re already sold out of dungeness crab this morning,” Root said.\u003c/p>\n\u003cfigure id=\"attachment_11632259\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11632259 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28058_IMG_1271-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gary Root filets coho salmon at his market stand. He had sold out of dungeness crab by 10 a.m. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thanksgiving is one of Root’s favorite weeks to work at the San Rafael market because he says the holiday is really all about the food.\u003c/p>\n\u003cp>“It’s so much fun to see so many people excited about locally produced food,” he said. “That’s the great part of Thanksgiving, that we can feed ourselves here.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Several Bay Area farmers markets organizations including \u003ca href=\"https://cuesa.org/\">CUESA\u003c/a>, \u003ca href=\"https://agriculturalinstitute.org/\">Agricultural Institute of Marin\u003c/a> and \u003ca href=\"http://www.cafarmersmkts.com/#home\">California Farmers’ Market Association\u003c/a> will be holding a special Wednesday markets this week for folks looking to make last minute purchases for Thursday’s meal.\u003c/p>\n\u003cfigure id=\"attachment_11632263\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11632263\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28063_IMG_1289-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t forget dinner table centerpieces. Several farmers market floral vendors are offering special holiday centerpieces this week. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "PHOTOS: Step Into Victorian London at the Great Dickens Christmas Fair",
"title": "PHOTOS: Step Into Victorian London at the Great Dickens Christmas Fair",
"headTitle": "News Fix | KQED News",
"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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"excerpt": "Christmas comes early to the Bay Area as the Cow Palace is transformed into Victorian London for the Great Dickens Christmas Fair.",
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"title": "PHOTOS: Step Into Victorian London at the Great Dickens Christmas Fair | KQED",
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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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"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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"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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"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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"title": "Tea & THC: Lady Entrepreneurs Aim to Take Your Happy Hour Higher | KQED",
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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>\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>\u003c/p>\u003c/div>",
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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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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