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"bio": "Olivia is a big believer in the value of public-powered journalism. She helped launch \u003cem>Bay Curious\u003c/em> as a radio series in 2015, then turned it into a podcast in 2017. Before working on the show, Olivia was an engagement producer at KQED. She's also worked at \u003cem>The Baltimore Sun\u003c/em> and \u003cem>The Virginian-Pilot\u003c/em>. When not tethered to a computer by a pair of headphones, Olivia loves running, playing with other people's dogs and taking weekend trips around California. Follow her on \u003ca href=\"https://twitter.com/oallenprice\" target=\"_blank\" rel=\"noreferrer noopener\">Twitter\u003c/a> or \u003ca href=\"https://instagram.com/oallenprice\" target=\"_blank\" rel=\"noreferrer noopener\">Instagram.\u003c/a>",
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"slug": "san-franciscos-historic-relief-cottages-built-after-the-1906-earthquake-are-hidden-in-plain-sight",
"title": "San Francisco’s Historic ‘Relief Cottages,’ Built After the 1906 Earthquake, Are Hidden in Plain Sight",
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"headTitle": "San Francisco’s Historic ‘Relief Cottages,’ Built After the 1906 Earthquake, Are Hidden in Plain Sight | KQED",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Jane Cryan walked into a leasing agency on Geary Boulevard in\u003ca href=\"https://www.kqed.org/news/tag/san-francisco\"> San Francisco\u003c/a> just before closing one evening in 1982.\u003c/p>\n\u003cp>She was looking for an apartment that could accommodate her grand piano. The flat she was inquiring about had already been rented, but the agent asked if she’d be interested in a cottage out in the Sunset District.\u003c/p>\n\u003cp>“That started everything,” Cryan said. “That, to me, is my golden moment in all my 44 years in San Francisco.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cottage at 1227 24th Ave. felt like her own artist retreat. She moved in and played her grand piano night and day for the first several weeks, happy to have her own space where she could do what she liked.\u003c/p>\n\u003cp>“An elderly gentleman from across the street came over and shook his finger at me, and he said, ‘Young lady, do you know that you’re living in a couple of relief houses pasted together?’”\u003c/p>\n\u003cfigure id=\"attachment_12066194\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12066194\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/12/251204-EARTHQUAKECOTTAGES00174_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/12/251204-EARTHQUAKECOTTAGES00174_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/12/251204-EARTHQUAKECOTTAGES00174_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/12/251204-EARTHQUAKECOTTAGES00174_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An earthquake cottage stands on 211 Mullen Ave. in San Francisco on December 4, 2025. The original shelter was built after the 1906 San Francisco Earthquake and some still house city residents. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cryan was confused. What did he mean by “relief houses?” She had moved from Milwaukee in the 1960s because she was enamored with the Beat Movement and had been writing letters to Jack Kerouac. When she got to San Francisco, all of 18 years old, she threw herself into writing and playing jazz piano, although she made her money as an executive assistant. She’d never heard of the history her neighbor was describing.\u003c/p>\n\u003cp>“I had lived in the city all those years and never heard of the [19]06 quake or ‘the fire,’ as everybody who survived it called it,” Cryan said.\u003c/p>\n\u003cp>She was curious to know everything she could about the natural disaster that devastated San Francisco at the start of the 20th century, knocking down 80% of the buildings and displacing thousands of people. She spent nights and weekends obsessively going through newspaper archives to learn all she could about these so-called “relief cottages.”\u003c/p>\n\u003ch2>The history Cryan discovered\u003c/h2>\n\u003cp>“After the 1906 Earthquake and fire, more than a quarter of a million people are at least temporarily displaced,” said Woody LaBounty, president and CEO of \u003ca href=\"https://www.sfheritage.org/\">San Francisco Heritage\u003c/a>, a nonprofit dedicated to preserving San Francisco history.\u003c/p>\n\u003cp>Those who had the means left the city to stay with relatives or friends elsewhere. But many poor San Franciscans didn’t have that option. The military temporarily set up tent camps to house refugees in the short term. Women cooked meals on stoves set up in the streets, children went to school in makeshift tent classrooms and people tried to figure out what to do next.[aside postID=news_12065901 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251016-NIMITZHOUSE-38-BL-KQED.jpg']After a few months, city leaders became concerned about sanitation in the tent camps and they worried what would happen when winter rains came. They commissioned union carpenters to build small cottages out of redwood, cedar and fir to house the refugees. They painted the cottages the same green as city park benches, which became known as “park bench green.”\u003c/p>\n\u003cp>“You basically are talking about the working class,” LaBounty said. “People who don’t have property, don’t have other resources, and need to find work and find shelter.”\u003c/p>\n\u003cp>Overseeing this effort was the San Francisco Relief Corporation, which also coordinated distribution of clothes, food and other aid to the refugees — many of whom the city relied upon to help rebuild the city. The 5,610 cottages were mostly set up in the city’s neighborhood parks like Jefferson Square, Precita Park (then known as Bernal Park) and Portsmouth Square. There were also a large number of cottages where Park Presidio Boulevard is now — back then, it was newly acquired parkland with nothing much around it.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.nps.gov/places/000/1906-earthquake-cottages.htm\">cottages\u003c/a> came in several sizes. The smallest was 10×14 feet — these “Type A” shacks are the most commonly seen today, in part because they are so modular and people combined them to make larger residences. But there were also 14×18 feet and 18×24-feet-sized shacks.\u003c/p>\n\u003cp>The Relief Corporation charged people a few dollars per month in rent for the cottages, but soon it started receiving pressure from Superintendent of Parks John McLaren and other city residents.\u003c/p>\n\u003cfigure id=\"attachment_12063864\" class=\"wp-caption aligncenter\" style=\"max-width: 1950px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/RichmondCamp-SFPL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12063864\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/RichmondCamp-SFPL-KQED.jpg\" alt=\"\" width=\"1950\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/RichmondCamp-SFPL-KQED.jpg 1950w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/RichmondCamp-SFPL-KQED-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/RichmondCamp-SFPL-KQED-1498x1536.jpg 1498w\" sizes=\"auto, (max-width: 1950px) 100vw, 1950px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Richmond District, on San Francisco’s northwest side, was largely uninhabited sand dunes at the time of the 1906 earthquake and fires. There was a lot of open space to build refugee cottages like these at the Richmond District refugee camp between Lake and Geary streets. Some surviving earthquake cottages can still be found in the Richmond and Sunset districts. \u003ccite>(Courtesy of the San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They wanted their parks back,” LaBounty said. “As other San Franciscans were ready to move on from the disaster, they didn’t like the idea that their parks had a community, a village of working-class people living in the middle of their parks.”\u003c/p>\n\u003cp>Under pressure to move cottages out of the parks as quickly as possible, the Relief Corporation ended up returning all the rent it collected to residents when they moved their cottages out of the parks and onto land somewhere else. And just a year and a half after the earthquake and fire, most cottage camps were gone.\u003c/p>\n\u003cp>“It gave people who never would have dreamed, I think, of owning a home a chance to get into that American dream,” LaBounty said. “So, you get the earthquake cottage, you’re a refugee who has nothing, and now suddenly you buy a lot for 100 bucks in the sand dunes of the Richmond, you have pretty much a free house.”\u003c/p>\n\u003cfigure id=\"attachment_12063862\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/PrecitaPark-SFPL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12063862\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/PrecitaPark-SFPL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/PrecitaPark-SFPL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/PrecitaPark-SFPL-KQED-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/PrecitaPark-SFPL-KQED-1536x1187.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">After several months, residents were encouraged to move their cottages out of the parks and onto a plot of land. Here, a horse gets ready to move a shack out of Precita Park. \u003ccite>(Courtesy of the San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the cottages ended up in the Richmond and Sunset districts of San Francisco because of that large camp along Park Presidio and the prevalence of unclaimed land on the western side of the city. Another hot spot for cottages is Bernal Heights, where people moved their cottages from Precita Park at the bottom of the hill, up onto vacant plots on the hill.\u003c/p>\n\u003cp>“There was sort of a stigma of having an earthquake cottage for a few years because it sort of signified you were a refugee, you needed help, you were poor,” LaBounty said. “So, people often quickly tried to hide the pedigree of their houses and cover them with shingles.”\u003c/p>\n\u003cp>People built fences around their cottages, added additional rooms and generally tried to \u003ca href=\"https://www.foundsf.org/1906_Earthquake_Shack_Survivors\">personalize\u003c/a> them. Many people painted over that telling park bench green color, hiding the provenance of their homes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DcXCRZEkzx4\u003c/p>\n\u003cp>The city moved on, too. Just nine years after the Great Earthquake and Fire, San Francisco \u003ca href=\"https://www.nps.gov/goga/learn/historyculture/upload/PPIE-Brochure-FINAL-for-Web.pdf\">hosted\u003c/a> the 1915 Panama-Pacific International Exposition to show the city was back and celebrate the opening of the Panama Canal.\u003c/p>\n\u003cp>In a spectacle that spread over much of what is now the Marina District, the Exposition drew more than 18 million visitors and boasted innovations in science, technology and art. Whole buildings were erected for the Exposition, including the Palace of Fine Arts.\u003c/p>\n\u003ch2>An era of ‘shacktivism’\u003c/h2>\n\u003cp>When Jane Cryan learned all this history and realized that her little cottage sanctuary was actually three and a half earthquake cottages connected together, she was in awe. She loved that she was living in a piece of San Francisco history, one hidden in plain sight.\u003c/p>\n\u003cp>Around the time of her research, Cryan got word from her landlord that he wanted to sell her cottage — or worse, knock it down and sell the lot.[aside postID=news_12063643 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/251008-GirlintheFishbowl-01-BL.jpg']“I had to do something,” Cryan said. So, she called City Hall. “And this is exactly what I said, I said, ‘Can you connect me with somebody at City Hall who can tell me how to save a pair of cottages, very important cottages, that are under threat of demolition.’”\u003c/p>\n\u003cp>That call led her to the Landmarks Preservation office. She learned how to apply for a historic landmark designation and brought her research on the importance of the earthquake cottages to the Planning Commission. Along the way, the media caught wind of what she was doing.\u003c/p>\n\u003cp>“The media came to me, and they made what I was doing one of the most important things that ever hit San Francisco,” Cryan said.\u003c/p>\n\u003cp>Cryan started a \u003ca href=\"https://sfpl.org/pdf/libraries/main/sfhistory/archives-and-manuscripts/SPASFRS.pdf\">nonprofit\u003c/a> organization,\u003ca href=\"https://sfpl.org/pdf/libraries/main/sfhistory/archives-and-manuscripts/SPASFRS.pdf\"> The Society for the Preservation and Appreciation of San Francisco Refugee Shacks\u003c/a>, and made it her mission to educate people about the earthquake shacks.\u003c/p>\n\u003cp>Eventually, she won historic status for her little 24th Avenue cottage, but it was a bittersweet victory. Because historic status limits what a property owner can do with a building, the planning commission also ruled that Cryan had to move out as compensation. From then on, she moved from apartment to apartment, ultimately finding herself priced out of San Francisco once she was retired. She moved back to Wisconsin, where she is originally from, in 2007 after 44 years in the city.\u003c/p>\n\u003cp>She continues the fight to save earthquake cottages from afar when developers threaten them.\u003c/p>\n\u003ch2>A very San Francisco treasure hunt\u003c/h2>\n\u003cp>It’s still possible to \u003ca href=\"https://www.sfchronicle.com/projects/2021/earthquake-shacks-sf-map/\">find\u003c/a> earthquake cottages when walking around San Francisco. Woody LaBounty suggested looking for a shallow roof line, like a Boy Scout tent. That’s often a good indicator that a small house might be an earthquake cottage. Many other small buildings have much sharper rooflines or flat roofs.\u003c/p>\n\u003cp>LaBounty estimates that there are somewhere between \u003ca href=\"https://www.outsidelands.org/shack-list.php\">30 and 50 cottages\u003c/a> sprinkled throughout the city. But it’s hard to know because so many of them have been incorporated into larger houses or are used as sheds.\u003c/p>\n\u003cfigure id=\"attachment_12063861\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/Moving-Cottage-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12063861\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/Moving-Cottage-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/Moving-Cottage-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/Moving-Cottage-KQED-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/Moving-Cottage-KQED-1536x1111.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An earthquake cottage being moved through the streets of San Francisco circa 1906. \u003ccite>(Courtesy of the San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Historical conservationists \u003ca href=\"https://www.outsidelands.org/kirkham_shacks.php\">successfully\u003c/a> saved several earthquake cottages from demolition over the years. Two of them are owned by the Presidio Trust and used to be open to visitors, although they have recently been moved to an out-of-the-way location. Another is in the San Francisco Zoo, part of \u003ca href=\"https://www.sfzoo.org/greenies-conservation-corner/\">Greenie’s Conservation Corner\u003c/a>.\u003c/p>\n\u003cp>“As San Francisco continues to change, it is this visual touchstone to our past,” LaBounty said. “And not only our past, but the most significant event that happened in our past, outside of maybe the Gold Rush.”\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> I want to talk about architecture for a moment – specifically residential architecture. In San Francisco.\u003c/p>\n\u003cp>You expect to see stately Victorian homes with their bright colors and fancy decorative trim.\u003c/p>\n\u003cp>Then there’s Marina style homes with their big windows and stucco facades.\u003c/p>\n\u003cp>But sprinkled in amidst these grander homes you might spot a few tiny cottages — the original tiny homes.\u003c/p>\n\u003cp>\u003cstrong>Charity Vargas:\u003c/strong> I did see two over in the sunset. There was like two close together and I thought maybe they might be them, but I’m not sure.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price: \u003c/strong>Charity Vargas, our question asker this week, has seen some of these small dwellings dotted around the Richmond and Sunset districts near her home. And she’s heard that the cottages are holdovers from the Great 1906 earthquake and fire, but wants to know more.\u003c/p>\n\u003cp>\u003cstrong>Charity Vargas: \u003c/strong>How many earthquake cottages are left and you know, are they still used and where they are?\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price: \u003c/strong>Today on the show, we’ll dig into the history of San Francisco’s earthquake cottages. We’ll learn how critical they were in sheltering a vulnerable…but vital.. population and learn about modern efforts to save them. I’m Olivia Allen-Price and you’re listening to Bay Curious. Stay with us.\u003c/p>\n\u003cp>\u003cem>Sponsor message\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price: \u003c/strong>We set out to answer Charity’s question by searching for “earthquake shacks”…tiny homes built out of redwood and cedar after the 1906 earthquake and fire. Bay Curious editor and producer Katrina Schwartz found one high on a hill in Bernal Heights.\u003c/p>\n\u003cp>\u003cstrong>Joan Hunter: \u003c/strong>You want a little tour? Ok, this is our tiny kitchen and I believe this rectangle room is the original earthquake shack and this part is added on, but it’s kind of hard to say exactly. I’m Joan Hunter. I live in Bernal Heights, San Francisco, California in an earthquake cottage or earthquake shack, as some would like to say.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>I’m standing with Joan in her light filled living room…all that’s left of the original cottage. It’s a modestly sized room, but has tall ceilings and windows that look out over a sweeping view of San Francisco.\u003c/p>\n\u003cp>What started out as a one room cottage has been expanded quite a bit…it’s about 620 square feet now, still small by modern standards.\u003c/p>\n\u003cp>\u003cstrong>Joan Hunter: \u003c/strong>Okay, so this is a little bedroom we have in the front and all of our rooms, this is a theme for the house, everything is small, very, very small.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz:\u003c/strong> Joan’s got two kids…so the house can feel like a tight squeeze at times. But she fell in love with the history of the place.\u003c/p>\n\u003cp>\u003cstrong>Joan Hunter: \u003c/strong>what I do know is that the guy who bought it, he was a little kind of like a bachelor. And he met someone who was also single and they moved together and they got married. And it was just a love story.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Joan likes thinking that after they survived the worst natural disaster San Francisco has ever experienced…and been homeless for months because of it…that they finally found some tranquility here, a little piece of San Francisco to call their own.\u003c/p>\n\u003cp>\u003cem>Music to help us transition\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>The Great 1906 Earthquake and Fire leveled 80 percent of San Francisco. The morning of April 18, 1906 Bay Area residents awoke early in the morning to a temblor they’d never forget.\u003c/p>\n\u003cp>\u003cem>Sounds of shaking\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Kathleen Norris: \u003c/strong>Every picture on the wall is going tack, tack, tack. Everything movable in the house is keeping up that unearthly clatter. You could hear up and down the roads, earthquake. It’s an earthquake. Oh, God help us, it’s an earthquake. of course, it changed the world for all of us.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Kathleen Norris shared her oral history with the Bancroft Library in 1960. There was no audio recorded during the disaster, but anyone who survived it remembered the trauma of it clearly…even fifty years later. Kathleen was in Mill Valley when the earthquake hit…where the damage wasn’t too bad. But she and her brother were curious about how San Francisco had fared…so they found a boat that took them to the city.\u003c/p>\n\u003cp>\u003cstrong>Joan Hunter: \u003c/strong>It was something to see. The great, heavy, slow rolls of smoke that were joining hands as they went up.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Kathleen describes refugees fleeing homes that had been leveled, toting their belongings in baby carriages and wheel barrows.\u003c/p>\n\u003cp>\u003cstrong>Kathleen Norris: \u003c/strong>We walked over the hot, hot rocks of Market Street. And of course, the cable car lines were twisted hairpins. And the houses were all down. There was nothing saved. Nothing was accepted.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>And yet, the image that lingered in her mind…even as the smoke lay heavy over the hills… was of people getting to work to repair their city.\u003c/p>\n\u003cp>\u003cstrong>Kathleen Norris: \u003c/strong>And already there were people helping out and organizing, scraping bricks. The bricks were hot. And they were working away. Nobody felt for an instant, oh, let’s go somewhere else. Everyone knew that the city was going to come back.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>As indeed it would. Just nine years after the earthquake and fire, San Francisco hosted the 1915 Panama Pacific International Exposition…the reason the Palace of Fine Arts was built…a spectacle that 18 million people visited by the time it closed.. Headlines trumpeted the achievement.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Voice over reading archival newspaper headline:\u003c/em> \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Big Fair is Opened. All eyes on San Francisco. President Flashes Signal\u003c/em>\u003c/p>\n\u003cp>\u003cem>Fair Draws Myriad; All Records For Crowds Fall\u003c/em>\u003c/p>\n\u003cp>\u003cem>Marvelous Exhibits From All Parts of the Earth Assembled by 42 Countries for the Hugest Conclave of Nations in History\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>It was a signal to the world that San Francisco was still \u003cem>the most important\u003c/em> city in the West…one full of invention and achievement.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Voice over reading archival newspaper headline: \u003c/strong>Tower of Jewels Wreathed in Flames. But it’s only to thrill visitors\u003c/em>\u003c/p>\n\u003cp>\u003cem>Art Smith Sets Hearts Leaping: Aviator’s Loop-the-Loops at Night Traced By Trail of Smoke\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>But how did San Francisco go from the absolute devastation of 1906 to showing off the latest advances in science and art on the world stage just nine years later? This is where the earthquake cottages… or shacks as they’re affectionately called…come into the story.\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>So after the 1906 earthquake and fire, more than a quarter of a million people are at least temporarily displaced.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Woody LaBounty is President and CEO of San Francisco Heritage, a nonprofit dedicated to preserving San Francisco history.\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>And now, the powers that be have to decide not only how to take care of all these people, but also who’s gonna rebuild the city?\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Immediately after the earthquake and fire, the military stepped in and established tent camps in the city’s parks. But soon a new organization…the San Francisco Relief Corporation…was formed to distribute food, clothes and other aid.\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>That covered many aspects of what you have to do when people are refugees, but also a specific housing effort, and that was the earthquake relief cottages.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Officials were worried about sanitation in the tent camps when winter rains came. So, they decided to build 5,610 relief cottages…built with redwood, fir and cedar… to house people. They were painted “park bench green”…literally the color used on Golden Gate Park benches… and clustered in neighborhood parks like Jefferson Square, Precita Park, and Portsmouth Square. Around 17,000 people lived in them.\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>If you owned property or you had a property that had been destroyed in the earthquake, you rebuilt or you figured out a way to move on. But there was a vast number of people who didn’t have any other resources.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>These were San Francisco’s poor, folks who had lived in boarding houses or shared rooms downtown before the fire. City leaders wanted to keep these laborers with the skills to rebuild the city close by. But they didn’t plan to give away the cottages for free.\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>So for all of wanting to take care of the refugees, there was also a fear at the time of creeping socialism. People in power did not want to give anybody anything for nothing. So they thought it would create indigence. And so you were supposed to pay some sort of rent.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Here’s how it worked. Shack residents paid monthly rent of a few dollars while their shacks were in the parks. But the relief corporation returned that money when a resident bought some land and moved the shack out of the park and onto their own property.That generosity was spurred by pressure to move refugees and their cottages out of the parks as soon as possible.\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>As other San Franciscans were ready to move on from the disaster, they didn’t like the idea that their parks had a community, a village of working-class people. Living in the middle of their park. They wanted their parks back.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>About a year and a half after the earthquake, in the summer of 1907, most of the shacks had been removed from the parks. Newspapers at the time described the surreal image of tiny homes on wagons moving across the city with people still in them.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Voice over reading archival newspaper excerpt:\u003c/strong> It is a strange sight to see a procession of these refugee cottages moving down fashionable Van Ness Avenue or busy Fillmore Street, faces peering from the windows, and men, women and children going about their household tasks as if their little home was securely perched upon a cement foundation and surrounded by a garden and a fence.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Back in 1907, the Richmond District, a northwestern neighborhood, was mostly undeveloped sand dunes, with lots of empty land. So many shack owners moved their cottages to vacant plots there.\u003c/p>\n\u003cp>Woody says the earthquake shack program not only got the city working again…\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>\u003cspan style=\"text-decoration: line-through\">I\u003c/span>t also gave people who never would have dreamed, I think, of owning a home a chance to get into that American dream. So you get the earthquake cottage, you’re a refugee who has nothing, and now suddenly you buy a lot for 100 bucks in the sand dunes of the Richmond, you have pretty much a free house.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Bernal Heights is another place with many earthquake cottages…people just moved their shacks from Precita Park to open land up the hill.\u003c/p>\n\u003cp>And some of them are still there…like the house we toured at the beginning of this episode.\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>The one sort of key touchstone that you can tell about a cottage is the roof line. It has a very shallow pitched roof, kind of like a pup tent, like a Boy Scout tent. And then that is like your first hint because a lot of small buildings you’ll see have very steep pitched or flat roofs.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Woody says many shack owners quickly made improvements to their new homes — painting, building fences, adding additional rooms.\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>There was sort of a stigma of having an earthquake cottage for a few years because it sort of signified you were a refugee, you needed help, you were poor. So people often, they quickly tried to hide sort of the pedigree of their houses and cover them with shingles quickly.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>They wanted to hide that telling park bench green color. Most existing earthquake cottages are surrounded by modern additions. Or sometimes they’re a couple shacks placed together. That’s one reason it’s really hard to know how many still exist in San Francisco, they’re hidden. But Woody estimates between 30 and 50 earthquake cottages are dotted across the city.\u003c/p>\n\u003cp>\u003cstrong>Jane Cryan: \u003c/strong>The cottage in the front is made up of three and a half shacks, and then there’s a free-standing mid-size shack in the backyard.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>This is Jane Cryan. She rented one of these preserved earthquake shacks in the outer Sunset in the 1980s. Jane is best known as a “shacktivist”…fighting to preserve earthquake cottages from development. But if it weren’t for the Beat movement in the 1950s, she never would have moved here in the first place.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Jane Cryan: \u003c/strong>The only reason I ended up in San Francisco is that Jack Kerouac, with whom I had correspondence from the time I was 16 years old told me that Milwaukee was no place for a poet. You should be in San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>By day she was an executive assistant, but writing and jazz piano were her passions.\u003c/p>\n\u003cp>\u003cstrong>Jane Cryan: \u003c/strong>And I moved in and I played piano for about six weeks, day and night, and an elderly gentleman from across the street came over and shook his finger at me and he said, young lady, do you know that you’re living in a couple of relief houses pasted together?\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Her three room cottage was actually three earthquake shacks pasted together. This was 1982 and Jane had lived in San Francisco almost 20 years. But she’d never even heard of the 1906 earthquake and fire. Her neighbor’s passing comment sparked her curiosity. She spent nights and weekends obsessively going through old newspaper archives to learn as much as she could about the disaster and the earthquake cottages.\u003c/p>\n\u003cp>Meanwhile, her landlord made it known that he planned to sell her cottage…or worse demolish it and sell the lot.\u003c/p>\n\u003cp>\u003cstrong>Jane Cryan: \u003c/strong>Take down our history. So I had to do something.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Preserving these cottages — tangible pieces of such important history — became her life’s work. She took inspiration from one of the 1906 earthquake refugees she learned about in her research, a woman named Mary Kelly. Mary was an agitator, constantly questioning how the relief corporation dolled out aid and whether it was fair. She was such a pain to them they eventually evicted her from her cottage. But she refused to leave, famously saying:\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Voice over portraying Mary Kelly:\u003c/strong> They can’t bluff me. I’ll stay with the house if they take it to the end of the earth.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>She rode in her cottage as men hauled it onto a wagon and trucked it away. She stayed inside as they dismantled the cottage board by board. Jane finds Mary’s tenacity — and willingness to stand up to power — endearing.\u003c/p>\n\u003cp>\u003cstrong>Jane Cryan: \u003c/strong>She was exactly the way I was. If I saw something, I said something. And if I saw something that was not right, I said something louder.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Jane started a nonprofit called The Society for the Preservation and Appreciation of San Francisco Refugee Shacks. She fought hard to get the planning commission to designate her little shack a historic landmark.\u003c/p>\n\u003cp>And she was successful!\u003c/p>\n\u003cp>\u003cstrong>Jane Cryan: \u003c/strong>Landmark number 171.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>But it was a bittersweet victory. The commission also said that Jane had to vacate the cottage in order to compensate the landlord for putting restrictions on his property. Jane bounced around from place to place after that, eventually moving back to Wisconsin, where she’s originally from.\u003c/p>\n\u003cp>\u003cstrong>Katrina in the tape: \u003c/strong>What do you miss most about San Francisco?\u003c/p>\n\u003cp>\u003cstrong>Jane Cryan: \u003c/strong>Oh, everything! Oh my god, San Francisco is the queen of the Golden West, for heaven’s sake!\u003c/p>\n\u003cp>\u003cem>Music\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Historian Woody LaBounty says there are probably more earthquake cottages than we know. They’re hiding in people’s backyards, incorporated into bigger houses or used as sheds.\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>They’re the last sort of most visible, tangible sign of one of the biggest things that ever happened to the city of San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Increasingly these little cottages are being bought and torn down to make room for larger homes. But the ones that remain are a reminder of a refugee relief program that not only got people back on their feet, but made them homeowners. An example of San Franciscans coming together to repair and resurrect a beloved city.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> That was Bay Curious editor and producer Katrina Schwartz. Special thanks this week to \u003ca href=\"https://californiarevealed.org/\">California Revealed\u003c/a>, an online database of oral histories and other archival materials. They helped us find Kathleen Norris’ oral history.\u003c/p>\n\u003cp>Bay Curious is made in San Francisco at member-supported KQED. Right now your membership means more than ever, give at \u003ca href=\"http://kqed.org/donate\">KQED.org/donate\u003c/a>.\u003c/p>\n\u003cp>Our show is produced by Gabriela Glueck, Christopher Beale, Katrina Schwartz and me, Olivia Allen-Price.\u003c/p>\n\u003cp>Extra support from Maha Sanad, Katie Sprenger, Jen Chien, Ethan Toven-Lindsey and everyone on team KQED.\u003c/p>\n\u003cp>Have a wonderful week.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "After the 1906 Earthquake and fire, San Francisco leaders built relief cottages to house the homeless. Some of those tiny dwellings can still be found thanks to historic preservation efforts.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Jane Cryan walked into a leasing agency on Geary Boulevard in\u003ca href=\"https://www.kqed.org/news/tag/san-francisco\"> San Francisco\u003c/a> just before closing one evening in 1982.\u003c/p>\n\u003cp>She was looking for an apartment that could accommodate her grand piano. The flat she was inquiring about had already been rented, but the agent asked if she’d be interested in a cottage out in the Sunset District.\u003c/p>\n\u003cp>“That started everything,” Cryan said. “That, to me, is my golden moment in all my 44 years in San Francisco.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cottage at 1227 24th Ave. felt like her own artist retreat. She moved in and played her grand piano night and day for the first several weeks, happy to have her own space where she could do what she liked.\u003c/p>\n\u003cp>“An elderly gentleman from across the street came over and shook his finger at me, and he said, ‘Young lady, do you know that you’re living in a couple of relief houses pasted together?’”\u003c/p>\n\u003cfigure id=\"attachment_12066194\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12066194\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/12/251204-EARTHQUAKECOTTAGES00174_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/12/251204-EARTHQUAKECOTTAGES00174_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/12/251204-EARTHQUAKECOTTAGES00174_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/12/251204-EARTHQUAKECOTTAGES00174_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An earthquake cottage stands on 211 Mullen Ave. in San Francisco on December 4, 2025. The original shelter was built after the 1906 San Francisco Earthquake and some still house city residents. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cryan was confused. What did he mean by “relief houses?” She had moved from Milwaukee in the 1960s because she was enamored with the Beat Movement and had been writing letters to Jack Kerouac. When she got to San Francisco, all of 18 years old, she threw herself into writing and playing jazz piano, although she made her money as an executive assistant. She’d never heard of the history her neighbor was describing.\u003c/p>\n\u003cp>“I had lived in the city all those years and never heard of the [19]06 quake or ‘the fire,’ as everybody who survived it called it,” Cryan said.\u003c/p>\n\u003cp>She was curious to know everything she could about the natural disaster that devastated San Francisco at the start of the 20th century, knocking down 80% of the buildings and displacing thousands of people. She spent nights and weekends obsessively going through newspaper archives to learn all she could about these so-called “relief cottages.”\u003c/p>\n\u003ch2>The history Cryan discovered\u003c/h2>\n\u003cp>“After the 1906 Earthquake and fire, more than a quarter of a million people are at least temporarily displaced,” said Woody LaBounty, president and CEO of \u003ca href=\"https://www.sfheritage.org/\">San Francisco Heritage\u003c/a>, a nonprofit dedicated to preserving San Francisco history.\u003c/p>\n\u003cp>Those who had the means left the city to stay with relatives or friends elsewhere. But many poor San Franciscans didn’t have that option. The military temporarily set up tent camps to house refugees in the short term. Women cooked meals on stoves set up in the streets, children went to school in makeshift tent classrooms and people tried to figure out what to do next.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After a few months, city leaders became concerned about sanitation in the tent camps and they worried what would happen when winter rains came. They commissioned union carpenters to build small cottages out of redwood, cedar and fir to house the refugees. They painted the cottages the same green as city park benches, which became known as “park bench green.”\u003c/p>\n\u003cp>“You basically are talking about the working class,” LaBounty said. “People who don’t have property, don’t have other resources, and need to find work and find shelter.”\u003c/p>\n\u003cp>Overseeing this effort was the San Francisco Relief Corporation, which also coordinated distribution of clothes, food and other aid to the refugees — many of whom the city relied upon to help rebuild the city. The 5,610 cottages were mostly set up in the city’s neighborhood parks like Jefferson Square, Precita Park (then known as Bernal Park) and Portsmouth Square. There were also a large number of cottages where Park Presidio Boulevard is now — back then, it was newly acquired parkland with nothing much around it.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.nps.gov/places/000/1906-earthquake-cottages.htm\">cottages\u003c/a> came in several sizes. The smallest was 10×14 feet — these “Type A” shacks are the most commonly seen today, in part because they are so modular and people combined them to make larger residences. But there were also 14×18 feet and 18×24-feet-sized shacks.\u003c/p>\n\u003cp>The Relief Corporation charged people a few dollars per month in rent for the cottages, but soon it started receiving pressure from Superintendent of Parks John McLaren and other city residents.\u003c/p>\n\u003cfigure id=\"attachment_12063864\" class=\"wp-caption aligncenter\" style=\"max-width: 1950px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/RichmondCamp-SFPL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12063864\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/RichmondCamp-SFPL-KQED.jpg\" alt=\"\" width=\"1950\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/RichmondCamp-SFPL-KQED.jpg 1950w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/RichmondCamp-SFPL-KQED-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/RichmondCamp-SFPL-KQED-1498x1536.jpg 1498w\" sizes=\"auto, (max-width: 1950px) 100vw, 1950px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Richmond District, on San Francisco’s northwest side, was largely uninhabited sand dunes at the time of the 1906 earthquake and fires. There was a lot of open space to build refugee cottages like these at the Richmond District refugee camp between Lake and Geary streets. Some surviving earthquake cottages can still be found in the Richmond and Sunset districts. \u003ccite>(Courtesy of the San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They wanted their parks back,” LaBounty said. “As other San Franciscans were ready to move on from the disaster, they didn’t like the idea that their parks had a community, a village of working-class people living in the middle of their parks.”\u003c/p>\n\u003cp>Under pressure to move cottages out of the parks as quickly as possible, the Relief Corporation ended up returning all the rent it collected to residents when they moved their cottages out of the parks and onto land somewhere else. And just a year and a half after the earthquake and fire, most cottage camps were gone.\u003c/p>\n\u003cp>“It gave people who never would have dreamed, I think, of owning a home a chance to get into that American dream,” LaBounty said. “So, you get the earthquake cottage, you’re a refugee who has nothing, and now suddenly you buy a lot for 100 bucks in the sand dunes of the Richmond, you have pretty much a free house.”\u003c/p>\n\u003cfigure id=\"attachment_12063862\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/PrecitaPark-SFPL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12063862\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/PrecitaPark-SFPL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/PrecitaPark-SFPL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/PrecitaPark-SFPL-KQED-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/PrecitaPark-SFPL-KQED-1536x1187.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">After several months, residents were encouraged to move their cottages out of the parks and onto a plot of land. Here, a horse gets ready to move a shack out of Precita Park. \u003ccite>(Courtesy of the San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the cottages ended up in the Richmond and Sunset districts of San Francisco because of that large camp along Park Presidio and the prevalence of unclaimed land on the western side of the city. Another hot spot for cottages is Bernal Heights, where people moved their cottages from Precita Park at the bottom of the hill, up onto vacant plots on the hill.\u003c/p>\n\u003cp>“There was sort of a stigma of having an earthquake cottage for a few years because it sort of signified you were a refugee, you needed help, you were poor,” LaBounty said. “So, people often quickly tried to hide the pedigree of their houses and cover them with shingles.”\u003c/p>\n\u003cp>People built fences around their cottages, added additional rooms and generally tried to \u003ca href=\"https://www.foundsf.org/1906_Earthquake_Shack_Survivors\">personalize\u003c/a> them. Many people painted over that telling park bench green color, hiding the provenance of their homes.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DcXCRZEkzx4'\n title='//www.youtube.com/embed/DcXCRZEkzx4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The city moved on, too. Just nine years after the Great Earthquake and Fire, San Francisco \u003ca href=\"https://www.nps.gov/goga/learn/historyculture/upload/PPIE-Brochure-FINAL-for-Web.pdf\">hosted\u003c/a> the 1915 Panama-Pacific International Exposition to show the city was back and celebrate the opening of the Panama Canal.\u003c/p>\n\u003cp>In a spectacle that spread over much of what is now the Marina District, the Exposition drew more than 18 million visitors and boasted innovations in science, technology and art. Whole buildings were erected for the Exposition, including the Palace of Fine Arts.\u003c/p>\n\u003ch2>An era of ‘shacktivism’\u003c/h2>\n\u003cp>When Jane Cryan learned all this history and realized that her little cottage sanctuary was actually three and a half earthquake cottages connected together, she was in awe. She loved that she was living in a piece of San Francisco history, one hidden in plain sight.\u003c/p>\n\u003cp>Around the time of her research, Cryan got word from her landlord that he wanted to sell her cottage — or worse, knock it down and sell the lot.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I had to do something,” Cryan said. So, she called City Hall. “And this is exactly what I said, I said, ‘Can you connect me with somebody at City Hall who can tell me how to save a pair of cottages, very important cottages, that are under threat of demolition.’”\u003c/p>\n\u003cp>That call led her to the Landmarks Preservation office. She learned how to apply for a historic landmark designation and brought her research on the importance of the earthquake cottages to the Planning Commission. Along the way, the media caught wind of what she was doing.\u003c/p>\n\u003cp>“The media came to me, and they made what I was doing one of the most important things that ever hit San Francisco,” Cryan said.\u003c/p>\n\u003cp>Cryan started a \u003ca href=\"https://sfpl.org/pdf/libraries/main/sfhistory/archives-and-manuscripts/SPASFRS.pdf\">nonprofit\u003c/a> organization,\u003ca href=\"https://sfpl.org/pdf/libraries/main/sfhistory/archives-and-manuscripts/SPASFRS.pdf\"> The Society for the Preservation and Appreciation of San Francisco Refugee Shacks\u003c/a>, and made it her mission to educate people about the earthquake shacks.\u003c/p>\n\u003cp>Eventually, she won historic status for her little 24th Avenue cottage, but it was a bittersweet victory. Because historic status limits what a property owner can do with a building, the planning commission also ruled that Cryan had to move out as compensation. From then on, she moved from apartment to apartment, ultimately finding herself priced out of San Francisco once she was retired. She moved back to Wisconsin, where she is originally from, in 2007 after 44 years in the city.\u003c/p>\n\u003cp>She continues the fight to save earthquake cottages from afar when developers threaten them.\u003c/p>\n\u003ch2>A very San Francisco treasure hunt\u003c/h2>\n\u003cp>It’s still possible to \u003ca href=\"https://www.sfchronicle.com/projects/2021/earthquake-shacks-sf-map/\">find\u003c/a> earthquake cottages when walking around San Francisco. Woody LaBounty suggested looking for a shallow roof line, like a Boy Scout tent. That’s often a good indicator that a small house might be an earthquake cottage. Many other small buildings have much sharper rooflines or flat roofs.\u003c/p>\n\u003cp>LaBounty estimates that there are somewhere between \u003ca href=\"https://www.outsidelands.org/shack-list.php\">30 and 50 cottages\u003c/a> sprinkled throughout the city. But it’s hard to know because so many of them have been incorporated into larger houses or are used as sheds.\u003c/p>\n\u003cfigure id=\"attachment_12063861\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/Moving-Cottage-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12063861\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/Moving-Cottage-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/Moving-Cottage-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/Moving-Cottage-KQED-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/Moving-Cottage-KQED-1536x1111.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An earthquake cottage being moved through the streets of San Francisco circa 1906. \u003ccite>(Courtesy of the San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Historical conservationists \u003ca href=\"https://www.outsidelands.org/kirkham_shacks.php\">successfully\u003c/a> saved several earthquake cottages from demolition over the years. Two of them are owned by the Presidio Trust and used to be open to visitors, although they have recently been moved to an out-of-the-way location. Another is in the San Francisco Zoo, part of \u003ca href=\"https://www.sfzoo.org/greenies-conservation-corner/\">Greenie’s Conservation Corner\u003c/a>.\u003c/p>\n\u003cp>“As San Francisco continues to change, it is this visual touchstone to our past,” LaBounty said. “And not only our past, but the most significant event that happened in our past, outside of maybe the Gold Rush.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> I want to talk about architecture for a moment – specifically residential architecture. In San Francisco.\u003c/p>\n\u003cp>You expect to see stately Victorian homes with their bright colors and fancy decorative trim.\u003c/p>\n\u003cp>Then there’s Marina style homes with their big windows and stucco facades.\u003c/p>\n\u003cp>But sprinkled in amidst these grander homes you might spot a few tiny cottages — the original tiny homes.\u003c/p>\n\u003cp>\u003cstrong>Charity Vargas:\u003c/strong> I did see two over in the sunset. There was like two close together and I thought maybe they might be them, but I’m not sure.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price: \u003c/strong>Charity Vargas, our question asker this week, has seen some of these small dwellings dotted around the Richmond and Sunset districts near her home. And she’s heard that the cottages are holdovers from the Great 1906 earthquake and fire, but wants to know more.\u003c/p>\n\u003cp>\u003cstrong>Charity Vargas: \u003c/strong>How many earthquake cottages are left and you know, are they still used and where they are?\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price: \u003c/strong>Today on the show, we’ll dig into the history of San Francisco’s earthquake cottages. We’ll learn how critical they were in sheltering a vulnerable…but vital.. population and learn about modern efforts to save them. I’m Olivia Allen-Price and you’re listening to Bay Curious. Stay with us.\u003c/p>\n\u003cp>\u003cem>Sponsor message\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price: \u003c/strong>We set out to answer Charity’s question by searching for “earthquake shacks”…tiny homes built out of redwood and cedar after the 1906 earthquake and fire. Bay Curious editor and producer Katrina Schwartz found one high on a hill in Bernal Heights.\u003c/p>\n\u003cp>\u003cstrong>Joan Hunter: \u003c/strong>You want a little tour? Ok, this is our tiny kitchen and I believe this rectangle room is the original earthquake shack and this part is added on, but it’s kind of hard to say exactly. I’m Joan Hunter. I live in Bernal Heights, San Francisco, California in an earthquake cottage or earthquake shack, as some would like to say.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>I’m standing with Joan in her light filled living room…all that’s left of the original cottage. It’s a modestly sized room, but has tall ceilings and windows that look out over a sweeping view of San Francisco.\u003c/p>\n\u003cp>What started out as a one room cottage has been expanded quite a bit…it’s about 620 square feet now, still small by modern standards.\u003c/p>\n\u003cp>\u003cstrong>Joan Hunter: \u003c/strong>Okay, so this is a little bedroom we have in the front and all of our rooms, this is a theme for the house, everything is small, very, very small.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz:\u003c/strong> Joan’s got two kids…so the house can feel like a tight squeeze at times. But she fell in love with the history of the place.\u003c/p>\n\u003cp>\u003cstrong>Joan Hunter: \u003c/strong>what I do know is that the guy who bought it, he was a little kind of like a bachelor. And he met someone who was also single and they moved together and they got married. And it was just a love story.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Joan likes thinking that after they survived the worst natural disaster San Francisco has ever experienced…and been homeless for months because of it…that they finally found some tranquility here, a little piece of San Francisco to call their own.\u003c/p>\n\u003cp>\u003cem>Music to help us transition\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>The Great 1906 Earthquake and Fire leveled 80 percent of San Francisco. The morning of April 18, 1906 Bay Area residents awoke early in the morning to a temblor they’d never forget.\u003c/p>\n\u003cp>\u003cem>Sounds of shaking\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Kathleen Norris: \u003c/strong>Every picture on the wall is going tack, tack, tack. Everything movable in the house is keeping up that unearthly clatter. You could hear up and down the roads, earthquake. It’s an earthquake. Oh, God help us, it’s an earthquake. of course, it changed the world for all of us.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Kathleen Norris shared her oral history with the Bancroft Library in 1960. There was no audio recorded during the disaster, but anyone who survived it remembered the trauma of it clearly…even fifty years later. Kathleen was in Mill Valley when the earthquake hit…where the damage wasn’t too bad. But she and her brother were curious about how San Francisco had fared…so they found a boat that took them to the city.\u003c/p>\n\u003cp>\u003cstrong>Joan Hunter: \u003c/strong>It was something to see. The great, heavy, slow rolls of smoke that were joining hands as they went up.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Kathleen describes refugees fleeing homes that had been leveled, toting their belongings in baby carriages and wheel barrows.\u003c/p>\n\u003cp>\u003cstrong>Kathleen Norris: \u003c/strong>We walked over the hot, hot rocks of Market Street. And of course, the cable car lines were twisted hairpins. And the houses were all down. There was nothing saved. Nothing was accepted.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>And yet, the image that lingered in her mind…even as the smoke lay heavy over the hills… was of people getting to work to repair their city.\u003c/p>\n\u003cp>\u003cstrong>Kathleen Norris: \u003c/strong>And already there were people helping out and organizing, scraping bricks. The bricks were hot. And they were working away. Nobody felt for an instant, oh, let’s go somewhere else. Everyone knew that the city was going to come back.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>As indeed it would. Just nine years after the earthquake and fire, San Francisco hosted the 1915 Panama Pacific International Exposition…the reason the Palace of Fine Arts was built…a spectacle that 18 million people visited by the time it closed.. Headlines trumpeted the achievement.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Voice over reading archival newspaper headline:\u003c/em> \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Big Fair is Opened. All eyes on San Francisco. President Flashes Signal\u003c/em>\u003c/p>\n\u003cp>\u003cem>Fair Draws Myriad; All Records For Crowds Fall\u003c/em>\u003c/p>\n\u003cp>\u003cem>Marvelous Exhibits From All Parts of the Earth Assembled by 42 Countries for the Hugest Conclave of Nations in History\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>It was a signal to the world that San Francisco was still \u003cem>the most important\u003c/em> city in the West…one full of invention and achievement.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Voice over reading archival newspaper headline: \u003c/strong>Tower of Jewels Wreathed in Flames. But it’s only to thrill visitors\u003c/em>\u003c/p>\n\u003cp>\u003cem>Art Smith Sets Hearts Leaping: Aviator’s Loop-the-Loops at Night Traced By Trail of Smoke\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>But how did San Francisco go from the absolute devastation of 1906 to showing off the latest advances in science and art on the world stage just nine years later? This is where the earthquake cottages… or shacks as they’re affectionately called…come into the story.\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>So after the 1906 earthquake and fire, more than a quarter of a million people are at least temporarily displaced.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Woody LaBounty is President and CEO of San Francisco Heritage, a nonprofit dedicated to preserving San Francisco history.\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>And now, the powers that be have to decide not only how to take care of all these people, but also who’s gonna rebuild the city?\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Immediately after the earthquake and fire, the military stepped in and established tent camps in the city’s parks. But soon a new organization…the San Francisco Relief Corporation…was formed to distribute food, clothes and other aid.\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>That covered many aspects of what you have to do when people are refugees, but also a specific housing effort, and that was the earthquake relief cottages.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Officials were worried about sanitation in the tent camps when winter rains came. So, they decided to build 5,610 relief cottages…built with redwood, fir and cedar… to house people. They were painted “park bench green”…literally the color used on Golden Gate Park benches… and clustered in neighborhood parks like Jefferson Square, Precita Park, and Portsmouth Square. Around 17,000 people lived in them.\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>If you owned property or you had a property that had been destroyed in the earthquake, you rebuilt or you figured out a way to move on. But there was a vast number of people who didn’t have any other resources.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>These were San Francisco’s poor, folks who had lived in boarding houses or shared rooms downtown before the fire. City leaders wanted to keep these laborers with the skills to rebuild the city close by. But they didn’t plan to give away the cottages for free.\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>So for all of wanting to take care of the refugees, there was also a fear at the time of creeping socialism. People in power did not want to give anybody anything for nothing. So they thought it would create indigence. And so you were supposed to pay some sort of rent.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Here’s how it worked. Shack residents paid monthly rent of a few dollars while their shacks were in the parks. But the relief corporation returned that money when a resident bought some land and moved the shack out of the park and onto their own property.That generosity was spurred by pressure to move refugees and their cottages out of the parks as soon as possible.\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>As other San Franciscans were ready to move on from the disaster, they didn’t like the idea that their parks had a community, a village of working-class people. Living in the middle of their park. They wanted their parks back.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>About a year and a half after the earthquake, in the summer of 1907, most of the shacks had been removed from the parks. Newspapers at the time described the surreal image of tiny homes on wagons moving across the city with people still in them.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Voice over reading archival newspaper excerpt:\u003c/strong> It is a strange sight to see a procession of these refugee cottages moving down fashionable Van Ness Avenue or busy Fillmore Street, faces peering from the windows, and men, women and children going about their household tasks as if their little home was securely perched upon a cement foundation and surrounded by a garden and a fence.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Back in 1907, the Richmond District, a northwestern neighborhood, was mostly undeveloped sand dunes, with lots of empty land. So many shack owners moved their cottages to vacant plots there.\u003c/p>\n\u003cp>Woody says the earthquake shack program not only got the city working again…\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>\u003cspan style=\"text-decoration: line-through\">I\u003c/span>t also gave people who never would have dreamed, I think, of owning a home a chance to get into that American dream. So you get the earthquake cottage, you’re a refugee who has nothing, and now suddenly you buy a lot for 100 bucks in the sand dunes of the Richmond, you have pretty much a free house.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Bernal Heights is another place with many earthquake cottages…people just moved their shacks from Precita Park to open land up the hill.\u003c/p>\n\u003cp>And some of them are still there…like the house we toured at the beginning of this episode.\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>The one sort of key touchstone that you can tell about a cottage is the roof line. It has a very shallow pitched roof, kind of like a pup tent, like a Boy Scout tent. And then that is like your first hint because a lot of small buildings you’ll see have very steep pitched or flat roofs.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Woody says many shack owners quickly made improvements to their new homes — painting, building fences, adding additional rooms.\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>There was sort of a stigma of having an earthquake cottage for a few years because it sort of signified you were a refugee, you needed help, you were poor. So people often, they quickly tried to hide sort of the pedigree of their houses and cover them with shingles quickly.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>They wanted to hide that telling park bench green color. Most existing earthquake cottages are surrounded by modern additions. Or sometimes they’re a couple shacks placed together. That’s one reason it’s really hard to know how many still exist in San Francisco, they’re hidden. But Woody estimates between 30 and 50 earthquake cottages are dotted across the city.\u003c/p>\n\u003cp>\u003cstrong>Jane Cryan: \u003c/strong>The cottage in the front is made up of three and a half shacks, and then there’s a free-standing mid-size shack in the backyard.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>This is Jane Cryan. She rented one of these preserved earthquake shacks in the outer Sunset in the 1980s. Jane is best known as a “shacktivist”…fighting to preserve earthquake cottages from development. But if it weren’t for the Beat movement in the 1950s, she never would have moved here in the first place.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Jane Cryan: \u003c/strong>The only reason I ended up in San Francisco is that Jack Kerouac, with whom I had correspondence from the time I was 16 years old told me that Milwaukee was no place for a poet. You should be in San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>By day she was an executive assistant, but writing and jazz piano were her passions.\u003c/p>\n\u003cp>\u003cstrong>Jane Cryan: \u003c/strong>And I moved in and I played piano for about six weeks, day and night, and an elderly gentleman from across the street came over and shook his finger at me and he said, young lady, do you know that you’re living in a couple of relief houses pasted together?\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Her three room cottage was actually three earthquake shacks pasted together. This was 1982 and Jane had lived in San Francisco almost 20 years. But she’d never even heard of the 1906 earthquake and fire. Her neighbor’s passing comment sparked her curiosity. She spent nights and weekends obsessively going through old newspaper archives to learn as much as she could about the disaster and the earthquake cottages.\u003c/p>\n\u003cp>Meanwhile, her landlord made it known that he planned to sell her cottage…or worse demolish it and sell the lot.\u003c/p>\n\u003cp>\u003cstrong>Jane Cryan: \u003c/strong>Take down our history. So I had to do something.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Preserving these cottages — tangible pieces of such important history — became her life’s work. She took inspiration from one of the 1906 earthquake refugees she learned about in her research, a woman named Mary Kelly. Mary was an agitator, constantly questioning how the relief corporation dolled out aid and whether it was fair. She was such a pain to them they eventually evicted her from her cottage. But she refused to leave, famously saying:\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Voice over portraying Mary Kelly:\u003c/strong> They can’t bluff me. I’ll stay with the house if they take it to the end of the earth.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>She rode in her cottage as men hauled it onto a wagon and trucked it away. She stayed inside as they dismantled the cottage board by board. Jane finds Mary’s tenacity — and willingness to stand up to power — endearing.\u003c/p>\n\u003cp>\u003cstrong>Jane Cryan: \u003c/strong>She was exactly the way I was. If I saw something, I said something. And if I saw something that was not right, I said something louder.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Jane started a nonprofit called The Society for the Preservation and Appreciation of San Francisco Refugee Shacks. She fought hard to get the planning commission to designate her little shack a historic landmark.\u003c/p>\n\u003cp>And she was successful!\u003c/p>\n\u003cp>\u003cstrong>Jane Cryan: \u003c/strong>Landmark number 171.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>But it was a bittersweet victory. The commission also said that Jane had to vacate the cottage in order to compensate the landlord for putting restrictions on his property. Jane bounced around from place to place after that, eventually moving back to Wisconsin, where she’s originally from.\u003c/p>\n\u003cp>\u003cstrong>Katrina in the tape: \u003c/strong>What do you miss most about San Francisco?\u003c/p>\n\u003cp>\u003cstrong>Jane Cryan: \u003c/strong>Oh, everything! Oh my god, San Francisco is the queen of the Golden West, for heaven’s sake!\u003c/p>\n\u003cp>\u003cem>Music\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Historian Woody LaBounty says there are probably more earthquake cottages than we know. They’re hiding in people’s backyards, incorporated into bigger houses or used as sheds.\u003c/p>\n\u003cp>\u003cstrong>Woody LaBounty: \u003c/strong>They’re the last sort of most visible, tangible sign of one of the biggest things that ever happened to the city of San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Katrina Schwartz: \u003c/strong>Increasingly these little cottages are being bought and torn down to make room for larger homes. But the ones that remain are a reminder of a refugee relief program that not only got people back on their feet, but made them homeowners. An example of San Franciscans coming together to repair and resurrect a beloved city.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> That was Bay Curious editor and producer Katrina Schwartz. Special thanks this week to \u003ca href=\"https://californiarevealed.org/\">California Revealed\u003c/a>, an online database of oral histories and other archival materials. They helped us find Kathleen Norris’ oral history.\u003c/p>\n\u003cp>Bay Curious is made in San Francisco at member-supported KQED. Right now your membership means more than ever, give at \u003ca href=\"http://kqed.org/donate\">KQED.org/donate\u003c/a>.\u003c/p>\n\u003cp>Our show is produced by Gabriela Glueck, Christopher Beale, Katrina Schwartz and me, Olivia Allen-Price.\u003c/p>\n\u003cp>Extra support from Maha Sanad, Katie Sprenger, Jen Chien, Ethan Toven-Lindsey and everyone on team KQED.\u003c/p>\n\u003cp>Have a wonderful week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>This article originally published in 2020. It has been lightly updated.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Bay Curious listener Ben Kaiser asked for our favorite movies that are filmed and set in San Francisco. While we don’t normally take on subjective questions, we figured with cozy season upon us, it was a great time to cuddle up on the sofa with some classics.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4565381532&light=true\" width=\"100%\" we asked peter hartlaub san francisco chronicle culture critic and host carly severn kqed senior editor of audience news resident movie obsessive to share their top picks on a recent bay curious podcast episode. they shared the movies would be most likely sit down watch over holidays not necessarily critically acclaimed films. our some favorites too>Star Trek IV: The Voyage Home (1986)\n\u003cp>https://www.youtube.com/watch?v=QOhoIBkOYf0\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0092007/\">IMDB\u003c/a>:\u003c/strong> “To save Earth from an alien probe, Admiral James T. Kirk and his fugitive crew go back in time to San Francisco in 1986 to retrieve the only beings who can communicate with it: humpback whales.”\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> This charming, lighthearted movie makes the Bay Area look undeniably fun. One KQED fan said the film was “influential in shaping how I think about the environment and is the Star Trek movie with the most heart in it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch1>Inside Out (2015)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=yRUAzGQ3nSY\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt2096673/\">IMDB\u003c/a>:\u003c/strong> “After young Riley is uprooted from her Midwest life and moved to San Francisco, her emotions — Joy, Fear, Anger, Disgust and Sadness — conflict on how best to navigate a new city, house, and school.”\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> Pixar has dropped Bay Area references in several animated films over the years, but “Inside Out” takes it to the next level. The film takes place in the Bay Area, and features rich and detailed imagery from around the region.\u003c/p>\n\u003ch1>Zodiac (2007)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=yNncHPl1UXg\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0443706/\">IMDB\u003c/a>:\u003c/strong> “In the late 1960s/early 1970s, a San Francisco cartoonist becomes an amateur detective obsessed with tracking down the Zodiac Killer, an unidentified individual who terrorizes Northern California with a killing spree.”\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “Second only to Alfred Hitchcock, director David Fincher has a great sensibility for San Francisco,” says Peter Hartlaub. “This film absolutely captures a place in time. The music choices, the visual cues, the production design. Nothing’s wasted. I was a little kid, and I remember hearing about the Zodiac killer, and this movie brought that back so well.”\u003c/p>\n\u003ch1>The Last Black Man in San Francisco (2019)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=C0FnJDhY9-0\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt4353250/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A young man searches for home in the changing city that seems to have left him behind.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> One of the few films on our list that is a commentary on the Bay Area, and how gentrification has decimated once vibrant Black neighborhoods. The cinematography will absolutely take your breath away. Pause the movie at any point and you might be inspired to hang the still image on your wall.\u003c/p>\n\u003ch1>Basic Instinct (1992)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=4f96x3UpoaQ\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0103772/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A violent police detective investigates a brutal murder that might involve a manipulative and seductive novelist.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “The plot is ludicrous … but it’s a romp. It’s a riot. It also looks way better than it needs to, and it sounds way better than it needs to,” says Carly Severn. “I love the way it uses San Francisco. It goes for all the classic shots — there’s North Beach, there’s Telegraph Hill.” You’ll also find lots of gorgeous helicopter shots in this one.\u003c/p>\n\u003ch1>Always Be My Maybe (2019)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=iHBcWHY9lN4\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt7374948/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> Everyone assumed Sasha and Marcus would wind up together except for Sasha and Marcus. Reconnecting after 15 years, the two start to wonder — maybe?\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “It makes San Francisco look really cool, but it also makes San Francisco look normal. A lot of it is set in the Outer Richmond,” says Carly Severn. “As a resident of the Bay Area there’s such a pleasure in looking at the screen and saying, ‘Oh, I know that! That’s cool!”\u003c/p>\n\u003ch1>Invasion of the Body Snatchers (1978)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=vc_0dlmSq7I\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0077745/?ref_=fn_al_tt_1\">IMDB\u003c/a>: \u003c/strong>When strange seeds drift to earth from space, mysterious pods begin to grow and invade San Francisco, where they replicate the residents into emotionless automatons one body at a time.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “I think this is the most underrated San Francisco movie,” says Peter Hartlaub. “A lot of directors come in and they love San Francisco, but they shoot from the same seven places — Telegraph Hill, the Golden Gate Bridge, The Palace of Fine Arts. Director Philip Kaufman shot in places I think he always wanted to shoot — the Tenderloin is a huge character in the movie. Civic Center. Obscure places like Pier 70.”\u003c/p>\n\u003ch1>Vertigo (1958)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=Z5jvQwwHQNY\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0052357/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A former police detective juggles wrestling with his personal demons and becoming obsessed with a hauntingly beautiful woman.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> If you’re going to watch one movie set in San Francisco, a lot of critics would argue it should be this Alfred Hitchcock classic. The plot is woven into the location in a way that few movies can rival. And if you’re wanting to really *see* the city — this film is a hit parade of gorgeous locations.\u003c/p>\n\u003ch1>So I Married an Axe Murderer! (1993)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=yto08I_IiAg\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0108174/?ref_=nv_sr_srsg_0\">IMDB\u003c/a>:\u003c/strong> A San Francisco poet who fears commitment suspects his girlfriend may have a knack for killing off her significant others.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> One KQED fan says it “captures something of the SF that I grew up in” and another calls this film “a love letter to SF.” It highlights many of the city’s most famous sights — like the Golden Gate Bridge to the Palace of Fine Arts and Alcatraz.\u003c/p>\n\u003ch1>Bullitt (1968)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=BsvD806qNM8\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0062765/?ref_=fn_al_tt_1\">IMDB:\u003c/a>\u003c/strong> An all guts, no glory San Francisco cop becomes determined to find the underworld kingpin that killed the witness in his protection.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> Do we need to say much more than “epic car chase scenes on San Francisco hills?” This film features tons of on-location filming, so you’ll get a big taste of the city.\u003c/p>\n\u003ch1>Mrs. Doubtfire (1993)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=3euGQ7-brs4\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0107614/?ref_=fn_al_tt_1\">IMDB\u003c/a>: \u003c/strong>After a bitter divorce, an actor disguises himself as a female housekeeper to spend time with his children held in custody by his former wife.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> We couldn’t leave this film off the list. After all, it features one of the Bay Area’s most beloved celebrities, Robin Williams. After his death, the house featured in this film at 2640 Steiner St. became a pop-up memorial. You’ll spot everything from ordinary streets to iconic San Francisco locations throughout the film.\u003c/p>\n\u003ch1>The Rock (1996)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=6DWu_dT0Phc\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0117500/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A mild-mannered chemist and an ex-con must lead the counterstrike when a rogue group of military men, led by a renegade general, threaten a nerve gas attack from Alcatraz against San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> Much of the film was shot on in and around Alcatraz, a tall order given the production crew had to do it all while tour groups milled around the site of the former federal penitentiary. Other locations in the film include the Fairmont Hotel, San Francisco City Hall and Pier 39.\u003c/p>\n\u003cp>These 12 films are still just the tip of the iceberg when it comes to great movies filmed in the Bay Area. Other audience favorites include: Chan Is Missing, The Conversation, Blindspotting, Sorry to Bother You, The Princess Diaries, Parrots of Telegraph Hill and La Mission. Find even more suggestions on \u003ca href=\"https://x.com/KQED/status/1336822068541734912\">this X thread\u003c/a>, and on \u003ca href=\"https://www.facebook.com/KQED/posts/10157640695916191\">KQED’s Facebook page. \u003c/a>\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Hey everyone, I’m Olivia Allen Price and this is Bay Curious. Let’s go!\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">My name is Ben Kaiser and believe it or not I live in Atlanta, Georgia.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Ben visited San Francisco for the first time four years ago. And as soon as he got here, he felt a connection.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">It sort of seemed like I had been there before or that I belonged there. And I just absolutely fell in love with it. And I’ve been back in four years, probably nine or ten times.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">That’s a lot of flights between Atlanta and SFO. Now, when Ben can’t be here, he’s found a way to visit without leaving his living room.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">Because I don’t live in San Francisco, I want to be connected to it as much as I possibly can. And one of the ways is watching movies shot there.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Anything that can transport him here, even if only for a few hours. Ben’s seen a lot already, but he wants more, so he came to Bay Curious.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">I asked what were some of the movies set in San Francisco that were actually shot in San Francisco, and which ones are your favorites or your recommendations?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Now we don’t often delve into subjective matters here on the show, but hey, it’s the holidays, cozy season is here, and we thought maybe we could all use some solid movie recommendations. Today’s episode will sound a little bit different from what you usually hear on Bay Curious. We’ve got a panel of local cultural experts here to convince Ben and you how you should spend some time devouring the Bay Area in all its cinematic glory. This episode first aired in 2020 and has been lightly revised for you today. So throw some popcorn in the microwave, cozy up on your couch, and press play. All right, I have to start out this episode with a confession. I, Olivia Allen Price, am really bad at movies, like possibly the last person that you would want on your trivia team during the movie round. So I called in some much needed backup on this one. Here to help me out today is Peter Hartlaub. He was born and raised in the Bay Area. He’s a cultural critic with the San Francisco Chronicle, and he writes the total SF newsletter. Welcome, Peter.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Thank you so much for having me.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Yeah. Also, I’ve got Carly Severn here. She’s a senior editor here at KQED and a Bay Curious Reporter, who you are probably familiar with. She’s also a former co-host of The Cooler Podcast and one of KQED’s resident movie obsessives. Hey Carly.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">Hey, Olivia. Hey, Peter. Lovely to be here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">So before we get into recommendations, I’m curious, what do you guys think makes San Francisco a good spot to shoot a film?\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Internationally recognizable landmarks, Golden Gate Bridge, Alcatraz, the topography. You can get up on a hill and see those landmarks. You can have a chase scene and get a little air. But I think the biggest thing is the weather. And it’s sort of the secret ingredient because it allows a director to convey mood. And then the city sort of becomes the mood of the director. You have the fog coming in, you have the sun coming in, subtle shifts. You can’t do that in Atlanta. You can’t do it in Houston. You can’t even really do that in LA. And I think that’s a big reason why San Francisco ends up being, you know, a top pick if you’re a director and you want to shoot like a thriller or an action film, something like that.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">I would agree with all of that and I must kind of confess I do have a similar cinematic relationship with San Francisco as listener Ben does. I grew up watching San Francisco on screen as a kid in the middle of nowhere in England and it just seemed like the coolest place in the world to me. So I get it. I get his quest.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Now, despite all these things, all these sort of great attributes that make, you know, San Francisco a great place to shoot, you still don’t see it in films as often as, you know, in New York or in LA or maybe even in Atlanta, even though you don’t necessarily know you’re in Atlanta when you are in Atlanta. A lot of sh movies are shot there. Why do you all think that is?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">It’s expensive to get a hotel here, much less a bunch of hotels if you’ve got a lot of people coming. People are all crammed in together. And if you’re gonna shoot Sister Act in Noe Valley, or if you’re gonna shoot a car chase scene going through Russian Hill, the neighbors are gonna notice. And I think San Francisco, more than some of those other cities, because it’s sort of compact like that, makes it harder to film. Expensive and compact.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">Yeah, I think logistically you have all of these issues, but I do think there’s this thematic problem with San Francisco, it’s so in your face. It is it does end up being a character. If you want to just have like any town USA to set your story in, like San Francisco is not the place to come. It really isn’t, because you’ll end up having to do all of this narrative work bending over backwards to kind of explain why it’s a San Francisco story. That’s my take anyway.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Well, I do want to get on to answering Ben’s question and get to some of your San Francisco movie recommendations, but I thought we’d actually start with his because he has seen a lot of movies and he has his own thoughts.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">Vertigo’s probably my all time favorite movie in the fact that it’s shot in San Francisco. But, you know, a lot of the real common ones, you know, I I’m not embarrassed to say the other night I watched The Rock and enjoyed The Rock. But you know, Mrs. Doubtfire, Milk, The Room, those are just, you know, some of the ones that I enjoy.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">So it sounds like he’s definitely seen some of the classics, which I know we aren’t necessarily gonna talk as much about today in your lists, right?\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Vertigo, The Conversation, the Hitchcock films, the Coppola films. If I’m teaching a film class about San Francisco, they’re gonna be right in there. If I’m turning on my TV right now ’cause I just need to chill and escape a little bit, I’ve got a whole different set of films that I’m gonna pick, my favorite films, and that’s what I’m gonna pick today.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">A hundred percent cosign. And may I just say to Ben that he never has to be embarrassed about watching the rock. There is nothing to be embarrassed about there.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">It’s totally cool to just love the rock and shout it from the rooftops.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">All right, so I asked each of you guys to bring your top three recommendations. And what we’re gonna do is go through all of those and then let Ben decide who has been the most convincing and which movie he is going to watch next. So let’s dive in, Carly. \u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cspan style=\"font-weight: 400;\">Let us know what is your number three pick and why.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Carly Severn: First of all, I want to kind of set up my thinking here. I wanted to pay homage to the classic TLC album Crazy Sexy Cool with three picks that make San Francisco look either crazy, sexy, or cool. And so I’m gonna start with cool. It is Always Be My Maybe. It is the 2019 Netflix movie directed by Nahnatchka Khan . It’s got Ali Wong as a celebrity chef, and she returns home to San Francisco, where she grew up, and she reconnects with her childhood boyfriend, Randall Park.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Always Be My Maybe\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Carly Severn \u003c/b>\u003cspan style=\"font-weight: 400;\">[00:07:18] \u003c/span>\u003cspan style=\"font-weight: 400;\"> I love this movie so much. It makes San Francisco look really cool, but it also makes it look really normal. And it’s not the kind of parade of Golden Gate Bridge, Golden Gate Park Ad nauseum. Like a lot of it’s set in the outer Richmond, like the farmers market that they go to. It’s not some bougie little farmer’s market. It’s the like the civic center farmers market. So as a resident of the Bay Area, there’s such a pleasure in in kind of doing that thing where you’re looking at the screen going like, Oh, I know that. That’s really cool. I should admit that so much of it is filmed in San Francisco at these amazing locations that are like super normal and super lived in. But Vancouver, of course it’s always Vancouver. Vancouver actually doubles for a lot of the San Francisco locations. Particularly Goodluck Dim sum, which is where Ali Wong it’s one of her favorite restaurants in San Francisco. She’s it’s on Clements Street. She says it’s where she grew up eating. She really wanted that set there, but they had to double the interior in Vancouver. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Always Be My Maybe \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">She thought that the restaurant would really love the fact that she had given them the shout-out, and it turns out they they kind of didn’t care. She put on Instagram that she had gone to the restaurant, and this is her caption. So the picture is of her waiting in line at this place that she’s just made super famous in a movie. And she’s like, Me, hello, I’m Ali Wong. The dim sum scene in my movie Always Be My Maybe is based on this very place where I grew up eating. Good luck, dim sum staff. We don’t give a bleep. We have no idea who you are. Get in line.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Oh I love that. Tough being famous in San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">There’s a lot of little things in there that are San Francisco too. Ali Wong got Dan the Automator to do the score and also write the music for the greatest San Francisco band in a movie, Hello Peril, which do three songs in the movie, including the closing credits. My only complaint, and Carly mentioned it, and I don’t want to start like negative ad campaigns here, but we’re winning Ben’s vote, and there’s only one vote. They did the exterior on Clement Street, and they’re walking down what’s supposed to be Clement Street, and it is so not Clements Street. It is so Vancouver. I love the movie, but as a location, San Francisco location movie, I find it to be kind of hit and miss.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">All right, well let’s get on to your number three then, mister Hartlob. What do you got?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">Mine is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Invasion of the Body Snatchers\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">. I think it’s the most underrated San Francisco movie. Shot, it came out in 1978, a Philip Kaufman movie. He’s a San Francisco resident to this day. And it was a remake of a 1950s movie about alien pods that come in, they’re replacing the human race slowly, and you can’t fall asleep. And it’s there’s just a lot of intrigue and it’s a thriller and it’s horror. I love it as a San Francisco movie because a lot of directors come in and they love San Francisco, but they shoot from the same seven places. You know, Telegraph Hill, Golden Gate Bridge, Palace of Fine Arts. Philip Kaufman shot in places that I think he always wanted to shoot, that that really add to the movie. The tenderloin is a huge, huge character in the movie. Civic Center. There’s a couple of really cool shots there. Obscure places like Pier 70. Right here, we have Donald Sutherland in a very famous scene where he is revealing himself to be one of the pod people by screeching. The screech is a pig squeal, I believe played backwards. And he’s pointing, he’s pointing at you on the other side of the screen. He’s in the civic center, pointing at you. Great San Francisco movie, great horror movie, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Invasion of the Body Snatchers\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">I loved this movie. I actually was ashamed to say that I hadn’t seen it before I started prepping to have this conversation with you guys. And it starts off, you know, like a little bit cheesy, and I was like, oh god, what has Peter chosen? I couldn’t have been more wrong. It is such a great movie. I I could not agree ever with more with everything he said about the way it uses San Francisco, and particularly like a lot of like civic buildings around Civic Center, and just like a lot of it set at the the Department of Public Health, which I always like it when those guys are the good guys in the movie.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">You know, I haven’t seen this movie yet. It’s now gonna be on my list, I will say, but I am I love the idea that there’s a movie that that really highlights some of the lesser used locations around San Francisco. Because I think there is, you know, a divide between how tourists experience the city and how people who live in the city experience the city. Let’s move on to your number two picks, making our way up the list. Carly, what do you have?\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">Well, I did say I was gonna do Crazy Sexy Cool, and we’re now into the sexy phase of this pick. It is 1992’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Basic Instinct\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">. And I thought long and hard before choosing this one because, you know, many parts of it haven’t aged well, let’s be honest. But it is a prime example of the 90s erotic thriller. It is made by Paul Verhoven, and the plot is ludicrous. Michael Douglas is the shady San Francisco detective. He’s investigating this bombshell crime novelist, Sharon Stone, who definitely, maybe almost certainly, killed one of her boyfriends. It’s a romp, it’s a riot, it wants to be a Hitchcock noir very, very badly. So it looks way better than it needs to, and it sounds way better than it needs to. I tried long and hard to find a safe for Bay Curious clip from this movie and failed miserably. So let’s just listen to a little bit of the trailer.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Basic Instinct \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">I love the way it uses San Francisco. It goes for all the classic shots, like, you know, there’s North Beach, there’s Telegraph Hill. One thing I should note is that San Francisco wasn’t always thrilled about being the kind of poster child for this movie. Sharon Stone’s character is bisexual and setting a movie with an LGBTQ woman who has a lot of sex and kills the people that she sleeps with in San Francisco in 1992 at a time when AIDS was still so prevalent and claiming so many lives. Like that’s a definite choice. And this isn’t just like 2020 hindsight. The movie was picketed at the time by LGBTQ groups for being kind of prejudice in its representation of that community. So I do feel like I should flag that. A lot of that animosity, I feel like, has gone away over time, but it’s definitely something to note. Also, I think the reason people don’t like this movie is that they take it quite seriously. And I think if you look at Paul Behoven’s back catalog, like Starship Troopers, like Total Recall, like Showgirls, I think he has a sense of humor about what he’s doing. So I think that this movie should be taken as a time capsule and with a hefty fistful of salt.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">I love this film. I think it’s a great pick. I think it’s underrated. There are more helicopter shots in this movie of San Francisco, of someone driving a car around a windy road. His embracing San Francisco, making love to San Francisco with his camera budget was off the charts. So I think it’s a great pick. I really like this movie a lot.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Definitely one that makes San Francisco look sexy, Carly. Don’t you agree?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">Well, okay, so this is where I genuinely want you guys’ opinion, because I have spent the best part of a week thinking about this question. Is San Francisco a sexy city? And I was trying to think of cities that are like off the charts sexy, you’re right. New Orleans sprang to mind. But then I’m thinking, is it just about like sweating? Is it just like the weather? Is is is that all sexiness is to me.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b>\u003cspan style=\"font-weight: 400;\"> I gotta say, the the weather is it. You don’t sweat in San Francisco. LA sexy city. New Orleans sexy city. Miami. Miami Vice sexy city. Streets of San Francisco is not a sexy TV show.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">I’m gonna have to disagree with you guys and you are the cultural critics here, so your your opinion has more weight than mine, but I don’t know, I see fog and I wanna cuddle. That’s my take.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Yeah, I don’t know.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">I think Peter and I are of the same mind here where we’re just like It’s step one, guys.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">It’s a cuddly city. I don’t know if it’s a sexy city.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">I cuddle my dog. All right.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">All right. Well let’s get into Peter, what’s your number two pick?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">My number two is\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\"> Zodiac\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">. It is a David Fincher film. He shot \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">The Game\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> first and then \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Zodiac\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> in San Francisco. And second to Hitchcock, I think he’s the one who really is a great sensibility for San Francisco. It is shot also in the San Francisco Chronicle Newsroom. They shot in our publisher’s office, I believe, outside, and they used our lobby and elevator. The story goes that David Fincher came up to our newsroom, walked inside, said an expletive and said this is too much of a mess, walked outside and they recreated our newsroom pillar for pillar. You cannot tell the difference in Los Angeles. But absolutely, absolutely captures a place in time. The music choices, the visual cues, the production design, nothing’s wasted. And honestly, even though they didn’t shoot in the Chronicle Newsroom, the newsroom banter is pitch perfect. Here’s a little bit of it right now.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Vertigo \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">So that’s the way we talk. That’s the way we talk to each other. It’s all like a David Fincher or Aaron Sorkin drama.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Vertigo\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">No, this is this is a great film, and the plot is almost secondary in this film, a killer from the 70s and 80s who they never caught, and I’m giving away the ending, but the ending isn’t the important thing. The important thing is the mood, the city, what it felt like to be in the 1970s and be scared. I was a little kid. I remember hearing about the Zodiac Killer, and this movie brought that back so well. My favorite shot in the film, it is a visual effects shot of them in sped up time building the Transamerica Pyramid, and again, just David Fincher using every little arrow in his quiver to capture that mood of San Francisco at a particular time. It’s a fantastic location movie.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">And I think it’s the only one on this list that is based on a true story unless there’s something I need to know about \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Invasion of the Body Snatchers\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">I think that’s true. And and and you know, there there’s a little bit of myth in there, but he he’s stuck a lot closer than a lot of other people do to the facts.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">I will say as somebody who was not living in the Bay Area at the time of Zodiac, I found \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Zodiac\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> to be really helpful just to kind of I guess get a sense of what it was like to be here during that time, like you experienced, Peter.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Yeah, and people remember and if people weren’t around, they know the myth. When when people come to the chronicle and ask for a tour, the two things they want to see are Herb Kane’s typewriter and the Zodiac Files. Can you show us the Zodiac files?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">All right, let’s get on to your top choices. These are top of your list. Let’s let’s hear it, Carly. What do you got?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">Okay, guys, I’m reaching the climax of my crazy sexy cool plan, which I think paid off. My number one pick, it’s Crazy San Francisco. It’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Star Trek 4\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">. 1986. It is directed by Mr. Spark himself, Leonard Nimoy. I almost find it hard to talk about this film kind of critically because I love it so much. Just to quickly tell you about the plot, it picks up where 1984’s Search for Spark, Star Trek III left off. So the Earth of the Future is being menaced by a big alien probe. Only Kirk and the crew of the Enterprise can save the planet by time traveling back to 1980s San Francisco to bring back two Wales to talk to the alien probe and get it to leave Earth alone. You have to go with it. That’s the plot, and I can’t change that, okay? It’s not the best Star Trek movie. That’s The Wrath of Khan. That’s just undisputable. But it is the best Star Trek movie set in San Francisco with Wales, which is to say, it is the only one of that. Where do I start with how wonderful this movie is? People think I’m joking when I say that it’s the reason I moved to San Francisco, and I’m like 5% joking about that. But the other 95% is really serious. Growing up with this movie and watching San Francisco just look so fun, so warm, so crazy, so inviting. Like I wanted to be a part of that. It is totally joyous. Ben, if you’re listening and you haven’t seen Star Trek 4, don’t worry. You don’t need to watch any of the other Star Trek movies. It stands alone, it’s kind of perfect in that sense. The pleasures of watching like the quite serious crew of the Enterprise traverse San Francisco and just have a ball doing it. It’s just great. So I really wanted to play you one of the most iconic scenes, which is Kirk and Spock on a Muni bus that is traveling over the Golden Gate Bridge. Mr. Spock has to take out a young punk on the bus and get him to stop playing his music. And then this happens.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Star Trek 4\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">The gag there, of course, being that Jacqueline Cezanne and Harold Robbins. Oh, I had to look up Harold Robbins, by the way. Like, they are not the giants of literature, but it’s just hilarious to think that the people of the future have deemed them to be so. I know of no movie that is like warmer and and sweeter than Star Trek Four. So, Ben, pick me, pick Star Trek Four. The choice is easy. Come on.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">You know, I don’t even wanna argue against you, and I’m gonna pick a number one, but I love this film so much. It is just a lovely movie, funny movie, finds all kinds of different ways to explore San Francisco and make it part of the gag, but in a in a funny, warm way. It’s one of the greats, one of the classics.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">All right, and up there with one of the greats must be your number one choice, Peter. What do you have for your number one?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">2015 Pixar film Inside Out. It takes place inside the brain of tween girl coming of age, Riley. And then also outside in San Francisco, Riley has moved from I believe Minnesota to San Francisco, and she’s horrified. And what the Pixar people did with animation is so fantastic. They take San Francisco and make it like 10 to 15% more. The streets are a little narrower, parking’s a little harder, street signs are a little more incomprehensible. Fantastic, fantastic use of San Francisco. It’s more of a character in the movie than any of their other movies. They had always kind of flirted around with the Bay Area and maybe dropped San Pablo Avenue and the Incredibles. This one, they really talk about San Francisco. And you don’t see that often. You see a lot of mainstream films set in San Francisco, and San Francisco is a backdrop and it’s almost like a prop. Very few films are a commentary on the city. Last black man in San Francisco, Medicine for Melancholy, and Inside Out. Inside Out is poking fun of the city. It is completely honest. If you live here, you totally get it. If you’re not from here, you’re gonna get some of the humor, including taking just an absolute, absolute dagger stab at our Pizza.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Inside Out\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Honestly, the first time I saw this film, I didn’t love it. I liked it a lot. I’m glad I didn’t review it because I think I would have given it less than the highest rating. Upon rewatch, there’s so many little things that come out. You learn more things, and the San Francisco parts become clearer and clearer. I just think it’s a fantastic film, and it’s a fantastic San Francisco location film.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Well I think Ben is gonna have a really hard time deciding between all of those very compelling pitches for for movies he should be watching this weekend. Peter Hartlob, Bay Area native, culture critic with the SF Chronicle, co-host of Total SF podcast. Thank you so much. Is there anywhere that listeners can connect with you further?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Subscribe to the Total SF newsletter, that’s where I explore the Bay Area and pass on all my favorite finds, the best hikes to take, the best tourist traps to visit, where I’m finding the best papusas to eat, and read my work at sfchronicle.com.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Awesome. And Carly, you are my longtime pop culture, I don’t know, guru. You’ve you’ve really helped me with questions over the years. So thank you for coming on the show. Where can people connect with you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">Well, you can find my work for Bay Curious in the podcast feed, including my two part series on the Donner Party in the archives, since we’re now feeling the wintry vibes here in the bay. You can also visit kqbd.org slash explainers to see what me and my team are up to every day in the KQED newsroom.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Alright, well thanks to you both. Big thanks to Ben for asking this week’s question.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">Carly and Peter, I appreciate your suggestions for which San Francisco movie I should watch next. Full disclosure, three of them I’ve already seen. Those are: Always Be My Maybe, Basic Instinct and Zodiac, which is one of my all-time favorite movies. So it comes down to the other three, but I’m torn between Inside Out and Star Trek Four. But in the end, my vote is going to go to Star Trek Four. I’ve never seen a Star Trek movie, but it seems to be such a beloved film, and Carly campaigned it very, very well. So tonight, that’s what I’ll be watching.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">This is our last episode of the year, and I wanted to offer a warm thanks to you, our listeners, for your inspiring questions and your steadfast support. If you’re not yet a member of KQED, join us now by making a year-end donation. Details at kqed.org/slash donate. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Bay Curious is made at KQED in San Francisco by Katrina Schwartz, Christopher Beale and me, Olivia Allen Price. Additional Engineering by Jim Bennett. We get extra support from Maha Sanad, Katie Springer, Jen Chien,\u003c/span> \u003cspan style=\"font-weight: 400;\">Ethan Tovin Lindsay and everyone on Team KQED. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Some members of the KQED podcast team are represented by the Screen Actors Guild American Federation of Television and Radio Artists, San Francisco, Northern California local. I hope you have a wonderful holiday. I’ll see ya in twenty twenty six.\u003c/span>\u003c/p>\n\u003c/iframe>\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This article originally published in 2020. It has been lightly updated.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Bay Curious listener Ben Kaiser asked for our favorite movies that are filmed and set in San Francisco. While we don’t normally take on subjective questions, we figured with cozy season upon us, it was a great time to cuddle up on the sofa with some classics.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4565381532&light=true\" width=\"100%\" we asked peter hartlaub san francisco chronicle culture critic and host carly severn kqed senior editor of audience news resident movie obsessive to share their top picks on a recent bay curious podcast episode. they shared the movies would be most likely sit down watch over holidays not necessarily critically acclaimed films. our some favorites too>Star Trek IV: The Voyage Home (1986)\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QOhoIBkOYf0'\n title='//www.youtube.com/embed/QOhoIBkOYf0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0092007/\">IMDB\u003c/a>:\u003c/strong> “To save Earth from an alien probe, Admiral James T. Kirk and his fugitive crew go back in time to San Francisco in 1986 to retrieve the only beings who can communicate with it: humpback whales.”\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> This charming, lighthearted movie makes the Bay Area look undeniably fun. One KQED fan said the film was “influential in shaping how I think about the environment and is the Star Trek movie with the most heart in it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch1>Inside Out (2015)\u003c/h1>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yRUAzGQ3nSY'\n title='//www.youtube.com/embed/yRUAzGQ3nSY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt2096673/\">IMDB\u003c/a>:\u003c/strong> “After young Riley is uprooted from her Midwest life and moved to San Francisco, her emotions — Joy, Fear, Anger, Disgust and Sadness — conflict on how best to navigate a new city, house, and school.”\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> Pixar has dropped Bay Area references in several animated films over the years, but “Inside Out” takes it to the next level. The film takes place in the Bay Area, and features rich and detailed imagery from around the region.\u003c/p>\n\u003ch1>Zodiac (2007)\u003c/h1>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yNncHPl1UXg'\n title='//www.youtube.com/embed/yNncHPl1UXg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0443706/\">IMDB\u003c/a>:\u003c/strong> “In the late 1960s/early 1970s, a San Francisco cartoonist becomes an amateur detective obsessed with tracking down the Zodiac Killer, an unidentified individual who terrorizes Northern California with a killing spree.”\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “Second only to Alfred Hitchcock, director David Fincher has a great sensibility for San Francisco,” says Peter Hartlaub. “This film absolutely captures a place in time. The music choices, the visual cues, the production design. Nothing’s wasted. I was a little kid, and I remember hearing about the Zodiac killer, and this movie brought that back so well.”\u003c/p>\n\u003ch1>The Last Black Man in San Francisco (2019)\u003c/h1>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/C0FnJDhY9-0'\n title='//www.youtube.com/embed/C0FnJDhY9-0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt4353250/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A young man searches for home in the changing city that seems to have left him behind.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> One of the few films on our list that is a commentary on the Bay Area, and how gentrification has decimated once vibrant Black neighborhoods. The cinematography will absolutely take your breath away. Pause the movie at any point and you might be inspired to hang the still image on your wall.\u003c/p>\n\u003ch1>Basic Instinct (1992)\u003c/h1>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4f96x3UpoaQ'\n title='//www.youtube.com/embed/4f96x3UpoaQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0103772/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A violent police detective investigates a brutal murder that might involve a manipulative and seductive novelist.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “The plot is ludicrous … but it’s a romp. It’s a riot. It also looks way better than it needs to, and it sounds way better than it needs to,” says Carly Severn. “I love the way it uses San Francisco. It goes for all the classic shots — there’s North Beach, there’s Telegraph Hill.” You’ll also find lots of gorgeous helicopter shots in this one.\u003c/p>\n\u003ch1>Always Be My Maybe (2019)\u003c/h1>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iHBcWHY9lN4'\n title='//www.youtube.com/embed/iHBcWHY9lN4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt7374948/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> Everyone assumed Sasha and Marcus would wind up together except for Sasha and Marcus. Reconnecting after 15 years, the two start to wonder — maybe?\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “It makes San Francisco look really cool, but it also makes San Francisco look normal. A lot of it is set in the Outer Richmond,” says Carly Severn. “As a resident of the Bay Area there’s such a pleasure in looking at the screen and saying, ‘Oh, I know that! That’s cool!”\u003c/p>\n\u003ch1>Invasion of the Body Snatchers (1978)\u003c/h1>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vc_0dlmSq7I'\n title='//www.youtube.com/embed/vc_0dlmSq7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0077745/?ref_=fn_al_tt_1\">IMDB\u003c/a>: \u003c/strong>When strange seeds drift to earth from space, mysterious pods begin to grow and invade San Francisco, where they replicate the residents into emotionless automatons one body at a time.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “I think this is the most underrated San Francisco movie,” says Peter Hartlaub. “A lot of directors come in and they love San Francisco, but they shoot from the same seven places — Telegraph Hill, the Golden Gate Bridge, The Palace of Fine Arts. Director Philip Kaufman shot in places I think he always wanted to shoot — the Tenderloin is a huge character in the movie. Civic Center. Obscure places like Pier 70.”\u003c/p>\n\u003ch1>Vertigo (1958)\u003c/h1>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Z5jvQwwHQNY'\n title='//www.youtube.com/embed/Z5jvQwwHQNY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0052357/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A former police detective juggles wrestling with his personal demons and becoming obsessed with a hauntingly beautiful woman.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> If you’re going to watch one movie set in San Francisco, a lot of critics would argue it should be this Alfred Hitchcock classic. The plot is woven into the location in a way that few movies can rival. And if you’re wanting to really *see* the city — this film is a hit parade of gorgeous locations.\u003c/p>\n\u003ch1>So I Married an Axe Murderer! (1993)\u003c/h1>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yto08I_IiAg'\n title='//www.youtube.com/embed/yto08I_IiAg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0108174/?ref_=nv_sr_srsg_0\">IMDB\u003c/a>:\u003c/strong> A San Francisco poet who fears commitment suspects his girlfriend may have a knack for killing off her significant others.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> One KQED fan says it “captures something of the SF that I grew up in” and another calls this film “a love letter to SF.” It highlights many of the city’s most famous sights — like the Golden Gate Bridge to the Palace of Fine Arts and Alcatraz.\u003c/p>\n\u003ch1>Bullitt (1968)\u003c/h1>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BsvD806qNM8'\n title='//www.youtube.com/embed/BsvD806qNM8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0062765/?ref_=fn_al_tt_1\">IMDB:\u003c/a>\u003c/strong> An all guts, no glory San Francisco cop becomes determined to find the underworld kingpin that killed the witness in his protection.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> Do we need to say much more than “epic car chase scenes on San Francisco hills?” This film features tons of on-location filming, so you’ll get a big taste of the city.\u003c/p>\n\u003ch1>Mrs. Doubtfire (1993)\u003c/h1>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3euGQ7-brs4'\n title='//www.youtube.com/embed/3euGQ7-brs4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0107614/?ref_=fn_al_tt_1\">IMDB\u003c/a>: \u003c/strong>After a bitter divorce, an actor disguises himself as a female housekeeper to spend time with his children held in custody by his former wife.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> We couldn’t leave this film off the list. After all, it features one of the Bay Area’s most beloved celebrities, Robin Williams. After his death, the house featured in this film at 2640 Steiner St. became a pop-up memorial. You’ll spot everything from ordinary streets to iconic San Francisco locations throughout the film.\u003c/p>\n\u003ch1>The Rock (1996)\u003c/h1>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6DWu_dT0Phc'\n title='//www.youtube.com/embed/6DWu_dT0Phc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0117500/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A mild-mannered chemist and an ex-con must lead the counterstrike when a rogue group of military men, led by a renegade general, threaten a nerve gas attack from Alcatraz against San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> Much of the film was shot on in and around Alcatraz, a tall order given the production crew had to do it all while tour groups milled around the site of the former federal penitentiary. Other locations in the film include the Fairmont Hotel, San Francisco City Hall and Pier 39.\u003c/p>\n\u003cp>These 12 films are still just the tip of the iceberg when it comes to great movies filmed in the Bay Area. Other audience favorites include: Chan Is Missing, The Conversation, Blindspotting, Sorry to Bother You, The Princess Diaries, Parrots of Telegraph Hill and La Mission. Find even more suggestions on \u003ca href=\"https://x.com/KQED/status/1336822068541734912\">this X thread\u003c/a>, and on \u003ca href=\"https://www.facebook.com/KQED/posts/10157640695916191\">KQED’s Facebook page. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Hey everyone, I’m Olivia Allen Price and this is Bay Curious. Let’s go!\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">My name is Ben Kaiser and believe it or not I live in Atlanta, Georgia.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Ben visited San Francisco for the first time four years ago. And as soon as he got here, he felt a connection.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">It sort of seemed like I had been there before or that I belonged there. And I just absolutely fell in love with it. And I’ve been back in four years, probably nine or ten times.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">That’s a lot of flights between Atlanta and SFO. Now, when Ben can’t be here, he’s found a way to visit without leaving his living room.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">Because I don’t live in San Francisco, I want to be connected to it as much as I possibly can. And one of the ways is watching movies shot there.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Anything that can transport him here, even if only for a few hours. Ben’s seen a lot already, but he wants more, so he came to Bay Curious.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">I asked what were some of the movies set in San Francisco that were actually shot in San Francisco, and which ones are your favorites or your recommendations?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Now we don’t often delve into subjective matters here on the show, but hey, it’s the holidays, cozy season is here, and we thought maybe we could all use some solid movie recommendations. Today’s episode will sound a little bit different from what you usually hear on Bay Curious. We’ve got a panel of local cultural experts here to convince Ben and you how you should spend some time devouring the Bay Area in all its cinematic glory. This episode first aired in 2020 and has been lightly revised for you today. So throw some popcorn in the microwave, cozy up on your couch, and press play. All right, I have to start out this episode with a confession. I, Olivia Allen Price, am really bad at movies, like possibly the last person that you would want on your trivia team during the movie round. So I called in some much needed backup on this one. Here to help me out today is Peter Hartlaub. He was born and raised in the Bay Area. He’s a cultural critic with the San Francisco Chronicle, and he writes the total SF newsletter. Welcome, Peter.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Thank you so much for having me.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Yeah. Also, I’ve got Carly Severn here. She’s a senior editor here at KQED and a Bay Curious Reporter, who you are probably familiar with. She’s also a former co-host of The Cooler Podcast and one of KQED’s resident movie obsessives. Hey Carly.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">Hey, Olivia. Hey, Peter. Lovely to be here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">So before we get into recommendations, I’m curious, what do you guys think makes San Francisco a good spot to shoot a film?\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Internationally recognizable landmarks, Golden Gate Bridge, Alcatraz, the topography. You can get up on a hill and see those landmarks. You can have a chase scene and get a little air. But I think the biggest thing is the weather. And it’s sort of the secret ingredient because it allows a director to convey mood. And then the city sort of becomes the mood of the director. You have the fog coming in, you have the sun coming in, subtle shifts. You can’t do that in Atlanta. You can’t do it in Houston. You can’t even really do that in LA. And I think that’s a big reason why San Francisco ends up being, you know, a top pick if you’re a director and you want to shoot like a thriller or an action film, something like that.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">I would agree with all of that and I must kind of confess I do have a similar cinematic relationship with San Francisco as listener Ben does. I grew up watching San Francisco on screen as a kid in the middle of nowhere in England and it just seemed like the coolest place in the world to me. So I get it. I get his quest.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Now, despite all these things, all these sort of great attributes that make, you know, San Francisco a great place to shoot, you still don’t see it in films as often as, you know, in New York or in LA or maybe even in Atlanta, even though you don’t necessarily know you’re in Atlanta when you are in Atlanta. A lot of sh movies are shot there. Why do you all think that is?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">It’s expensive to get a hotel here, much less a bunch of hotels if you’ve got a lot of people coming. People are all crammed in together. And if you’re gonna shoot Sister Act in Noe Valley, or if you’re gonna shoot a car chase scene going through Russian Hill, the neighbors are gonna notice. And I think San Francisco, more than some of those other cities, because it’s sort of compact like that, makes it harder to film. Expensive and compact.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">Yeah, I think logistically you have all of these issues, but I do think there’s this thematic problem with San Francisco, it’s so in your face. It is it does end up being a character. If you want to just have like any town USA to set your story in, like San Francisco is not the place to come. It really isn’t, because you’ll end up having to do all of this narrative work bending over backwards to kind of explain why it’s a San Francisco story. That’s my take anyway.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Well, I do want to get on to answering Ben’s question and get to some of your San Francisco movie recommendations, but I thought we’d actually start with his because he has seen a lot of movies and he has his own thoughts.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">Vertigo’s probably my all time favorite movie in the fact that it’s shot in San Francisco. But, you know, a lot of the real common ones, you know, I I’m not embarrassed to say the other night I watched The Rock and enjoyed The Rock. But you know, Mrs. Doubtfire, Milk, The Room, those are just, you know, some of the ones that I enjoy.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">So it sounds like he’s definitely seen some of the classics, which I know we aren’t necessarily gonna talk as much about today in your lists, right?\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Vertigo, The Conversation, the Hitchcock films, the Coppola films. If I’m teaching a film class about San Francisco, they’re gonna be right in there. If I’m turning on my TV right now ’cause I just need to chill and escape a little bit, I’ve got a whole different set of films that I’m gonna pick, my favorite films, and that’s what I’m gonna pick today.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">A hundred percent cosign. And may I just say to Ben that he never has to be embarrassed about watching the rock. There is nothing to be embarrassed about there.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">It’s totally cool to just love the rock and shout it from the rooftops.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">All right, so I asked each of you guys to bring your top three recommendations. And what we’re gonna do is go through all of those and then let Ben decide who has been the most convincing and which movie he is going to watch next. So let’s dive in, Carly. \u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cspan style=\"font-weight: 400;\">Let us know what is your number three pick and why.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Carly Severn: First of all, I want to kind of set up my thinking here. I wanted to pay homage to the classic TLC album Crazy Sexy Cool with three picks that make San Francisco look either crazy, sexy, or cool. And so I’m gonna start with cool. It is Always Be My Maybe. It is the 2019 Netflix movie directed by Nahnatchka Khan . It’s got Ali Wong as a celebrity chef, and she returns home to San Francisco, where she grew up, and she reconnects with her childhood boyfriend, Randall Park.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Always Be My Maybe\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Carly Severn \u003c/b>\u003cspan style=\"font-weight: 400;\">[00:07:18] \u003c/span>\u003cspan style=\"font-weight: 400;\"> I love this movie so much. It makes San Francisco look really cool, but it also makes it look really normal. And it’s not the kind of parade of Golden Gate Bridge, Golden Gate Park Ad nauseum. Like a lot of it’s set in the outer Richmond, like the farmers market that they go to. It’s not some bougie little farmer’s market. It’s the like the civic center farmers market. So as a resident of the Bay Area, there’s such a pleasure in in kind of doing that thing where you’re looking at the screen going like, Oh, I know that. That’s really cool. I should admit that so much of it is filmed in San Francisco at these amazing locations that are like super normal and super lived in. But Vancouver, of course it’s always Vancouver. Vancouver actually doubles for a lot of the San Francisco locations. Particularly Goodluck Dim sum, which is where Ali Wong it’s one of her favorite restaurants in San Francisco. She’s it’s on Clements Street. She says it’s where she grew up eating. She really wanted that set there, but they had to double the interior in Vancouver. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Always Be My Maybe \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">She thought that the restaurant would really love the fact that she had given them the shout-out, and it turns out they they kind of didn’t care. She put on Instagram that she had gone to the restaurant, and this is her caption. So the picture is of her waiting in line at this place that she’s just made super famous in a movie. And she’s like, Me, hello, I’m Ali Wong. The dim sum scene in my movie Always Be My Maybe is based on this very place where I grew up eating. Good luck, dim sum staff. We don’t give a bleep. We have no idea who you are. Get in line.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Oh I love that. Tough being famous in San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">There’s a lot of little things in there that are San Francisco too. Ali Wong got Dan the Automator to do the score and also write the music for the greatest San Francisco band in a movie, Hello Peril, which do three songs in the movie, including the closing credits. My only complaint, and Carly mentioned it, and I don’t want to start like negative ad campaigns here, but we’re winning Ben’s vote, and there’s only one vote. They did the exterior on Clement Street, and they’re walking down what’s supposed to be Clement Street, and it is so not Clements Street. It is so Vancouver. I love the movie, but as a location, San Francisco location movie, I find it to be kind of hit and miss.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">All right, well let’s get on to your number three then, mister Hartlob. What do you got?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">Mine is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Invasion of the Body Snatchers\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">. I think it’s the most underrated San Francisco movie. Shot, it came out in 1978, a Philip Kaufman movie. He’s a San Francisco resident to this day. And it was a remake of a 1950s movie about alien pods that come in, they’re replacing the human race slowly, and you can’t fall asleep. And it’s there’s just a lot of intrigue and it’s a thriller and it’s horror. I love it as a San Francisco movie because a lot of directors come in and they love San Francisco, but they shoot from the same seven places. You know, Telegraph Hill, Golden Gate Bridge, Palace of Fine Arts. Philip Kaufman shot in places that I think he always wanted to shoot, that that really add to the movie. The tenderloin is a huge, huge character in the movie. Civic Center. There’s a couple of really cool shots there. Obscure places like Pier 70. Right here, we have Donald Sutherland in a very famous scene where he is revealing himself to be one of the pod people by screeching. The screech is a pig squeal, I believe played backwards. And he’s pointing, he’s pointing at you on the other side of the screen. He’s in the civic center, pointing at you. Great San Francisco movie, great horror movie, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Invasion of the Body Snatchers\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">I loved this movie. I actually was ashamed to say that I hadn’t seen it before I started prepping to have this conversation with you guys. And it starts off, you know, like a little bit cheesy, and I was like, oh god, what has Peter chosen? I couldn’t have been more wrong. It is such a great movie. I I could not agree ever with more with everything he said about the way it uses San Francisco, and particularly like a lot of like civic buildings around Civic Center, and just like a lot of it set at the the Department of Public Health, which I always like it when those guys are the good guys in the movie.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">You know, I haven’t seen this movie yet. It’s now gonna be on my list, I will say, but I am I love the idea that there’s a movie that that really highlights some of the lesser used locations around San Francisco. Because I think there is, you know, a divide between how tourists experience the city and how people who live in the city experience the city. Let’s move on to your number two picks, making our way up the list. Carly, what do you have?\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">Well, I did say I was gonna do Crazy Sexy Cool, and we’re now into the sexy phase of this pick. It is 1992’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Basic Instinct\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">. And I thought long and hard before choosing this one because, you know, many parts of it haven’t aged well, let’s be honest. But it is a prime example of the 90s erotic thriller. It is made by Paul Verhoven, and the plot is ludicrous. Michael Douglas is the shady San Francisco detective. He’s investigating this bombshell crime novelist, Sharon Stone, who definitely, maybe almost certainly, killed one of her boyfriends. It’s a romp, it’s a riot, it wants to be a Hitchcock noir very, very badly. So it looks way better than it needs to, and it sounds way better than it needs to. I tried long and hard to find a safe for Bay Curious clip from this movie and failed miserably. So let’s just listen to a little bit of the trailer.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Basic Instinct \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">I love the way it uses San Francisco. It goes for all the classic shots, like, you know, there’s North Beach, there’s Telegraph Hill. One thing I should note is that San Francisco wasn’t always thrilled about being the kind of poster child for this movie. Sharon Stone’s character is bisexual and setting a movie with an LGBTQ woman who has a lot of sex and kills the people that she sleeps with in San Francisco in 1992 at a time when AIDS was still so prevalent and claiming so many lives. Like that’s a definite choice. And this isn’t just like 2020 hindsight. The movie was picketed at the time by LGBTQ groups for being kind of prejudice in its representation of that community. So I do feel like I should flag that. A lot of that animosity, I feel like, has gone away over time, but it’s definitely something to note. Also, I think the reason people don’t like this movie is that they take it quite seriously. And I think if you look at Paul Behoven’s back catalog, like Starship Troopers, like Total Recall, like Showgirls, I think he has a sense of humor about what he’s doing. So I think that this movie should be taken as a time capsule and with a hefty fistful of salt.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">I love this film. I think it’s a great pick. I think it’s underrated. There are more helicopter shots in this movie of San Francisco, of someone driving a car around a windy road. His embracing San Francisco, making love to San Francisco with his camera budget was off the charts. So I think it’s a great pick. I really like this movie a lot.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Definitely one that makes San Francisco look sexy, Carly. Don’t you agree?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">Well, okay, so this is where I genuinely want you guys’ opinion, because I have spent the best part of a week thinking about this question. Is San Francisco a sexy city? And I was trying to think of cities that are like off the charts sexy, you’re right. New Orleans sprang to mind. But then I’m thinking, is it just about like sweating? Is it just like the weather? Is is is that all sexiness is to me.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b>\u003cspan style=\"font-weight: 400;\"> I gotta say, the the weather is it. You don’t sweat in San Francisco. LA sexy city. New Orleans sexy city. Miami. Miami Vice sexy city. Streets of San Francisco is not a sexy TV show.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">I’m gonna have to disagree with you guys and you are the cultural critics here, so your your opinion has more weight than mine, but I don’t know, I see fog and I wanna cuddle. That’s my take.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Yeah, I don’t know.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">I think Peter and I are of the same mind here where we’re just like It’s step one, guys.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">It’s a cuddly city. I don’t know if it’s a sexy city.\u003c/span>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">I cuddle my dog. All right.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">All right. Well let’s get into Peter, what’s your number two pick?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">My number two is\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\"> Zodiac\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">. It is a David Fincher film. He shot \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">The Game\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> first and then \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Zodiac\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> in San Francisco. And second to Hitchcock, I think he’s the one who really is a great sensibility for San Francisco. It is shot also in the San Francisco Chronicle Newsroom. They shot in our publisher’s office, I believe, outside, and they used our lobby and elevator. The story goes that David Fincher came up to our newsroom, walked inside, said an expletive and said this is too much of a mess, walked outside and they recreated our newsroom pillar for pillar. You cannot tell the difference in Los Angeles. But absolutely, absolutely captures a place in time. The music choices, the visual cues, the production design, nothing’s wasted. And honestly, even though they didn’t shoot in the Chronicle Newsroom, the newsroom banter is pitch perfect. Here’s a little bit of it right now.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Vertigo \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">So that’s the way we talk. That’s the way we talk to each other. It’s all like a David Fincher or Aaron Sorkin drama.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Vertigo\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">No, this is this is a great film, and the plot is almost secondary in this film, a killer from the 70s and 80s who they never caught, and I’m giving away the ending, but the ending isn’t the important thing. The important thing is the mood, the city, what it felt like to be in the 1970s and be scared. I was a little kid. I remember hearing about the Zodiac Killer, and this movie brought that back so well. My favorite shot in the film, it is a visual effects shot of them in sped up time building the Transamerica Pyramid, and again, just David Fincher using every little arrow in his quiver to capture that mood of San Francisco at a particular time. It’s a fantastic location movie.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">And I think it’s the only one on this list that is based on a true story unless there’s something I need to know about \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Invasion of the Body Snatchers\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">I think that’s true. And and and you know, there there’s a little bit of myth in there, but he he’s stuck a lot closer than a lot of other people do to the facts.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">I will say as somebody who was not living in the Bay Area at the time of Zodiac, I found \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Zodiac\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> to be really helpful just to kind of I guess get a sense of what it was like to be here during that time, like you experienced, Peter.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Yeah, and people remember and if people weren’t around, they know the myth. When when people come to the chronicle and ask for a tour, the two things they want to see are Herb Kane’s typewriter and the Zodiac Files. Can you show us the Zodiac files?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">All right, let’s get on to your top choices. These are top of your list. Let’s let’s hear it, Carly. What do you got?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">Okay, guys, I’m reaching the climax of my crazy sexy cool plan, which I think paid off. My number one pick, it’s Crazy San Francisco. It’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Star Trek 4\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">. 1986. It is directed by Mr. Spark himself, Leonard Nimoy. I almost find it hard to talk about this film kind of critically because I love it so much. Just to quickly tell you about the plot, it picks up where 1984’s Search for Spark, Star Trek III left off. So the Earth of the Future is being menaced by a big alien probe. Only Kirk and the crew of the Enterprise can save the planet by time traveling back to 1980s San Francisco to bring back two Wales to talk to the alien probe and get it to leave Earth alone. You have to go with it. That’s the plot, and I can’t change that, okay? It’s not the best Star Trek movie. That’s The Wrath of Khan. That’s just undisputable. But it is the best Star Trek movie set in San Francisco with Wales, which is to say, it is the only one of that. Where do I start with how wonderful this movie is? People think I’m joking when I say that it’s the reason I moved to San Francisco, and I’m like 5% joking about that. But the other 95% is really serious. Growing up with this movie and watching San Francisco just look so fun, so warm, so crazy, so inviting. Like I wanted to be a part of that. It is totally joyous. Ben, if you’re listening and you haven’t seen Star Trek 4, don’t worry. You don’t need to watch any of the other Star Trek movies. It stands alone, it’s kind of perfect in that sense. The pleasures of watching like the quite serious crew of the Enterprise traverse San Francisco and just have a ball doing it. It’s just great. So I really wanted to play you one of the most iconic scenes, which is Kirk and Spock on a Muni bus that is traveling over the Golden Gate Bridge. Mr. Spock has to take out a young punk on the bus and get him to stop playing his music. And then this happens.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Star Trek 4\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Carly Severn: \u003c/b>\u003cspan style=\"font-weight: 400;\">The gag there, of course, being that Jacqueline Cezanne and Harold Robbins. Oh, I had to look up Harold Robbins, by the way. Like, they are not the giants of literature, but it’s just hilarious to think that the people of the future have deemed them to be so. I know of no movie that is like warmer and and sweeter than Star Trek Four. So, Ben, pick me, pick Star Trek Four. The choice is easy. Come on.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub: \u003c/b>\u003cspan style=\"font-weight: 400;\">You know, I don’t even wanna argue against you, and I’m gonna pick a number one, but I love this film so much. It is just a lovely movie, funny movie, finds all kinds of different ways to explore San Francisco and make it part of the gag, but in a in a funny, warm way. It’s one of the greats, one of the classics.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">All right, and up there with one of the greats must be your number one choice, Peter. What do you have for your number one?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">2015 Pixar film Inside Out. It takes place inside the brain of tween girl coming of age, Riley. And then also outside in San Francisco, Riley has moved from I believe Minnesota to San Francisco, and she’s horrified. And what the Pixar people did with animation is so fantastic. They take San Francisco and make it like 10 to 15% more. The streets are a little narrower, parking’s a little harder, street signs are a little more incomprehensible. Fantastic, fantastic use of San Francisco. It’s more of a character in the movie than any of their other movies. They had always kind of flirted around with the Bay Area and maybe dropped San Pablo Avenue and the Incredibles. This one, they really talk about San Francisco. And you don’t see that often. You see a lot of mainstream films set in San Francisco, and San Francisco is a backdrop and it’s almost like a prop. Very few films are a commentary on the city. Last black man in San Francisco, Medicine for Melancholy, and Inside Out. Inside Out is poking fun of the city. It is completely honest. If you live here, you totally get it. If you’re not from here, you’re gonna get some of the humor, including taking just an absolute, absolute dagger stab at our Pizza.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Clip from Inside Out\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Honestly, the first time I saw this film, I didn’t love it. I liked it a lot. I’m glad I didn’t review it because I think I would have given it less than the highest rating. Upon rewatch, there’s so many little things that come out. You learn more things, and the San Francisco parts become clearer and clearer. I just think it’s a fantastic film, and it’s a fantastic San Francisco location film.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Well I think Ben is gonna have a really hard time deciding between all of those very compelling pitches for for movies he should be watching this weekend. Peter Hartlob, Bay Area native, culture critic with the SF Chronicle, co-host of Total SF podcast. Thank you so much. Is there anywhere that listeners can connect with you further?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Peter Hartlaub:\u003c/b> \u003cspan style=\"font-weight: 400;\">Subscribe to the Total SF newsletter, that’s where I explore the Bay Area and pass on all my favorite finds, the best hikes to take, the best tourist traps to visit, where I’m finding the best papusas to eat, and read my work at sfchronicle.com.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Awesome. And Carly, you are my longtime pop culture, I don’t know, guru. You’ve you’ve really helped me with questions over the years. So thank you for coming on the show. Where can people connect with you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Carly Severn:\u003c/b> \u003cspan style=\"font-weight: 400;\">Well, you can find my work for Bay Curious in the podcast feed, including my two part series on the Donner Party in the archives, since we’re now feeling the wintry vibes here in the bay. You can also visit kqbd.org slash explainers to see what me and my team are up to every day in the KQED newsroom.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">Alright, well thanks to you both. Big thanks to Ben for asking this week’s question.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser:\u003c/b> \u003cspan style=\"font-weight: 400;\">Carly and Peter, I appreciate your suggestions for which San Francisco movie I should watch next. Full disclosure, three of them I’ve already seen. Those are: Always Be My Maybe, Basic Instinct and Zodiac, which is one of my all-time favorite movies. So it comes down to the other three, but I’m torn between Inside Out and Star Trek Four. But in the end, my vote is going to go to Star Trek Four. I’ve never seen a Star Trek movie, but it seems to be such a beloved film, and Carly campaigned it very, very well. So tonight, that’s what I’ll be watching.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">This is our last episode of the year, and I wanted to offer a warm thanks to you, our listeners, for your inspiring questions and your steadfast support. If you’re not yet a member of KQED, join us now by making a year-end donation. Details at kqed.org/slash donate. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Bay Curious is made at KQED in San Francisco by Katrina Schwartz, Christopher Beale and me, Olivia Allen Price. Additional Engineering by Jim Bennett. We get extra support from Maha Sanad, Katie Springer, Jen Chien,\u003c/span> \u003cspan style=\"font-weight: 400;\">Ethan Tovin Lindsay and everyone on Team KQED. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Some members of the KQED podcast team are represented by the Screen Actors Guild American Federation of Television and Radio Artists, San Francisco, Northern California local. I hope you have a wonderful holiday. I’ll see ya in twenty twenty six.\u003c/span>\u003c/p>\n\u003c/iframe>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Olivia Allen Price:\u003c/b>\u003cspan style=\"font-weight: 400;\"> Between Thanksgiving and New Years Day 6.3 million passengers are expected to travel through San Francisco International Airport. And one of them is today’s question asker.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Barry Asin:\u003c/b>\u003cspan style=\"font-weight: 400;\"> I’m Barry Asin and I lived in Palo Alto for the past 23 years or so. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Barry flies about once a month. A lot of the time he’s rushing to make his flight or eager to get home after a long trip, but every once in a while, he’s got some time to kill at the airport.That’s when he’s especially grateful for the art exhibits dotted throughout the terminals at SFO. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Barry Asin: \u003c/b>\u003cspan style=\"font-weight: 400;\">I do have a memory of having like an hour’s long delay and had just like a fascinating time reading through all the exhibits as something better to do than be on my phone. I can remember like a history of United Airlines or you know when they have old artifacts and things like that or a history of radio I think it was. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">In fact, SFO is the only airport museum accredited by the American Alliance of Museums. Barry wants to know how it all works.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Barry Asin:\u003c/b>\u003cspan style=\"font-weight: 400;\"> I’d like to know more about the art and history exhibits that I’ve seen at SFO, particularly on the walkway to Terminal 3 and in the International Terminal, and what’s behind them, and who makes the decisions about these, and how do they decide what goes in there and what sorts of things can we expect in the future.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen Price:\u003c/b>\u003cspan style=\"font-weight: 400;\"> Today on the show, we’re headed to SFO…behind security…even though we aren’t traveling anywhere. We’ll meet the curators of this unique museum, check out what’s on display now and give you the inside scoop on how you can see it all for free. That’s right, no flight required. All that, coming up.\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3895573102&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cb>Olivia Allen Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">We’re headed to San Francisco International Airport with Ericka Cruz Guevarra from The Bay podcast to check out all the cool art there. I’ll let Ericka take it from here. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ericka Gruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">I’m here at San Francisco International Airport in front of the Aviation Museum and Library. Daniel, can you introduce yourself for me and tell me what you do here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Daniel Calderon: \u003c/b>\u003cspan style=\"font-weight: 400;\">Sure, Daniel Calderon, one of the exhibition curators at SFO Museum.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">And I’m also here with Nicole. Nicole, would you mind introducing yourself as well? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nicole Mullen: \u003c/b>\u003cspan style=\"font-weight: 400;\">My name is Nicole Mullen and I’m curator in charge of exhibitions at SFO Museum at the San Francisco International Airport.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">Can you talk a little bit more maybe, Daniel, about the specific work that you do as a curator for an airport? Sure.\u003c/span>\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>\u003cb>Daniel Calderon: \u003c/b>\u003cspan style=\"font-weight: 400;\">Currently we have 25 sites throughout the airport terminals. Nicole and I are among an excess of 30 to 40 full-time staff here at SFO Museum involved in all aspects of production. And our role is to really drive the content of these exhibitions. So not having a real permanent collection to draw from, Nicole and are always on look out for. Exciting, engaging collections, things to represent at SFO Museum. You know, we do have exhibitions that are pre-security, but with some advanced notice we can accommodate tours post-security like we’ll do today.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Nicole Mullen: \u003c/b>\u003cspan style=\"font-weight: 400;\">Our program was created in 1980. We are the only museum in an airport accredited by the American Alliance of Museums. So everything from vintage telephones to women in Afrofuturism to Chinese ceramics and Chinese basketry you can see right now on display.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">Well, Daniel, I know you’re going to take us over to the first exhibition that we’re going to look at. And I believe it’s the one that you curated, right? Can you tell us a little bit about where we’re heading and what we’re about to go check out?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Daniel Calderon: \u003c/b>\u003cspan style=\"font-weight: 400;\">Sure, we’re in the International Terminal main hall. We’re going to walk along the back of the main hall to the middle of the hall. We have the AIDS Memorial Quilt installed there.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">Great, let’s go ahead and take a look. I was actually traveling earlier this year, Daniel, and I stopped by this area, the AIDS Memorial Quilt exhibition. Can you tell us a little bit about what’s in here?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Daniel Calderon: \u003c/b>\u003cspan style=\"font-weight: 400;\">We have these two huge galleries, about 50 feet long each. The quilt was born in 1987 here in San Francisco. Only six blocks of the quilt are on display out of more than 6,000 that actually make up the quilt. Each block is 12 foot square, 12 foot by 12 foot, made from panels that are three by six feet. And the three by 6 foot dimension was decided upon… Because that was the approximate size of a human grave. At that point the federal government had decided essentially to turn a blind eye on the AIDS epidemic and you can imagine living in San Francisco then, you know, seeing your friends and family members dying all around you. Cleve Jones, Gert McMullen, other members of the NAMES project were just, they were fed up, they’re frustrated, they are angry. And in 1987, starting in the spring… And working up to October of that year, they created 1,920 panels that were sewn into these 12-foot blocks. They all piled in a van that somebody donated into a box truck, and they drove to D.C. And they covered a good portion of the National Mall in protest. There are more than 50,000 panels in the quilt now, and those over 6,000 blocks, 110,000 names are represented. It’s just a drop in the bucket, the millions of people who have died from HIV and AIDS-related illness.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> E\u003c/span>\u003cb>ricka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">Sort of a range, like some of them are really intricate, like this one that we’re looking at right here has painted hands, I mean like paint all over it, but also some really intricate stitching, and I mean this one here has names spelled out with like individual buttons.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Daniel Calderon: \u003c/b>\u003cspan style=\"font-weight: 400;\">With buttons. So now, you know, now we’re at a panel that was made in 1993 and by this time the quilt has grown. So now you’re seeing that. You’re seeing traditional quilt making techniques in addition to the buttons that you noticed. And that is one panel that we have some information on. It was made for Margaret Janet Emmett by her daughter. And she recalled her mother as being… Someone who was very, very eccentric in a good way. She took the family to museums, she loved to craft, she loved to make things, and her daughter wrote that she felt the rendering of her names and buttons sort of conveyed, at least to her, that eccentricity in a very positive way.\u003c/span>\u003c/p>\n\u003cp>[emailsignup newslettername=\"baycurious\" align=\"right\"]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">There’s a nice variety of buttons sort of represented there. And then it also says 1931 to 1985, my mother, my friend, I love you forever. You mentioned earlier, Daniel, that one of the things that you aim to do when you’re picking what you curate for the museum is you want things to be very colorful. And I feel like this exhibition is definitely representative of that. There’s lot of really bright. Beautiful color, very eye-catching in this otherwise very gray building. What do you want people to feel when they see this and come across this?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Daniel Calderon: \u003c/b>\u003cspan style=\"font-weight: 400;\">I hope that, you know, being so visually beautiful, I hope they would be drawn in. Younger people now don’t even know what the Ace Memorial Quilt is, having that distance from the onset of the epidemic, right? But as they read and they learn, potentially draw inspiration from that. So, it’s a very important exhibition. We’re currently walking past the AIDS Memorial Quilt exhibition in the International Terminal Main Hall towards the A gates, International Terminals A gates on the departures level. So that we can go through the security checkpoint there to view an exhibition in Harvey Milk Terminal One on women of Afrofuturism.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Bao Li: \u003c/b>\u003cspan style=\"font-weight: 400;\">So we’re going to go through security, we’re gonna go through security just like any normal passenger would. My name is Baoli, I’m the Associate Curator of Public Engagement at SFO Museum. I run tours for the post security exhibitions at Sfo Museum. We have scheduled tours once a week. However, we do have unscheduled tours if people can’t make the time that the scheduled tours occur. They are free, although they do require a bit of paperwork. And so there is a bit of a process that you need to go through to be able to come through TSA Security without a valid flight ticket. Everything goes in the gray bin, you do not need to take off your shoes anymore. What we will do is that this first person in line will just want to see that you have a badge, so just show them your badge. The second person at the security line will ask for both your badge and your ID. They will look at your badge, look at your ID, look at your face, scan your badge, look at the ID, your face and then scan your bag a second time. After that, we’ll go to the place with the gray bins. Everything goes in the gray bin except for your badge. Keep your badge on at all times. Okay, perfect. In the fiscal year of June 2024 to June 2025, the airport had 54 million passengers arrive and depart from the airport. And the other thing is that the airport is never not open, so we are open 24 hours a day, seven days a week, which means that pieces of art are actually blasted with light levels. 24 hours a day, 7 days a week, and they are potentially touched by 54 million passengers. We have a lot of mosaics because they are very robust, they are resilient, they are easy to clean. Much more than paintings or anything like that. And so we actually are going to have more public art in the new Terminal 3 and what has been pitched has been a lot more mosaics because they are very easy to clean.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">Now we are walking past Security to see the Women in Afrofuturism exhibit that Nicole curated.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Nicole Mullen: \u003c/b>\u003cspan style=\"font-weight: 400;\">Just past Security and Harvey Milk Terminal 1, we are standing outside of Green Apple Books and Ritual Coffee. And in between those two vendors, you have a beautiful intimate space where we’re currently featuring Women of Afrofuturism.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">It is nice to know that there are these little corners of the airport that you can escape to after a stressful walk through security.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Nicole Mullen: \u003c/b>\u003cspan style=\"font-weight: 400;\">Absolutely. You know, when we opened the space we were worried that people would just pass right by, but really people are intrigued and they’re lured into the space. And this is really fun because when you first step into the exhibition you see local Oakland Bay area based artist, Celia C. Peters, who is a filmmaker and artist. So we’re showing her proof-of-concept godspeed, you and see that. Animation and you can also interact with her lenticular print.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">And it’s this woman who’s sort of looking over her shoulder. She’s sort blue in color, has blue lipstick, and is wearing very futuristic, aluminum-looking clothing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Nicole Mullen:\u003c/b> \u003cspan style=\"font-weight: 400;\">And very confident and welcoming you into the space. So it’s a special print made on plastic and it has three changes. So if you start here, you see the woman with her eyes open and if you look a little further, she turns green and gold with a pink background. So it changes a little bit. Yes, and then step again and you’ll see her. With a little bit of a smile now, and she suggested the idea to start the show like this with this strong woman in space.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">Maybe Nicole, if you could explain this specific corner of the exhibition.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Nicole Mullen: \u003c/b>\u003cspan style=\"font-weight: 400;\">Right now we’re looking at futuristic fashion design in the last bay of the exhibition and what you’re seeing here is work done by Afetassi, the artist. She is a local San Francisco based artist, born and raised here. She currently resides in Bayview. She’s created these kind of space helmets in a way, but you’re looking really bright red and yellow flowers that she’s created into a space helmet.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">I wonder as the person who curated this exhibit, why was it important for you to really show and highlight Afrofuturism at SFO?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Nicole Mullen: \u003c/b>\u003cspan style=\"font-weight: 400;\">Well, I really thought it would be wonderful for our audience. You know, when you’re talking about Afrofuturism, this is a social, political, and artistic movement. It examines the past. It questions the present. And it looks at how we can re-sculpt futures, both real and imagined. And I think doing that through the eyes of black women, especially, and their role in the movement, as Ingrid LaFleur had said, it really is like a warm hug. You know, when you come in here and you get to celebrate all these women.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">And as we’re walking through here, it’s, I mean, a pretty short-ish. I feel like it takes you from one end of the airport to another end of the airport. You see people, some people just sort of walking through, but you also see, I see someone who’s stopping and really looking at the stuff. What is it like for you when you see people coming into this hallway and looking at the things you’ve curated?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Nicole Mullen:\u003c/b> \u003cspan style=\"font-weight: 400;\">It’s really amazing and it’s really an honor to be able to bring this type of material to the public. We have a QR code to a visitor survey and so we get responses from the public all the time and a lot of people have been very moved by this exhibition and you don’t have to know a lot about the subject matter. You don’t need to pay a ticket to go see a museum exhibition. And a lot of times people… You know, they may have not thought about it and they stumble upon our exhibition and they feel drawn to it or excited by it. And so being able to reach that vast general audience is what I really love about the job.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Olivia Allen Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">That story was brought to you from the producers of The Bay podcast, including Ericka Cruz Guevarra, Jessica Kariisa and Alan Montecillo. Now, Barry also wanted a sneak peak into upcoming exhibits.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Daniel Calderon:\u003c/b>\u003cspan style=\"font-weight: 400;\"> We have an exhibition on low rider bicycles, that is opening in the long cases. It’ll take the place of AIDS Memorial Quilt. It’s really a special exhibition that says a lot about just community and family. Some really good surprises I think for people who may not understand the low riding community.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen Price:\u003c/b>\u003cspan style=\"font-weight: 400;\"> Look for that in April, Barry. And thanks for the question.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Bay Curious is made in San Francisco at member-supported KQED.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Our show is made by Katrina Schwartz, Christopher Beale and me, Olivia Allen-Price.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">With extra support from Maha Sanad, Katie Sprenger, Jen Chien, Ethan Toven-Lindsey and everyone on team KQED.\u003c/span>\u003cspan style=\"font-weight: 400;\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400;\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400;\">Some members of the KQED podcast team are represented by The Screen Actors Guild, American Federation of Television and Radio Artists. San Francisco Northern California Local.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Olivia Allen Price:\u003c/b>\u003cspan style=\"font-weight: 400;\"> Between Thanksgiving and New Years Day 6.3 million passengers are expected to travel through San Francisco International Airport. And one of them is today’s question asker.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Barry Asin:\u003c/b>\u003cspan style=\"font-weight: 400;\"> I’m Barry Asin and I lived in Palo Alto for the past 23 years or so. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Barry flies about once a month. A lot of the time he’s rushing to make his flight or eager to get home after a long trip, but every once in a while, he’s got some time to kill at the airport.That’s when he’s especially grateful for the art exhibits dotted throughout the terminals at SFO. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Barry Asin: \u003c/b>\u003cspan style=\"font-weight: 400;\">I do have a memory of having like an hour’s long delay and had just like a fascinating time reading through all the exhibits as something better to do than be on my phone. I can remember like a history of United Airlines or you know when they have old artifacts and things like that or a history of radio I think it was. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">In fact, SFO is the only airport museum accredited by the American Alliance of Museums. Barry wants to know how it all works.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Barry Asin:\u003c/b>\u003cspan style=\"font-weight: 400;\"> I’d like to know more about the art and history exhibits that I’ve seen at SFO, particularly on the walkway to Terminal 3 and in the International Terminal, and what’s behind them, and who makes the decisions about these, and how do they decide what goes in there and what sorts of things can we expect in the future.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen Price:\u003c/b>\u003cspan style=\"font-weight: 400;\"> Today on the show, we’re headed to SFO…behind security…even though we aren’t traveling anywhere. We’ll meet the curators of this unique museum, check out what’s on display now and give you the inside scoop on how you can see it all for free. That’s right, no flight required. All that, coming up.\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3895573102&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cb>Olivia Allen Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">We’re headed to San Francisco International Airport with Ericka Cruz Guevarra from The Bay podcast to check out all the cool art there. I’ll let Ericka take it from here. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ericka Gruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">I’m here at San Francisco International Airport in front of the Aviation Museum and Library. Daniel, can you introduce yourself for me and tell me what you do here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Daniel Calderon: \u003c/b>\u003cspan style=\"font-weight: 400;\">Sure, Daniel Calderon, one of the exhibition curators at SFO Museum.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">And I’m also here with Nicole. Nicole, would you mind introducing yourself as well? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Nicole Mullen: \u003c/b>\u003cspan style=\"font-weight: 400;\">My name is Nicole Mullen and I’m curator in charge of exhibitions at SFO Museum at the San Francisco International Airport.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">Can you talk a little bit more maybe, Daniel, about the specific work that you do as a curator for an airport? Sure.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>Daniel Calderon: \u003c/b>\u003cspan style=\"font-weight: 400;\">Currently we have 25 sites throughout the airport terminals. Nicole and I are among an excess of 30 to 40 full-time staff here at SFO Museum involved in all aspects of production. And our role is to really drive the content of these exhibitions. So not having a real permanent collection to draw from, Nicole and are always on look out for. Exciting, engaging collections, things to represent at SFO Museum. You know, we do have exhibitions that are pre-security, but with some advanced notice we can accommodate tours post-security like we’ll do today.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Nicole Mullen: \u003c/b>\u003cspan style=\"font-weight: 400;\">Our program was created in 1980. We are the only museum in an airport accredited by the American Alliance of Museums. So everything from vintage telephones to women in Afrofuturism to Chinese ceramics and Chinese basketry you can see right now on display.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">Well, Daniel, I know you’re going to take us over to the first exhibition that we’re going to look at. And I believe it’s the one that you curated, right? Can you tell us a little bit about where we’re heading and what we’re about to go check out?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Daniel Calderon: \u003c/b>\u003cspan style=\"font-weight: 400;\">Sure, we’re in the International Terminal main hall. We’re going to walk along the back of the main hall to the middle of the hall. We have the AIDS Memorial Quilt installed there.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">Great, let’s go ahead and take a look. I was actually traveling earlier this year, Daniel, and I stopped by this area, the AIDS Memorial Quilt exhibition. Can you tell us a little bit about what’s in here?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Daniel Calderon: \u003c/b>\u003cspan style=\"font-weight: 400;\">We have these two huge galleries, about 50 feet long each. The quilt was born in 1987 here in San Francisco. Only six blocks of the quilt are on display out of more than 6,000 that actually make up the quilt. Each block is 12 foot square, 12 foot by 12 foot, made from panels that are three by six feet. And the three by 6 foot dimension was decided upon… Because that was the approximate size of a human grave. At that point the federal government had decided essentially to turn a blind eye on the AIDS epidemic and you can imagine living in San Francisco then, you know, seeing your friends and family members dying all around you. Cleve Jones, Gert McMullen, other members of the NAMES project were just, they were fed up, they’re frustrated, they are angry. And in 1987, starting in the spring… And working up to October of that year, they created 1,920 panels that were sewn into these 12-foot blocks. They all piled in a van that somebody donated into a box truck, and they drove to D.C. And they covered a good portion of the National Mall in protest. There are more than 50,000 panels in the quilt now, and those over 6,000 blocks, 110,000 names are represented. It’s just a drop in the bucket, the millions of people who have died from HIV and AIDS-related illness.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> E\u003c/span>\u003cb>ricka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">Sort of a range, like some of them are really intricate, like this one that we’re looking at right here has painted hands, I mean like paint all over it, but also some really intricate stitching, and I mean this one here has names spelled out with like individual buttons.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Daniel Calderon: \u003c/b>\u003cspan style=\"font-weight: 400;\">With buttons. So now, you know, now we’re at a panel that was made in 1993 and by this time the quilt has grown. So now you’re seeing that. You’re seeing traditional quilt making techniques in addition to the buttons that you noticed. And that is one panel that we have some information on. It was made for Margaret Janet Emmett by her daughter. And she recalled her mother as being… Someone who was very, very eccentric in a good way. She took the family to museums, she loved to craft, she loved to make things, and her daughter wrote that she felt the rendering of her names and buttons sort of conveyed, at least to her, that eccentricity in a very positive way.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">There’s a nice variety of buttons sort of represented there. And then it also says 1931 to 1985, my mother, my friend, I love you forever. You mentioned earlier, Daniel, that one of the things that you aim to do when you’re picking what you curate for the museum is you want things to be very colorful. And I feel like this exhibition is definitely representative of that. There’s lot of really bright. Beautiful color, very eye-catching in this otherwise very gray building. What do you want people to feel when they see this and come across this?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Daniel Calderon: \u003c/b>\u003cspan style=\"font-weight: 400;\">I hope that, you know, being so visually beautiful, I hope they would be drawn in. Younger people now don’t even know what the Ace Memorial Quilt is, having that distance from the onset of the epidemic, right? But as they read and they learn, potentially draw inspiration from that. So, it’s a very important exhibition. We’re currently walking past the AIDS Memorial Quilt exhibition in the International Terminal Main Hall towards the A gates, International Terminals A gates on the departures level. So that we can go through the security checkpoint there to view an exhibition in Harvey Milk Terminal One on women of Afrofuturism.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Bao Li: \u003c/b>\u003cspan style=\"font-weight: 400;\">So we’re going to go through security, we’re gonna go through security just like any normal passenger would. My name is Baoli, I’m the Associate Curator of Public Engagement at SFO Museum. I run tours for the post security exhibitions at Sfo Museum. We have scheduled tours once a week. However, we do have unscheduled tours if people can’t make the time that the scheduled tours occur. They are free, although they do require a bit of paperwork. And so there is a bit of a process that you need to go through to be able to come through TSA Security without a valid flight ticket. Everything goes in the gray bin, you do not need to take off your shoes anymore. What we will do is that this first person in line will just want to see that you have a badge, so just show them your badge. The second person at the security line will ask for both your badge and your ID. They will look at your badge, look at your ID, look at your face, scan your badge, look at the ID, your face and then scan your bag a second time. After that, we’ll go to the place with the gray bins. Everything goes in the gray bin except for your badge. Keep your badge on at all times. Okay, perfect. In the fiscal year of June 2024 to June 2025, the airport had 54 million passengers arrive and depart from the airport. And the other thing is that the airport is never not open, so we are open 24 hours a day, seven days a week, which means that pieces of art are actually blasted with light levels. 24 hours a day, 7 days a week, and they are potentially touched by 54 million passengers. We have a lot of mosaics because they are very robust, they are resilient, they are easy to clean. Much more than paintings or anything like that. And so we actually are going to have more public art in the new Terminal 3 and what has been pitched has been a lot more mosaics because they are very easy to clean.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">Now we are walking past Security to see the Women in Afrofuturism exhibit that Nicole curated.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Nicole Mullen: \u003c/b>\u003cspan style=\"font-weight: 400;\">Just past Security and Harvey Milk Terminal 1, we are standing outside of Green Apple Books and Ritual Coffee. And in between those two vendors, you have a beautiful intimate space where we’re currently featuring Women of Afrofuturism.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">It is nice to know that there are these little corners of the airport that you can escape to after a stressful walk through security.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Nicole Mullen: \u003c/b>\u003cspan style=\"font-weight: 400;\">Absolutely. You know, when we opened the space we were worried that people would just pass right by, but really people are intrigued and they’re lured into the space. And this is really fun because when you first step into the exhibition you see local Oakland Bay area based artist, Celia C. Peters, who is a filmmaker and artist. So we’re showing her proof-of-concept godspeed, you and see that. Animation and you can also interact with her lenticular print.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">And it’s this woman who’s sort of looking over her shoulder. She’s sort blue in color, has blue lipstick, and is wearing very futuristic, aluminum-looking clothing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Nicole Mullen:\u003c/b> \u003cspan style=\"font-weight: 400;\">And very confident and welcoming you into the space. So it’s a special print made on plastic and it has three changes. So if you start here, you see the woman with her eyes open and if you look a little further, she turns green and gold with a pink background. So it changes a little bit. Yes, and then step again and you’ll see her. With a little bit of a smile now, and she suggested the idea to start the show like this with this strong woman in space.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">Maybe Nicole, if you could explain this specific corner of the exhibition.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Nicole Mullen: \u003c/b>\u003cspan style=\"font-weight: 400;\">Right now we’re looking at futuristic fashion design in the last bay of the exhibition and what you’re seeing here is work done by Afetassi, the artist. She is a local San Francisco based artist, born and raised here. She currently resides in Bayview. She’s created these kind of space helmets in a way, but you’re looking really bright red and yellow flowers that she’s created into a space helmet.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">I wonder as the person who curated this exhibit, why was it important for you to really show and highlight Afrofuturism at SFO?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Nicole Mullen: \u003c/b>\u003cspan style=\"font-weight: 400;\">Well, I really thought it would be wonderful for our audience. You know, when you’re talking about Afrofuturism, this is a social, political, and artistic movement. It examines the past. It questions the present. And it looks at how we can re-sculpt futures, both real and imagined. And I think doing that through the eyes of black women, especially, and their role in the movement, as Ingrid LaFleur had said, it really is like a warm hug. You know, when you come in here and you get to celebrate all these women.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Ericka Cruz Guevarra: \u003c/b>\u003cspan style=\"font-weight: 400;\">And as we’re walking through here, it’s, I mean, a pretty short-ish. I feel like it takes you from one end of the airport to another end of the airport. You see people, some people just sort of walking through, but you also see, I see someone who’s stopping and really looking at the stuff. What is it like for you when you see people coming into this hallway and looking at the things you’ve curated?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Nicole Mullen:\u003c/b> \u003cspan style=\"font-weight: 400;\">It’s really amazing and it’s really an honor to be able to bring this type of material to the public. We have a QR code to a visitor survey and so we get responses from the public all the time and a lot of people have been very moved by this exhibition and you don’t have to know a lot about the subject matter. You don’t need to pay a ticket to go see a museum exhibition. And a lot of times people… You know, they may have not thought about it and they stumble upon our exhibition and they feel drawn to it or excited by it. And so being able to reach that vast general audience is what I really love about the job.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cb>Olivia Allen Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">That story was brought to you from the producers of The Bay podcast, including Ericka Cruz Guevarra, Jessica Kariisa and Alan Montecillo. Now, Barry also wanted a sneak peak into upcoming exhibits.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Daniel Calderon:\u003c/b>\u003cspan style=\"font-weight: 400;\"> We have an exhibition on low rider bicycles, that is opening in the long cases. It’ll take the place of AIDS Memorial Quilt. It’s really a special exhibition that says a lot about just community and family. Some really good surprises I think for people who may not understand the low riding community.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen Price:\u003c/b>\u003cspan style=\"font-weight: 400;\"> Look for that in April, Barry. And thanks for the question.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Bay Curious is made in San Francisco at member-supported KQED.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Our show is made by Katrina Schwartz, Christopher Beale and me, Olivia Allen-Price.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">With extra support from Maha Sanad, Katie Sprenger, Jen Chien, Ethan Toven-Lindsey and everyone on team KQED.\u003c/span>\u003cspan style=\"font-weight: 400;\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400;\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400;\">Some members of the KQED podcast team are represented by The Screen Actors Guild, American Federation of Television and Radio Artists. San Francisco Northern California Local.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "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": {
"id": "possible",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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"reveal": {
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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": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
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