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"content": "\u003cp>\u003cem>\u003cstrong>This was originally published Oct. 26, 2018.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The corner of Bush and Octavia streets in San Francisco’s Pacific Heights neighborhood is poorly lit — made darker still by the canopy of eucalyptus trees overhead. This is where the \u003ca href=\"https://www.sfghosthunt.com/\">San Francisco Ghost Hunt\u003c/a> begins.\u003c/p>\n\u003cp>This tour is led most nights by performer Christian Cagigal, who leads his flock through these steep streets in full 19th century dress, top hat and clacking cane. From tales of ghostly apparitions to aristocrats meeting grisly ends, every corner brings another ghoulish story from San Francisco history.\u003c/p>\n\u003cfigure id=\"attachment_11700255\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11700255\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/10062018_AW_GhostStory_102-e1540151451936.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">The crowd listens to Christian Cagigal telling the story of Mary Ellen Pleasant on the San Francisco Ghost Hunt tour \u003ccite>(Anne Wernikoff / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first stop on the tour, at Bush and Octavia, holds a real-life story stranger than any Halloween legend. This unlit corner is said to be haunted by the ghost of Mary Ellen Pleasant, a 19th century entrepreneur who once lived in a now-vanished mansion nearby, and who actually planted these eucalyptus trees. Her spirit, Cagigal tells the assembled ghost hunters, is said to summon chills, frighten dogs and even throw nuts from the nearby eucalyptus trees at passers-by.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story Cagigal tells our group under those trees is instantly captivating: how Pleasant, a black woman, came to San Francisco in the mid-1800s and defied white society’s constraints and prejudices to not only amass great wealth, but to also use her power to immeasurably advance the cause of civil rights in the city.\u003c/p>\n\u003cp>Yet, he says, she was also described as a witch, a “voodoo queen” and even a murderer. So who was the \u003ci>real\u003c/i> Mary Ellen Pleasant?\u003c/p>\n\u003ch3>“Rather be a Corpse than a Coward”\u003c/h3>\n\u003cp>“Her life is so enshrouded in mystery because she was her own spin doctor,” says Sacramento writer and performer Susheel Bibbs, who has studied Pleasant’s story for decades.\u003c/p>\n\u003cfigure id=\"attachment_11700604\" class=\"wp-caption alignnone\" style=\"max-width: 1007px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11700604\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Chron-3.png\" alt=\"\" width=\"1007\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-3.png 1007w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-3-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-3-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-3-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-3-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-3-375x210.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-3-520x292.png 520w\" sizes=\"(max-width: 1007px) 100vw, 1007px\">\u003cfigcaption class=\"wp-caption-text\">Mary Ellen Pleasant pictured in the San Francisco Chronicle in the 1890s \u003ccite>(Courtesy San Francisco Chronicle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pleasant wrote three autobiographies — but each one contradicts the other on basic facts, such as the year of her birth. We do know that she was born into slavery in Georgia, and was raised in Nantucket, Massachusetts, “in indenture,” says Bibbs.\u003c/p>\n\u003cp>There on the East Coast, the young Pleasant became a crucial figure in the civil rights fight, secretly teaming up with abolitionists and rescuing escaped slaves on the Underground Railroad. In this world, nothing could ever be as it seemed — and concealment, disguise and duality were weapons in Pleasant’s armory from the start.\u003c/p>\n\u003cp>That double life included presenting as a white woman when she could. “She was very used to being covert,” says Bibbs. “She often said that words were made to conceal feelings — and that she was good at it.”\u003c/p>\n\u003cfigure id=\"attachment_11700259\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11700259\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sacramento writer and performer Susheel Bibbs. \u003ccite>(Carly Severn / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After her first husband died, Pleasant took the $45,000 in gold she now had from his estate and arrived by steamer in San Francisco in 1852 — still passing as white. She found a town filled with men come to make their Gold Rush fortunes, far from home and in need of lodging, food and domestic services.\u003c/p>\n\u003cp>So Pleasant invested her sizable wealth in property, establishing boardinghouses and laundries — anything and everything she correctly thought would “be a niche in San Francisco to make \u003ci>more\u003c/i> money,” says Bibbs.\u003c/p>\n\u003cp>Pleasant deliberately stayed close to the action in the boardinghouses she ran and later owned, learning a \u003cem>lot\u003c/em> of private things about the influential men who stayed there. She used them as another kind of currency, not just to rise in society but to further her \u003ci>real\u003c/i> cause: bringing the Underground Railroad out West.\u003c/p>\n\u003cfigure id=\"attachment_11701133\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11701133 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1.jpg\" alt=\"\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1-520x346.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A plaque commemorates Mary Ellen Pleasant’s civil rights achievements in Pacific Heights, placed by the San Francisco African American Historical & Cultural Society. \u003ccite>(Anne Wernikoff / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the wealthy white people of San Francisco society knew her as the white boardinghouse proprietress, San Francisco’s growing black community knew her real identity. She was known as “The Black City Hall” — the place you go to get what you need — who helped black people get jobs on steamers, in white homes and in her own businesses.\u003c/p>\n\u003cp>Almost a century before Rosa Parks, she challenged San Francisco’s segregated transit system in court, winning the right for black people to ride the streetcars without being thrown off.\u003c/p>\n\u003cp>“My cause,” Pleasant wrote in one of her memoirs, “was the cause of freedom and equality for myself and for my people. And I’d rather be a corpse than a coward.”\u003c/p>\n\u003cp>After the Civil War — over a decade after she arrived in the city — Pleasant finally checked the box that said “Black” on the census of 1865. While this undoubtedly caused a stir among the wealthy white people who’d thought her one of their own, Pleasant continued to move in their circles. The tide, however, was about to turn — and a heroine became a villain.\u003c/p>\n\u003ch3>\u003cstrong>“Queen of the Voodoos”\u003c/strong>\u003c/h3>\n\u003cp>By the 1880s, the wild, mud-caked San Francisco that Mary Ellen Pleasant, the capitalist, had carved her way into had itself transformed into a “very much more overtly racist” city, says Bibbs.\u003c/p>\n\u003cfigure id=\"attachment_11700602\" class=\"wp-caption alignright\" style=\"max-width: 291px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11700602\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/AAD-2997.jpg\" alt=\"\" width=\"291\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AAD-2997.jpg 291w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AAD-2997-160x220.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AAD-2997-240x330.jpg 240w\" sizes=\"(max-width: 291px) 100vw, 291px\">\u003cfigcaption class=\"wp-caption-text\">Photograph of Mary Ellen Pleasant aged 87. \u003ccite>(Courtesy San Francisco Public Library History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the nation, emancipated slaves became convenient scapegoats for the economy’s woes — and as a wealthy older black woman, Pleasant now inspired suspicion, even fear.\u003c/p>\n\u003cp>The press coined a nickname intended to diminish her power with the racist image it conjured: “Mammy Pleasant.” Unsurprisingly, she loathed it. “It gives me the suspirations,” she wrote.\u003c/p>\n\u003cp>She’d always been a figure of fascination in San Francisco, but now whispers grew that she had some otherworldly hold over the wealthy white people she was close to. People like Thomas Bell, her white business partner and friend with whom she shared her vast mansion — along with the wife she’d found for him, Teresa. One headline in the San Francisco Call asked: “Mammy Pleasant: Angel or Arch Fiend in the House of Mystery?”\u003c/p>\n\u003cfigure id=\"attachment_11701128\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11701128\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/AAC-5932.jpg\" alt=\"\" width=\"1920\" height=\"1343\">\u003cfigcaption class=\"wp-caption-text\">The mansion Mary Ellen Pleasant shared with Thomas and Teresa Bell — the house in which he’d later be found dead. The writing on the back of this photograph in the San Francisco Public Library’s collection reads: “Torn down in 1927. Ghost of Mammy Pleasant.” \u003ccite>(Courtesy San Francisco History Center, SF Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then in 1883, Pleasant became entangled in the scandalous trial of Nevada Sen. William Sharon, who was accused of seducing and then abandoning, a young woman, Sarah Althea Hill.\u003c/p>\n\u003cp>Bibbs describes it as the O.J. Simpson trial of its day in how this case obsessed the press and public alike — “reported everywhere, every day” across the nation, says Bibbs.\u003c/p>\n\u003cp>Pleasant wasn’t on trial herself, but she was the young Hill’s friend — and lawyers for Sharon painted Pleasant as a sinister crone. They claimed she’d used dark forces to manipulate her friend into entrapping a senator.\u003c/p>\n\u003cp>Yet rather than rejecting the rumors, she defied them — encouraged them, even, during the senator’s trial. She carried a voodoo doll in court, claiming she would use it to bring about his death — and die he did, before the trial ended.\u003c/p>\n\u003cfigure id=\"attachment_11700253\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11700253\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/10062018_AW_GhostStory_100-e1540151423725.jpg\" alt=\"\" width=\"1920\" height=\"1343\">\u003cfigcaption class=\"wp-caption-text\">Christian Cagigal holds up a photograph of 19th century San Francisco on his Ghost Hunt tour, at Mary Ellen Memorial Park \u003ccite>(Anne Wernikoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While her behavior might strike us now as self-defeating, Pleasant had always employed misdirection to confound expectations and control her narrative. Pleasant’s status as a “voodoo queen” grew, cementing her reputation as a quasi-mystical figure in San Francisco. To the public, voodoo meant blood magic and malevolent intent.\u003c/p>\n\u003cp>To Mary Ellen Pleasant, however, the \u003ci>real\u003c/i> voodoo — vodoun or vodun — was actually her religion from her ancestral homeland.\u003c/p>\n\u003cp>“She was born the daughter of a voodoo priestess and the granddaughter of a voodoo priestess from Haiti,” explains Bibbs. She believes there’s strong evidence to suggest that Pleasant had studied in New Orleans with legendary vodoun practitioner Marie Laveau (also spelled elsewhere as Laveaux or LaVeaux) before coming to San Francisco — and learned particularly from Laveau’s emphasis on using one’s power to serve the community.\u003c/p>\n\u003cp>Scandal followed scandal. When her business partner, Thomas Bell, was found dead in her mansion, his widow, Teresa, collaborated on a full-page smear piece in the San Francisco Chronicle with the headline “The Queen of the Voodoos.”\u003c/p>\n\u003cfigure id=\"attachment_11700490\" class=\"wp-caption alignnone\" style=\"max-width: 1359px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11700490\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Chron-2.png\" alt=\"\" width=\"1359\" height=\"867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2.png 1359w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2-800x510.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2-1020x651.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2-1200x766.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2-1180x753.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2-960x612.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2-240x153.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2-375x239.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2-520x332.png 520w\" sizes=\"(max-width: 1359px) 100vw, 1359px\">\u003cfigcaption class=\"wp-caption-text\">The “Queen of the Voodoos” article about Mary Ellen Pleasant in the San Francisco Chronicle. \u003ccite>(Courtesy San Francisco Chronicle )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The press had used the language of the supernatural to describe her for years — but now, they made her into a flat-out monster, accusing her of witchcraft and implying she murdered Bell. This article ignited a public wave against Mary Ellen Pleasant from the powers-that-be, for whom she’d become too powerful, too loud, almost diabolical — fueled by “hate, revenge and racism,” says Bibbs.\u003c/p>\n\u003ch3>\u003cstrong>“We Forget Your Story”\u003c/strong>\u003c/h3>\n\u003cp>It’s telling who gets a legend — and who gets a ghost story. Mary Ellen Pleasant was demonized in her own lifetime, yet in a system so loaded against a black woman in the public eye, playing with rumor like she did was perhaps the only way to play the game, even if it was ultimately her undoing.\u003c/p>\n\u003cp>Mary Ellen Pleasant died in 1904 in her 90s, with her fortunes greatly diminished by scandal. Her obituary in the San Francisco Examiner was titled: “Mammy Pleasant Will Work Weird Spells No More.” In her own writings, Teresa Bell defined Pleasant as “a demon from first to last.”\u003c/p>\n\u003cp>Learning the details of her extraordinary life, it’s hard to imagine how Mary Ellen Pleasant isn’t a towering figure in San Francisco’s history. Yet how we’re remembered depends on who’s telling your story. From those newspapers to her early biographers, Pleasant’s life has been so mangled. As Bibbs says: “One could not tell \u003ci>who\u003c/i> she was.” Was she the […] mother of civil rights, or was she a murderess?”\u003c/p>\n\u003cfigure id=\"attachment_11700254\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11700254\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/10062018_AW_GhostStory_103-e1540151366310.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">A lantern illuminates the sidewalk plaque dedicated to Mary Ellen Pleasant on the San Francisco Ghost Hunt tour \u003ccite>(Anne Wernikoff / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or as Christian Cagigal puts it during the San Francisco Ghost Hunt, under those eucalyptus trees Pleasant is said to haunt: “When there’s three versions of your life story, we don’t know what to \u003cem>do\u003c/em> with your life story… and we forget your story.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He keeps Mary Ellen Pleasant on his ghost hunt, he says, “so we might start to remember.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>This was originally published Oct. 26, 2018.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The corner of Bush and Octavia streets in San Francisco’s Pacific Heights neighborhood is poorly lit — made darker still by the canopy of eucalyptus trees overhead. This is where the \u003ca href=\"https://www.sfghosthunt.com/\">San Francisco Ghost Hunt\u003c/a> begins.\u003c/p>\n\u003cp>This tour is led most nights by performer Christian Cagigal, who leads his flock through these steep streets in full 19th century dress, top hat and clacking cane. From tales of ghostly apparitions to aristocrats meeting grisly ends, every corner brings another ghoulish story from San Francisco history.\u003c/p>\n\u003cfigure id=\"attachment_11700255\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11700255\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/10062018_AW_GhostStory_102-e1540151451936.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">The crowd listens to Christian Cagigal telling the story of Mary Ellen Pleasant on the San Francisco Ghost Hunt tour \u003ccite>(Anne Wernikoff / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first stop on the tour, at Bush and Octavia, holds a real-life story stranger than any Halloween legend. This unlit corner is said to be haunted by the ghost of Mary Ellen Pleasant, a 19th century entrepreneur who once lived in a now-vanished mansion nearby, and who actually planted these eucalyptus trees. Her spirit, Cagigal tells the assembled ghost hunters, is said to summon chills, frighten dogs and even throw nuts from the nearby eucalyptus trees at passers-by.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story Cagigal tells our group under those trees is instantly captivating: how Pleasant, a black woman, came to San Francisco in the mid-1800s and defied white society’s constraints and prejudices to not only amass great wealth, but to also use her power to immeasurably advance the cause of civil rights in the city.\u003c/p>\n\u003cp>Yet, he says, she was also described as a witch, a “voodoo queen” and even a murderer. So who was the \u003ci>real\u003c/i> Mary Ellen Pleasant?\u003c/p>\n\u003ch3>“Rather be a Corpse than a Coward”\u003c/h3>\n\u003cp>“Her life is so enshrouded in mystery because she was her own spin doctor,” says Sacramento writer and performer Susheel Bibbs, who has studied Pleasant’s story for decades.\u003c/p>\n\u003cfigure id=\"attachment_11700604\" class=\"wp-caption alignnone\" style=\"max-width: 1007px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11700604\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Chron-3.png\" alt=\"\" width=\"1007\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-3.png 1007w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-3-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-3-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-3-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-3-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-3-375x210.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-3-520x292.png 520w\" sizes=\"(max-width: 1007px) 100vw, 1007px\">\u003cfigcaption class=\"wp-caption-text\">Mary Ellen Pleasant pictured in the San Francisco Chronicle in the 1890s \u003ccite>(Courtesy San Francisco Chronicle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pleasant wrote three autobiographies — but each one contradicts the other on basic facts, such as the year of her birth. We do know that she was born into slavery in Georgia, and was raised in Nantucket, Massachusetts, “in indenture,” says Bibbs.\u003c/p>\n\u003cp>There on the East Coast, the young Pleasant became a crucial figure in the civil rights fight, secretly teaming up with abolitionists and rescuing escaped slaves on the Underground Railroad. In this world, nothing could ever be as it seemed — and concealment, disguise and duality were weapons in Pleasant’s armory from the start.\u003c/p>\n\u003cp>That double life included presenting as a white woman when she could. “She was very used to being covert,” says Bibbs. “She often said that words were made to conceal feelings — and that she was good at it.”\u003c/p>\n\u003cfigure id=\"attachment_11700259\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11700259\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33344_DSC_1169-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sacramento writer and performer Susheel Bibbs. \u003ccite>(Carly Severn / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After her first husband died, Pleasant took the $45,000 in gold she now had from his estate and arrived by steamer in San Francisco in 1852 — still passing as white. She found a town filled with men come to make their Gold Rush fortunes, far from home and in need of lodging, food and domestic services.\u003c/p>\n\u003cp>So Pleasant invested her sizable wealth in property, establishing boardinghouses and laundries — anything and everything she correctly thought would “be a niche in San Francisco to make \u003ci>more\u003c/i> money,” says Bibbs.\u003c/p>\n\u003cp>Pleasant deliberately stayed close to the action in the boardinghouses she ran and later owned, learning a \u003cem>lot\u003c/em> of private things about the influential men who stayed there. She used them as another kind of currency, not just to rise in society but to further her \u003ci>real\u003c/i> cause: bringing the Underground Railroad out West.\u003c/p>\n\u003cfigure id=\"attachment_11701133\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11701133 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1.jpg\" alt=\"\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/RS33247_10062018_AW_GhostStory_80-qut-1-520x346.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A plaque commemorates Mary Ellen Pleasant’s civil rights achievements in Pacific Heights, placed by the San Francisco African American Historical & Cultural Society. \u003ccite>(Anne Wernikoff / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the wealthy white people of San Francisco society knew her as the white boardinghouse proprietress, San Francisco’s growing black community knew her real identity. She was known as “The Black City Hall” — the place you go to get what you need — who helped black people get jobs on steamers, in white homes and in her own businesses.\u003c/p>\n\u003cp>Almost a century before Rosa Parks, she challenged San Francisco’s segregated transit system in court, winning the right for black people to ride the streetcars without being thrown off.\u003c/p>\n\u003cp>“My cause,” Pleasant wrote in one of her memoirs, “was the cause of freedom and equality for myself and for my people. And I’d rather be a corpse than a coward.”\u003c/p>\n\u003cp>After the Civil War — over a decade after she arrived in the city — Pleasant finally checked the box that said “Black” on the census of 1865. While this undoubtedly caused a stir among the wealthy white people who’d thought her one of their own, Pleasant continued to move in their circles. The tide, however, was about to turn — and a heroine became a villain.\u003c/p>\n\u003ch3>\u003cstrong>“Queen of the Voodoos”\u003c/strong>\u003c/h3>\n\u003cp>By the 1880s, the wild, mud-caked San Francisco that Mary Ellen Pleasant, the capitalist, had carved her way into had itself transformed into a “very much more overtly racist” city, says Bibbs.\u003c/p>\n\u003cfigure id=\"attachment_11700602\" class=\"wp-caption alignright\" style=\"max-width: 291px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11700602\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/AAD-2997.jpg\" alt=\"\" width=\"291\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AAD-2997.jpg 291w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AAD-2997-160x220.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/AAD-2997-240x330.jpg 240w\" sizes=\"(max-width: 291px) 100vw, 291px\">\u003cfigcaption class=\"wp-caption-text\">Photograph of Mary Ellen Pleasant aged 87. \u003ccite>(Courtesy San Francisco Public Library History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the nation, emancipated slaves became convenient scapegoats for the economy’s woes — and as a wealthy older black woman, Pleasant now inspired suspicion, even fear.\u003c/p>\n\u003cp>The press coined a nickname intended to diminish her power with the racist image it conjured: “Mammy Pleasant.” Unsurprisingly, she loathed it. “It gives me the suspirations,” she wrote.\u003c/p>\n\u003cp>She’d always been a figure of fascination in San Francisco, but now whispers grew that she had some otherworldly hold over the wealthy white people she was close to. People like Thomas Bell, her white business partner and friend with whom she shared her vast mansion — along with the wife she’d found for him, Teresa. One headline in the San Francisco Call asked: “Mammy Pleasant: Angel or Arch Fiend in the House of Mystery?”\u003c/p>\n\u003cfigure id=\"attachment_11701128\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11701128\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/AAC-5932.jpg\" alt=\"\" width=\"1920\" height=\"1343\">\u003cfigcaption class=\"wp-caption-text\">The mansion Mary Ellen Pleasant shared with Thomas and Teresa Bell — the house in which he’d later be found dead. The writing on the back of this photograph in the San Francisco Public Library’s collection reads: “Torn down in 1927. Ghost of Mammy Pleasant.” \u003ccite>(Courtesy San Francisco History Center, SF Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then in 1883, Pleasant became entangled in the scandalous trial of Nevada Sen. William Sharon, who was accused of seducing and then abandoning, a young woman, Sarah Althea Hill.\u003c/p>\n\u003cp>Bibbs describes it as the O.J. Simpson trial of its day in how this case obsessed the press and public alike — “reported everywhere, every day” across the nation, says Bibbs.\u003c/p>\n\u003cp>Pleasant wasn’t on trial herself, but she was the young Hill’s friend — and lawyers for Sharon painted Pleasant as a sinister crone. They claimed she’d used dark forces to manipulate her friend into entrapping a senator.\u003c/p>\n\u003cp>Yet rather than rejecting the rumors, she defied them — encouraged them, even, during the senator’s trial. She carried a voodoo doll in court, claiming she would use it to bring about his death — and die he did, before the trial ended.\u003c/p>\n\u003cfigure id=\"attachment_11700253\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11700253\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/10062018_AW_GhostStory_100-e1540151423725.jpg\" alt=\"\" width=\"1920\" height=\"1343\">\u003cfigcaption class=\"wp-caption-text\">Christian Cagigal holds up a photograph of 19th century San Francisco on his Ghost Hunt tour, at Mary Ellen Memorial Park \u003ccite>(Anne Wernikoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While her behavior might strike us now as self-defeating, Pleasant had always employed misdirection to confound expectations and control her narrative. Pleasant’s status as a “voodoo queen” grew, cementing her reputation as a quasi-mystical figure in San Francisco. To the public, voodoo meant blood magic and malevolent intent.\u003c/p>\n\u003cp>To Mary Ellen Pleasant, however, the \u003ci>real\u003c/i> voodoo — vodoun or vodun — was actually her religion from her ancestral homeland.\u003c/p>\n\u003cp>“She was born the daughter of a voodoo priestess and the granddaughter of a voodoo priestess from Haiti,” explains Bibbs. She believes there’s strong evidence to suggest that Pleasant had studied in New Orleans with legendary vodoun practitioner Marie Laveau (also spelled elsewhere as Laveaux or LaVeaux) before coming to San Francisco — and learned particularly from Laveau’s emphasis on using one’s power to serve the community.\u003c/p>\n\u003cp>Scandal followed scandal. When her business partner, Thomas Bell, was found dead in her mansion, his widow, Teresa, collaborated on a full-page smear piece in the San Francisco Chronicle with the headline “The Queen of the Voodoos.”\u003c/p>\n\u003cfigure id=\"attachment_11700490\" class=\"wp-caption alignnone\" style=\"max-width: 1359px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11700490\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Chron-2.png\" alt=\"\" width=\"1359\" height=\"867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2.png 1359w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2-800x510.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2-1020x651.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2-1200x766.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2-1180x753.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2-960x612.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2-240x153.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2-375x239.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/10/Chron-2-520x332.png 520w\" sizes=\"(max-width: 1359px) 100vw, 1359px\">\u003cfigcaption class=\"wp-caption-text\">The “Queen of the Voodoos” article about Mary Ellen Pleasant in the San Francisco Chronicle. \u003ccite>(Courtesy San Francisco Chronicle )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The press had used the language of the supernatural to describe her for years — but now, they made her into a flat-out monster, accusing her of witchcraft and implying she murdered Bell. This article ignited a public wave against Mary Ellen Pleasant from the powers-that-be, for whom she’d become too powerful, too loud, almost diabolical — fueled by “hate, revenge and racism,” says Bibbs.\u003c/p>\n\u003ch3>\u003cstrong>“We Forget Your Story”\u003c/strong>\u003c/h3>\n\u003cp>It’s telling who gets a legend — and who gets a ghost story. Mary Ellen Pleasant was demonized in her own lifetime, yet in a system so loaded against a black woman in the public eye, playing with rumor like she did was perhaps the only way to play the game, even if it was ultimately her undoing.\u003c/p>\n\u003cp>Mary Ellen Pleasant died in 1904 in her 90s, with her fortunes greatly diminished by scandal. Her obituary in the San Francisco Examiner was titled: “Mammy Pleasant Will Work Weird Spells No More.” In her own writings, Teresa Bell defined Pleasant as “a demon from first to last.”\u003c/p>\n\u003cp>Learning the details of her extraordinary life, it’s hard to imagine how Mary Ellen Pleasant isn’t a towering figure in San Francisco’s history. Yet how we’re remembered depends on who’s telling your story. From those newspapers to her early biographers, Pleasant’s life has been so mangled. As Bibbs says: “One could not tell \u003ci>who\u003c/i> she was.” Was she the […] mother of civil rights, or was she a murderess?”\u003c/p>\n\u003cfigure id=\"attachment_11700254\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11700254\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/10062018_AW_GhostStory_103-e1540151366310.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">A lantern illuminates the sidewalk plaque dedicated to Mary Ellen Pleasant on the San Francisco Ghost Hunt tour \u003ccite>(Anne Wernikoff / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or as Christian Cagigal puts it during the San Francisco Ghost Hunt, under those eucalyptus trees Pleasant is said to haunt: “When there’s three versions of your life story, we don’t know what to \u003cem>do\u003c/em> with your life story… and we forget your story.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He keeps Mary Ellen Pleasant on his ghost hunt, he says, “so we might start to remember.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A San Francisco police officer arrested and charged by federal prosecutors earlier this week with robbing a bank in the city’s Sunset neighborhood was already under investigation for multiple crimes.\u003c/p>\n\u003cp>Long before Officer Rain Daugherty allegedly got away with $9,050 in cash from the East West Bank on Irving Street on Nov. 29, he was under investigation for \u003ca href=\"https://www.kqed.org/news/11671641/appellate-court-rules-against-s-f-officers-in-racist-texting-case\" target=\"_blank\" rel=\"noopener\">trading racist text messages\u003c/a> with fellow members of the San Francisco Police Department. That case is ongoing.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11671641/appellate-court-rules-against-s-f-officers-in-racist-texting-case\">Appellate Court Rules Against S.F. Officers in Racist Texting Case\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://www.kqed.org/news/11671641/appellate-court-rules-against-s-f-officers-in-racist-texting-case\">\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS30856_alt_720-1-1180x910.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003c/aside>\n\u003cp>More recently, the 44-year-old was arrested in San Mateo County for drug possession and stealing $24,000 from an elderly neighbor in Burlingame for whom he was running occasional errands.\u003c/p>\n\u003cp>According to the San Mateo County District Attorney’s Office, Daugherty posted $100,000 in bail in August, and has a preliminary hearing scheduled for February 2019.\u003c/p>\n\u003cp>Attorney Alison Berry Wilkinson has been representing Daugherty on the text message case since 2015. She’s one of three lawyers working with the currently suspended police officer on these three separate cases.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Daugherty could face up to 20 years in prison if convicted of the bank robbery charges.\u003c/p>\n\u003cp>Wilkinson said the latest allegations against her client took her by surprise.\u003c/p>\n\u003cp>“He was an excellent police officer,” Wilkinson said. “And the types of things that he is alleged to have done were inconsistent with the information I had about his dedication to law enforcement.”\u003c/p>\n\u003cp>Daugherty has been on “unpaid status” with the police force since July. Police chief Bill Scott said Daugherty hasn’t yet been fired because he has the right to due process.\u003c/p>\n\u003cp>“We just can’t arbitrarily release people without due process,” Scott said.\u003c/p>\n\u003cp>Scott also expressed sadness at the latest allegations against Daugherty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Just like we say of anybody that we have to deal with who has committed a crime, these are all human beings we’re talking about,” Scott said. “There is a human component to this, and it’s really heartbreaking to see a police officer be in that position.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A San Francisco police officer arrested and charged by federal prosecutors earlier this week with robbing a bank in the city’s Sunset neighborhood was already under investigation for multiple crimes.\u003c/p>\n\u003cp>Long before Officer Rain Daugherty allegedly got away with $9,050 in cash from the East West Bank on Irving Street on Nov. 29, he was under investigation for \u003ca href=\"https://www.kqed.org/news/11671641/appellate-court-rules-against-s-f-officers-in-racist-texting-case\" target=\"_blank\" rel=\"noopener\">trading racist text messages\u003c/a> with fellow members of the San Francisco Police Department. That case is ongoing.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11671641/appellate-court-rules-against-s-f-officers-in-racist-texting-case\">Appellate Court Rules Against S.F. Officers in Racist Texting Case\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://www.kqed.org/news/11671641/appellate-court-rules-against-s-f-officers-in-racist-texting-case\">\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS30856_alt_720-1-1180x910.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003c/aside>\n\u003cp>More recently, the 44-year-old was arrested in San Mateo County for drug possession and stealing $24,000 from an elderly neighbor in Burlingame for whom he was running occasional errands.\u003c/p>\n\u003cp>According to the San Mateo County District Attorney’s Office, Daugherty posted $100,000 in bail in August, and has a preliminary hearing scheduled for February 2019.\u003c/p>\n\u003cp>Attorney Alison Berry Wilkinson has been representing Daugherty on the text message case since 2015. She’s one of three lawyers working with the currently suspended police officer on these three separate cases.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Daugherty could face up to 20 years in prison if convicted of the bank robbery charges.\u003c/p>\n\u003cp>Wilkinson said the latest allegations against her client took her by surprise.\u003c/p>\n\u003cp>“He was an excellent police officer,” Wilkinson said. “And the types of things that he is alleged to have done were inconsistent with the information I had about his dedication to law enforcement.”\u003c/p>\n\u003cp>Daugherty has been on “unpaid status” with the police force since July. Police chief Bill Scott said Daugherty hasn’t yet been fired because he has the right to due process.\u003c/p>\n\u003cp>“We just can’t arbitrarily release people without due process,” Scott said.\u003c/p>\n\u003cp>Scott also expressed sadness at the latest allegations against Daugherty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Just like we say of anybody that we have to deal with who has committed a crime, these are all human beings we’re talking about,” Scott said. “There is a human component to this, and it’s really heartbreaking to see a police officer be in that position.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "This Guy Just Ran Every Single Street in San Francisco",
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"content": "\u003cp>Days: 46. Miles: 1,303.\u003c/p>\n\u003cp>Those are the (intimidating) numbers behind ultrarunner \u003ca href=\"http://www.rickeygates.com/bio/\" target=\"_blank\" rel=\"noopener\">Rickey Gates\u003c/a>' latest project, \"Every Single Street,\" which, well, is almost exactly what it sounds like: Starting at the beginning of November, he ran every single street in San Francisco.\u003c/p>\n\u003cp>\"It feels really good to be done,\" Gates said on Sunday just after his final run through Twin Peaks.\u003c/p>\n\u003cp>If running every street of San Francisco sounds like a ridiculous idea to you, Gates agrees. \"I'm kind of a master of ridiculous projects,\" he said.\u003c/p>\n\u003cp>And he's no stranger to ambitious runs. Last year, Gates ran from South Carolina to California — about 4,000 miles in all — over the course of five months.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"The goal of that trip was to get to know my country a bit better,\" he said. And he did — not just the landscapes, but also the people he met along the way. But Gates said he mostly got to know rural areas on that trip, and something about applying the same idea to a city excited him.\u003c/p>\n\u003cp>\"And then I was sitting here in San Francisco ... kind of looking at this massive population below me,\" he said. \"It came to me that without really knowing a city, you can't really know a country. And that's where the idea began.\"\u003c/p>\n\u003cp>https://twitter.com/rickeygates/status/1073068114634395650\u003c/p>\n\u003cp>His first run started on the Golden Gate Bridge, and from there the project took him just about everywhere else you can go in the city — including up a lot of grueling hills.\u003c/p>\n\u003cp>If his calculations are correct, Gates did about 147,000 feet of climbing over the course of the project. For reference, that's about five times up Mount Everest.\u003c/p>\n\u003cp>Gates said the project has given him a unique understanding of the city by \"chatting with as many people as I can and listening to the birds.\"\u003c/p>\n\u003cfigure id=\"attachment_11713027\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11713027 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/RS34482_RickeyDone-qut-800x535.jpg\" alt=\"San Francisco-based ultrarunner Rickey Gates at the end of his 'Every Single Street' project where he ran all of San Francisco's streets in 46 days.\" width=\"800\" height=\"535\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34482_RickeyDone-qut-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34482_RickeyDone-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34482_RickeyDone-qut-1020x682.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34482_RickeyDone-qut-1200x802.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34482_RickeyDone-qut.jpg 1678w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-based ultrarunner Rickey Gates at the end of his 'Every Single Street' project, where he ran all of San Francisco's streets in 46 days. \u003ccite>(Dean Leslie/The Wandering Fever)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That experience, the perspective running gives him on a place, is Gates' primary focus, not the running itself. \"It just really requires being out there all day, every day for an extended period of time to really get a sense of it,\" he said.\u003c/p>\n\u003cp>Similar projects have been done before. San Francisco resident Tom Graham completed a walk of every street in the city eight years ago. It took him more than 500 hours during a seven-year period. Graham wrote about his experience for the \u003ca href=\"https://www.sfgate.com/entertainment/article/Tom-Graham-walks-every-street-in-San-Francisco-3182272.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a> in 2010:\u003c/p>\n\u003cblockquote>\u003cp>I chased my shadow all over San Francisco. Watched it cast down hillsides on sunny days ... against the gray concrete sidewalk, the asphalt street, stucco and brick houses, on the sands of Ocean, China and Baker beaches.\u003c/p>\u003c/blockquote>\n\u003cp>Gates' project took a lot less time than Graham's walk, but he also concedes that he might have missed a couple of areas here and there. \"I think there's probably 2 or 3 miles of little blocks that I missed,\" he said.\u003c/p>\n\u003cp>In the grand scheme of more than 1,300 miles, one or two missed is almost nothing, but Gates said he plans to go back over the next couple of days and try to fill in the blanks.\u003c/p>\n\u003cp>\"I don't think anybody really cares about that except for myself,\" he said. \"You come up with this project called 'Every Single Street,' and that has a little asterisk for me until I'm able to click off those last little blocks there.\"\u003c/p>\n\u003cp>As for what's next, Gates said he plans to get some much needed rest, but he'll likely be off on another ambitious expedition sometime soon.\u003c/p>\n\u003cp>After 1,300 miles in San Francisco, Gates said he's looking beyond the city limits. \"I'm a trail runner at heart,\" he said. \"My next project will likely take me back to the trails.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To listen to KQED's full interview with Rickey Gates, press the red play button at the top of this post.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Days: 46. Miles: 1,303.\u003c/p>\n\u003cp>Those are the (intimidating) numbers behind ultrarunner \u003ca href=\"http://www.rickeygates.com/bio/\" target=\"_blank\" rel=\"noopener\">Rickey Gates\u003c/a>' latest project, \"Every Single Street,\" which, well, is almost exactly what it sounds like: Starting at the beginning of November, he ran every single street in San Francisco.\u003c/p>\n\u003cp>\"It feels really good to be done,\" Gates said on Sunday just after his final run through Twin Peaks.\u003c/p>\n\u003cp>If running every street of San Francisco sounds like a ridiculous idea to you, Gates agrees. \"I'm kind of a master of ridiculous projects,\" he said.\u003c/p>\n\u003cp>And he's no stranger to ambitious runs. Last year, Gates ran from South Carolina to California — about 4,000 miles in all — over the course of five months.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"The goal of that trip was to get to know my country a bit better,\" he said. And he did — not just the landscapes, but also the people he met along the way. But Gates said he mostly got to know rural areas on that trip, and something about applying the same idea to a city excited him.\u003c/p>\n\u003cp>\"And then I was sitting here in San Francisco ... kind of looking at this massive population below me,\" he said. \"It came to me that without really knowing a city, you can't really know a country. And that's where the idea began.\"\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>His first run started on the Golden Gate Bridge, and from there the project took him just about everywhere else you can go in the city — including up a lot of grueling hills.\u003c/p>\n\u003cp>If his calculations are correct, Gates did about 147,000 feet of climbing over the course of the project. For reference, that's about five times up Mount Everest.\u003c/p>\n\u003cp>Gates said the project has given him a unique understanding of the city by \"chatting with as many people as I can and listening to the birds.\"\u003c/p>\n\u003cfigure id=\"attachment_11713027\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11713027 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/12/RS34482_RickeyDone-qut-800x535.jpg\" alt=\"San Francisco-based ultrarunner Rickey Gates at the end of his 'Every Single Street' project where he ran all of San Francisco's streets in 46 days.\" width=\"800\" height=\"535\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34482_RickeyDone-qut-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34482_RickeyDone-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34482_RickeyDone-qut-1020x682.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34482_RickeyDone-qut-1200x802.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/12/RS34482_RickeyDone-qut.jpg 1678w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-based ultrarunner Rickey Gates at the end of his 'Every Single Street' project, where he ran all of San Francisco's streets in 46 days. \u003ccite>(Dean Leslie/The Wandering Fever)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That experience, the perspective running gives him on a place, is Gates' primary focus, not the running itself. \"It just really requires being out there all day, every day for an extended period of time to really get a sense of it,\" he said.\u003c/p>\n\u003cp>Similar projects have been done before. San Francisco resident Tom Graham completed a walk of every street in the city eight years ago. It took him more than 500 hours during a seven-year period. Graham wrote about his experience for the \u003ca href=\"https://www.sfgate.com/entertainment/article/Tom-Graham-walks-every-street-in-San-Francisco-3182272.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a> in 2010:\u003c/p>\n\u003cblockquote>\u003cp>I chased my shadow all over San Francisco. Watched it cast down hillsides on sunny days ... against the gray concrete sidewalk, the asphalt street, stucco and brick houses, on the sands of Ocean, China and Baker beaches.\u003c/p>\u003c/blockquote>\n\u003cp>Gates' project took a lot less time than Graham's walk, but he also concedes that he might have missed a couple of areas here and there. \"I think there's probably 2 or 3 miles of little blocks that I missed,\" he said.\u003c/p>\n\u003cp>In the grand scheme of more than 1,300 miles, one or two missed is almost nothing, but Gates said he plans to go back over the next couple of days and try to fill in the blanks.\u003c/p>\n\u003cp>\"I don't think anybody really cares about that except for myself,\" he said. \"You come up with this project called 'Every Single Street,' and that has a little asterisk for me until I'm able to click off those last little blocks there.\"\u003c/p>\n\u003cp>As for what's next, Gates said he plans to get some much needed rest, but he'll likely be off on another ambitious expedition sometime soon.\u003c/p>\n\u003cp>After 1,300 miles in San Francisco, Gates said he's looking beyond the city limits. \"I'm a trail runner at heart,\" he said. \"My next project will likely take me back to the trails.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To listen to KQED's full interview with Rickey Gates, press the red play button at the top of this post.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You don’t have to be a cyclist in the Bay Area to appreciate that bike theft is rampant. Walking around, you might notice broken U-locks next to bike racks where someone’s ride vanished. Or skeletal bike frames that are still locked up, but the wheels, seat, and anything else that wasn’t welded in place have all been picked clean.\u003c/p>\n\u003cp>An \u003ca href=\"https://sfbos.org/sites/default/files/FileCenter/Documents/46121-BLA.BikeTheft.052413.pdf\">analysis\u003c/a> estimated that in 2012 there were more than 4,000 actual, attempted or unreported bike thefts in San Francisco, with some $4.6 million worth of bikes taken.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>In this episode of Bay Curious (listen using the play button above), we unpack two questions — what the San Francisco Police Department is doing about bike theft, and what happens after bikes or bicycle parts are stolen. \u003ca href=\"https://www.kqed.org/news/11708992/10-things-to-know-about-bike-theft-in-san-francisco-2\" target=\"_blank\" rel=\"noopener\">Click here\u003c/a> to learn more about bike theft in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You don’t have to be a cyclist in the Bay Area to appreciate that bike theft is rampant. Walking around, you might notice broken U-locks next to bike racks where someone’s ride vanished. Or skeletal bike frames that are still locked up, but the wheels, seat, and anything else that wasn’t welded in place have all been picked clean.\u003c/p>\n\u003cp>An \u003ca href=\"https://sfbos.org/sites/default/files/FileCenter/Documents/46121-BLA.BikeTheft.052413.pdf\">analysis\u003c/a> estimated that in 2012 there were more than 4,000 actual, attempted or unreported bike thefts in San Francisco, with some $4.6 million worth of bikes taken.\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>In this episode of Bay Curious (listen using the play button above), we unpack two questions — what the San Francisco Police Department is doing about bike theft, and what happens after bikes or bicycle parts are stolen. \u003ca href=\"https://www.kqed.org/news/11708992/10-things-to-know-about-bike-theft-in-san-francisco-2\" target=\"_blank\" rel=\"noopener\">Click here\u003c/a> to learn more about bike theft in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In San Francisco, the houses are quite cozy — sometimes mere inches apart. We can hear our neighbors’ wailing babies, their band practice and even their showers.\u003c/p>\n\u003cp>This design is pretty common in cities across the country, but Friedel Pretorius, this week’s Bay Curious question asker, couldn’t help noticing it here.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>“I like walking around San Francisco and just observing all the different houses,” says Friedel. “And I noticed that a lot of the buildings in San Francisco are really close together, like less than a foot.”\u003c/p>\n\u003cp>She wants to know why they are so close and how they ended up this way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s always rot and maintenance that old houses need, and I just wonder how are they built and how are they maintained,” Friedel says.\u003c/p>\n\u003cp>\u003ca href=\"https://sfhistory.org/board-of-directors/#c-fracchia\" target=\"_blank\" rel=\"noopener\">Charles Fracchia\u003c/a> has the answer. He’s the founder of the\u003ca href=\"https://sfhistory.org/about/\" target=\"_blank\" rel=\"noopener\"> San Francisco Museum and Historical Society, \u003c/a>and has written several books on San Francisco history.\u003c/p>\n\u003cp>I meet him in the Jackson Square area, just north of the Transamerica Pyramid, where some of the city’s oldest buildings still stand. His bushy white eyebrows peek out from circular rimmed glasses that give him a scholarly look.\u003c/p>\n\u003cfigure id=\"attachment_11705856\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11705856 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/IMG_0366-1-e1542057208808-800x1067.jpg\" alt=\"This house once stood at 1916 Sacramento Street and was built in 1878. The parlors on each floor were 15 and a half feet wide and the staircase was about five feet wide. Today, apartments occupy this lot.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0366-1-e1542057208808-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0366-1-e1542057208808-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0366-1-e1542057208808-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0366-1-e1542057208808-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0366-1-e1542057208808.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This house, called the H. W. Newbauer House, once stood at 1916 Sacramento St. and was built in 1878. The parlors on each floor were 15 and a half feet wide and the staircase was about 5 feet wide. Today, apartments occupy this lot. \u003ccite>(Quarterly Architectural News, October 1879)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So you notice every one of these is on a lot next to each other, basically back to back,” says Fracchia. “There are no side yards or gardens.”\u003c/p>\n\u003cp>We’re looking at a series of brick buildings, two to three stories tall, very plain. He tells me this tight style of building was common in old European settlements, too.\u003c/p>\n\u003cp>“Ancient towns and cities had a wall around them. So you wanted to compress your real estate as much as you can,” says Fracchia, offering Paris in the Middle Ages as an example.\u003c/p>\n\u003cp>He tells me cities were designed this way to protect against invaders.\u003c/p>\n\u003cp>I ask him how San Francisco made this idea its own, and he ushers me into a nearby private dining club he’s a member of, to show me some framed paintings of what the city looked like before it was a city … before it became squished together.\u003c/p>\n\u003cp>“Here’s the one I really wanted to show you,” he says. “You notice there are just a handful of buildings over here. So very few buildings.”\u003c/p>\n\u003cfigure id=\"attachment_11702207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11702207 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Close1-800x541.jpg\" alt=\"\" width=\"800\" height=\"541\">\u003cfigcaption class=\"wp-caption-text\">Charles Fracchia points to a drawing of San Francisco before the Gold Rush. \u003ccite>(Sarah Craig/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are looking at a painting dated from 1846 to 1847. It’s right before the Gold Rush and right after the U.S. took over California from Mexico. At that point, there’s not really much to the city — it’s mostly sand dunes and it looks like peaceful, rolling countryside.\u003c/p>\n\u003cp>But even with so few people, there was a city council. They convinced the federal government to give them the land San Francisco sits on. And then, Fracchia says, they started divvying that land up.\u003c/p>\n\u003cp>“They did this late in 1846, when they hired O’Farrell to do the survey,” he says.\u003c/p>\n\u003cp>Jasper O’Farrell was an Irish-born surveyor. \u003ca href=\"https://www.revolvy.com/page/Jasper-O%27Farrell\" target=\"_blank\" rel=\"noopener\">O’Farrell Street in San Francisco is named after him.\u003c/a> He designed ranchos and other towns in California.\u003c/p>\n\u003cp>“When he was given the job, there are about, let’s say, 500 people in the settlement of Yerba Buena,” says Fracchia.\u003c/p>\n\u003cfigure id=\"attachment_11702219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11702219 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Close2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Charles Fracchia in front of a photo of San Francisco’s original waterfront. \u003ccite>(Sarah Craig/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>O’Farrell had no idea what the future held for this little settlement and he had to guess how big the city would become. With little direction from the city council, he was given free rein to design it however he fancied. He started with a grid — a format already in place by the Mexican settlers.\u003c/p>\n\u003cp>Fracchia then points out another drawing of an early map of the city with streets running perpendicular to one another.\u003c/p>\n\u003cp>The map has a bunch of teeny boxes, and each box represents a city block. Each of those blocks is divided into six smaller lots called varas — a Spanish unit of measurement.\u003c/p>\n\u003cp>After O’Farrell finalized his map, the city started auctioning off these varas. The ones South of Market were going for cheap: $12.67. But those close to downtown were pricey: $50 to $100 per vara.\u003c/p>\n\u003cp>And as they are auctioning them off, the Gold Rush happens.\u003c/p>\n\u003cp>All of a sudden, there’s a huge demand to cram together an exploding population. A lot of people need to fit into not much space.\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>The varas got subdivided into smaller lots, some less than 25 feet wide.\u003c/p>\n\u003cp>“It’s a very typical real estate operation in large U.S. cities,” says Fracchia. “You can get more money by splitting the lots up.”\u003c/p>\n\u003cp>But 25 feet is not that much space. Another local historian, William Kostura, says that it was just enough room for a parlor and a staircase. So in most cases, houses were built to take up the entire lot.\u003c/p>\n\u003cp>To build these houses, the walls had to be built first, on the ground, and then lifted into place using a system of levers and pulleys. This still happens.\u003c/p>\n\u003cp>In addition to the unique building techniques, Fracchia says the small lots also influenced the architecture of the buildings.\u003c/p>\n\u003cp>“That gave way to the shape of San Francisco flats or houses. You know, a long narrow corridor called a railroad flat. Little rooms off that. You don’t have any kind of expansion,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11705855\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11705855 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/IMG_0367-1-e1542057187557-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0367-1-e1542057187557-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0367-1-e1542057187557-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0367-1-e1542057187557-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0367-1-e1542057187557-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0367-1-e1542057187557.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This house once stood at 1916 Sacramento St. and was built in 1878. The parlors on each floor were 15½ feet wide and the staircase was about 5 feet wide. Today, apartments occupy this lot. \u003ccite>(Quarterly Architectural News, October 1879)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A lot of these houses were often built with small gaps separating them — like 1 or 2 feet — to allow light to come in through the side walls.\u003c/p>\n\u003cp>Maintaining those walls can get tricky.\u003c/p>\n\u003ch2>How do you fix a house when you can’t get to the side?\u003c/h2>\n\u003cp>Ben Ladomirak from\u003ca href=\"http://www.teevan.com/about-us/team/\" target=\"_blank\" rel=\"noopener\"> Teevan \u003c/a>works on all sorts of houses in San Francisco, and he tells me he’s done everything imaginable.\u003c/p>\n\u003cp>“There is nothing that exists on a home that we haven’t done,” he says.\u003c/p>\n\u003cp>He comes across houses that are super close together all the time, but he says “none are wide enough that you could get a person in there. I mean, I might be able to get a tiny person that’s not me. But all jokes aside, you can’t get in there.”\u003c/p>\n\u003cp>And that means that he can’t paint them — which causes problems.\u003c/p>\n\u003cp>“UV damages the paint, which then makes the paint peel, which then makes the wood split and crack, which lets the water in, and it’s really water that does the damage,” he says.\u003c/p>\n\u003cp>This doesn’t happen that often because most walls are shaded from the sun. But when it does happen, it’s a big deal. If Ben thinks the wall is rotted out and the building might fall down, he has to do something.\u003c/p>\n\u003cp>“The only way we’ll be able to deal with it is from the inside of your house. We cannot get to it from the outside,” he says.\u003c/p>\n\u003cp>“Imagine everything on the wall being stripped down, all the sheetrock out, and you have the vertical studs that you can see. If they are damaged, you are doing the best you can from the inside of your house.”\u003c/p>\n\u003cp>So he fixes the wall from the inside, but Ben also needs to protect the outside. He does this by connecting the roofs of the two buildings, or by making sure one roof overlaps the other.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Then, you just have to hope that your roof keeps the water out.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In San Francisco, the houses are quite cozy — sometimes mere inches apart. We can hear our neighbors’ wailing babies, their band practice and even their showers.\u003c/p>\n\u003cp>This design is pretty common in cities across the country, but Friedel Pretorius, this week’s Bay Curious question asker, couldn’t help noticing it here.\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>“I like walking around San Francisco and just observing all the different houses,” says Friedel. “And I noticed that a lot of the buildings in San Francisco are really close together, like less than a foot.”\u003c/p>\n\u003cp>She wants to know why they are so close and how they ended up this way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s always rot and maintenance that old houses need, and I just wonder how are they built and how are they maintained,” Friedel says.\u003c/p>\n\u003cp>\u003ca href=\"https://sfhistory.org/board-of-directors/#c-fracchia\" target=\"_blank\" rel=\"noopener\">Charles Fracchia\u003c/a> has the answer. He’s the founder of the\u003ca href=\"https://sfhistory.org/about/\" target=\"_blank\" rel=\"noopener\"> San Francisco Museum and Historical Society, \u003c/a>and has written several books on San Francisco history.\u003c/p>\n\u003cp>I meet him in the Jackson Square area, just north of the Transamerica Pyramid, where some of the city’s oldest buildings still stand. His bushy white eyebrows peek out from circular rimmed glasses that give him a scholarly look.\u003c/p>\n\u003cfigure id=\"attachment_11705856\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11705856 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/IMG_0366-1-e1542057208808-800x1067.jpg\" alt=\"This house once stood at 1916 Sacramento Street and was built in 1878. The parlors on each floor were 15 and a half feet wide and the staircase was about five feet wide. Today, apartments occupy this lot.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0366-1-e1542057208808-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0366-1-e1542057208808-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0366-1-e1542057208808-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0366-1-e1542057208808-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0366-1-e1542057208808.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This house, called the H. W. Newbauer House, once stood at 1916 Sacramento St. and was built in 1878. The parlors on each floor were 15 and a half feet wide and the staircase was about 5 feet wide. Today, apartments occupy this lot. \u003ccite>(Quarterly Architectural News, October 1879)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So you notice every one of these is on a lot next to each other, basically back to back,” says Fracchia. “There are no side yards or gardens.”\u003c/p>\n\u003cp>We’re looking at a series of brick buildings, two to three stories tall, very plain. He tells me this tight style of building was common in old European settlements, too.\u003c/p>\n\u003cp>“Ancient towns and cities had a wall around them. So you wanted to compress your real estate as much as you can,” says Fracchia, offering Paris in the Middle Ages as an example.\u003c/p>\n\u003cp>He tells me cities were designed this way to protect against invaders.\u003c/p>\n\u003cp>I ask him how San Francisco made this idea its own, and he ushers me into a nearby private dining club he’s a member of, to show me some framed paintings of what the city looked like before it was a city … before it became squished together.\u003c/p>\n\u003cp>“Here’s the one I really wanted to show you,” he says. “You notice there are just a handful of buildings over here. So very few buildings.”\u003c/p>\n\u003cfigure id=\"attachment_11702207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11702207 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Close1-800x541.jpg\" alt=\"\" width=\"800\" height=\"541\">\u003cfigcaption class=\"wp-caption-text\">Charles Fracchia points to a drawing of San Francisco before the Gold Rush. \u003ccite>(Sarah Craig/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are looking at a painting dated from 1846 to 1847. It’s right before the Gold Rush and right after the U.S. took over California from Mexico. At that point, there’s not really much to the city — it’s mostly sand dunes and it looks like peaceful, rolling countryside.\u003c/p>\n\u003cp>But even with so few people, there was a city council. They convinced the federal government to give them the land San Francisco sits on. And then, Fracchia says, they started divvying that land up.\u003c/p>\n\u003cp>“They did this late in 1846, when they hired O’Farrell to do the survey,” he says.\u003c/p>\n\u003cp>Jasper O’Farrell was an Irish-born surveyor. \u003ca href=\"https://www.revolvy.com/page/Jasper-O%27Farrell\" target=\"_blank\" rel=\"noopener\">O’Farrell Street in San Francisco is named after him.\u003c/a> He designed ranchos and other towns in California.\u003c/p>\n\u003cp>“When he was given the job, there are about, let’s say, 500 people in the settlement of Yerba Buena,” says Fracchia.\u003c/p>\n\u003cfigure id=\"attachment_11702219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11702219 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/10/Close2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Charles Fracchia in front of a photo of San Francisco’s original waterfront. \u003ccite>(Sarah Craig/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>O’Farrell had no idea what the future held for this little settlement and he had to guess how big the city would become. With little direction from the city council, he was given free rein to design it however he fancied. He started with a grid — a format already in place by the Mexican settlers.\u003c/p>\n\u003cp>Fracchia then points out another drawing of an early map of the city with streets running perpendicular to one another.\u003c/p>\n\u003cp>The map has a bunch of teeny boxes, and each box represents a city block. Each of those blocks is divided into six smaller lots called varas — a Spanish unit of measurement.\u003c/p>\n\u003cp>After O’Farrell finalized his map, the city started auctioning off these varas. The ones South of Market were going for cheap: $12.67. But those close to downtown were pricey: $50 to $100 per vara.\u003c/p>\n\u003cp>And as they are auctioning them off, the Gold Rush happens.\u003c/p>\n\u003cp>All of a sudden, there’s a huge demand to cram together an exploding population. A lot of people need to fit into not much space.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The varas got subdivided into smaller lots, some less than 25 feet wide.\u003c/p>\n\u003cp>“It’s a very typical real estate operation in large U.S. cities,” says Fracchia. “You can get more money by splitting the lots up.”\u003c/p>\n\u003cp>But 25 feet is not that much space. Another local historian, William Kostura, says that it was just enough room for a parlor and a staircase. So in most cases, houses were built to take up the entire lot.\u003c/p>\n\u003cp>To build these houses, the walls had to be built first, on the ground, and then lifted into place using a system of levers and pulleys. This still happens.\u003c/p>\n\u003cp>In addition to the unique building techniques, Fracchia says the small lots also influenced the architecture of the buildings.\u003c/p>\n\u003cp>“That gave way to the shape of San Francisco flats or houses. You know, a long narrow corridor called a railroad flat. Little rooms off that. You don’t have any kind of expansion,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11705855\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11705855 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/IMG_0367-1-e1542057187557-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0367-1-e1542057187557-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0367-1-e1542057187557-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0367-1-e1542057187557-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0367-1-e1542057187557-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_0367-1-e1542057187557.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This house once stood at 1916 Sacramento St. and was built in 1878. The parlors on each floor were 15½ feet wide and the staircase was about 5 feet wide. Today, apartments occupy this lot. \u003ccite>(Quarterly Architectural News, October 1879)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A lot of these houses were often built with small gaps separating them — like 1 or 2 feet — to allow light to come in through the side walls.\u003c/p>\n\u003cp>Maintaining those walls can get tricky.\u003c/p>\n\u003ch2>How do you fix a house when you can’t get to the side?\u003c/h2>\n\u003cp>Ben Ladomirak from\u003ca href=\"http://www.teevan.com/about-us/team/\" target=\"_blank\" rel=\"noopener\"> Teevan \u003c/a>works on all sorts of houses in San Francisco, and he tells me he’s done everything imaginable.\u003c/p>\n\u003cp>“There is nothing that exists on a home that we haven’t done,” he says.\u003c/p>\n\u003cp>He comes across houses that are super close together all the time, but he says “none are wide enough that you could get a person in there. I mean, I might be able to get a tiny person that’s not me. But all jokes aside, you can’t get in there.”\u003c/p>\n\u003cp>And that means that he can’t paint them — which causes problems.\u003c/p>\n\u003cp>“UV damages the paint, which then makes the paint peel, which then makes the wood split and crack, which lets the water in, and it’s really water that does the damage,” he says.\u003c/p>\n\u003cp>This doesn’t happen that often because most walls are shaded from the sun. But when it does happen, it’s a big deal. If Ben thinks the wall is rotted out and the building might fall down, he has to do something.\u003c/p>\n\u003cp>“The only way we’ll be able to deal with it is from the inside of your house. We cannot get to it from the outside,” he says.\u003c/p>\n\u003cp>“Imagine everything on the wall being stripped down, all the sheetrock out, and you have the vertical studs that you can see. If they are damaged, you are doing the best you can from the inside of your house.”\u003c/p>\n\u003cp>So he fixes the wall from the inside, but Ben also needs to protect the outside. He does this by connecting the roofs of the two buildings, or by making sure one roof overlaps the other.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then, you just have to hope that your roof keeps the water out.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "London 'Steals' San Francisco Cultural Anti-Displacement Idea",
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"headTitle": "London ‘Steals’ San Francisco Cultural Anti-Displacement Idea | KQED",
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"content": "\u003cp>If you’ve watched with dismay as San Francisco’s sky-high rents push out yet another favorite music venue, gallery or indie movie theater, take heart: There’s a homegrown solution at hand. And other cities around the world, like London, are starting to look to San Francisco for inspiration when it comes to helping artists and creative organizations stay put.\u003c/p>\n\u003cp>Most people think of London as a huge city with a monumental cultural legacy, stretching from Shakespeare to Adele.\u003c/p>\n\u003cp>But it’s also a city facing a cultural crisis, says \u003ca href=\"https://www.london.gov.uk/people/mayoral/justine-simons-obe\" target=\"_blank\" rel=\"noopener\">Justine Simons\u003c/a>, London’s deputy mayor for culture and the creative industries. And that is one of the things London and San Francisco have in common.\u003c/p>\n\u003cp>“Unaffordability is a big issue for London and San Francisco,” Simons said. “And we both have issues around the protection and the retention of creative workspace and artists studios. The whole creative infrastructure is under a lot of pressure.”\u003c/p>\n\u003cfigure id=\"attachment_11706395\" class=\"wp-caption alignright\" style=\"max-width: 490px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11706395\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/JUstine-Simons.jpg\" alt=\"Justine Simons, London's deputy mayor of culture and creative industries.\" width=\"490\" height=\"245\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/JUstine-Simons.jpg 490w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/JUstine-Simons-160x80.jpg 160w\" sizes=\"(max-width: 490px) 100vw, 490px\">\u003cfigcaption class=\"wp-caption-text\">Justine Simons, London’s deputy mayor of culture and the creative industries. \u003ccite>(Courtesy of Mayor of London website)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Simons was in San Francisco recently presiding over the \u003ca href=\"http://www.worldcitiescultureforum.com/events/world-cities-culture-summit-san-francisco-2018\" target=\"_blank\" rel=\"noopener\">World Cities Culture Summit\u003c/a> — an annual gathering of 40 or so cultural leaders from across the globe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We get together and share our ideas,” Simons said. “And we also steal the best ideas from each other.”\u003c/p>\n\u003cp>Like an idea London recently stole from San Francisco to reduce cultural displacement — \u003ca href=\"https://cast-sf.org/\" target=\"_blank\" rel=\"noopener\">Community Arts Stabilization Trust\u003c/a> — or CAST for short.\u003c/p>\n\u003cp>“London has been completely inspired by the San Francisco CAST model, to the extent that we are setting up our own version of it,” Simons said.\u003c/p>\n\u003cp>CAST is a nonprofit real estate development and holding company that helps arts groups secure space through long-term below-market leases and a lease-to-own model funded by philanthropy and other sources. It has raised $36 million to support a handful of projects since 2013.\u003c/p>\n\u003cp>The company has also helped nonprofit cultural groups keep the lights on in the shorter term, through providing $1.8 million in grants and technical assistance to date.\u003c/p>\n\u003cp>CAST projects at various stages of development include helping performing arts presenter \u003ca href=\"http://counterpulse.org/\" target=\"_blank\" rel=\"noopener\">CounterPulse\u003c/a> and the \u003ca href=\"http://www.luggagestoregallery.org/\" target=\"_blank\" rel=\"noopener\">Luggage Store Gallery\u003c/a> secure permanent spaces in the Tenderloin and mid-Market areas respectively, as well as working on plans to restore the Geneva Car Barn in the Excelsior neighborhood and create an arts and culture center as part of the 5M development in downtown San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11706400\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11706400 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/Moy-Eng-800x600.jpg\" alt=\"CAST executive director, Moy Eng.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Moy-Eng-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Moy-Eng-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Moy-Eng-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Moy-Eng-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Moy-Eng-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Moy Eng, CAST executive director \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The elements that are really critical to having creatives in our city are leadership, financial resources and space,” said CAST’s executive director, Moy Eng. “As the space has gotten increasingly expensive, we purchase property through subsidy and low-interest financing to make it possible for arts groups to stay here in our city.”\u003c/p>\n\u003cp>Eng said CounterPulse received $6 million in financing from CAST and has seven years to raise the money needed to purchase its premises at 80 Turk St. from her company at a cost frozen in 2015. “That’s well below market,” Eng said.\u003c/p>\n\u003cp>The Luggage Store Gallery has a similar lease-to-own arrangement with CAST.\u003c/p>\n\u003cp>CounterPulse artistic and executive director Julie Phelps said her organization has raised $4 million of the $7 million it needs to buy CAST out in 2023. She said helping to stabilize a couple of cultural groups might be a drop in the bucket when so many are desperate for affordable space.\u003c/p>\n\u003cp>Yet, she said, the model is powerful, because it not only secures a future for her own organization, but also helps stabilize the futures of other individual artists and groups working in CounterPulse’s orbit.\u003c/p>\n\u003cfigure id=\"attachment_11706401\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11706401 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/Justine-Simons-and-Julie-Phelps-800x1067.jpg\" alt=\"London deputy mayor for culture and the creative industries Justine Simons and CounterPulse executive and artistic director Julie Phelps pictured at CounterPulse. November 13, 2018.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Justine-Simons-and-Julie-Phelps-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Justine-Simons-and-Julie-Phelps-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Justine-Simons-and-Julie-Phelps-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Justine-Simons-and-Julie-Phelps-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Justine-Simons-and-Julie-Phelps-1920x2560.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Simons, left, London deputy mayor for culture and the creative industries, and CounterPulse executive and artistic director Julie Phelps, at CounterPulse on Nov. 13, 2018. \u003ccite>(Kate Patterson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Having a permanent facility doesn’t just benefit CounterPulse because we serve countless artists and small companies every year,” Phelps said. “So those artists are also all stabilized by way of CounterPulse being stabilized.”\u003c/p>\n\u003cp>London’s version of CAST is expected to launch next year. But the UK capital isn’t the only city to come calling: Auckland, Tel Aviv and Amsterdam, among other urban centers, are also seeking anti-cultural displacement advice from San Francisco, as are several other cities around the United States, like Seattle, Austin and Denver.\u003c/p>\n\u003cp>“That the model is being applied to cities around the world is really where the broad impact is coming,” Phelps said.\u003c/p>\n\u003cp>Eng said she’s thrilled so many urban centers are hoping to replicate San Francisco’s CAST model. But she said each has to come up with its own take on the idea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We don’t think we’re the silver bullet,” Eng said. “What we can present is an illustration of what could work in a major city, and it will take its own form and set of nuances in each particular city.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve watched with dismay as San Francisco’s sky-high rents push out yet another favorite music venue, gallery or indie movie theater, take heart: There’s a homegrown solution at hand. And other cities around the world, like London, are starting to look to San Francisco for inspiration when it comes to helping artists and creative organizations stay put.\u003c/p>\n\u003cp>Most people think of London as a huge city with a monumental cultural legacy, stretching from Shakespeare to Adele.\u003c/p>\n\u003cp>But it’s also a city facing a cultural crisis, says \u003ca href=\"https://www.london.gov.uk/people/mayoral/justine-simons-obe\" target=\"_blank\" rel=\"noopener\">Justine Simons\u003c/a>, London’s deputy mayor for culture and the creative industries. And that is one of the things London and San Francisco have in common.\u003c/p>\n\u003cp>“Unaffordability is a big issue for London and San Francisco,” Simons said. “And we both have issues around the protection and the retention of creative workspace and artists studios. The whole creative infrastructure is under a lot of pressure.”\u003c/p>\n\u003cfigure id=\"attachment_11706395\" class=\"wp-caption alignright\" style=\"max-width: 490px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11706395\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/JUstine-Simons.jpg\" alt=\"Justine Simons, London's deputy mayor of culture and creative industries.\" width=\"490\" height=\"245\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/JUstine-Simons.jpg 490w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/JUstine-Simons-160x80.jpg 160w\" sizes=\"(max-width: 490px) 100vw, 490px\">\u003cfigcaption class=\"wp-caption-text\">Justine Simons, London’s deputy mayor of culture and the creative industries. \u003ccite>(Courtesy of Mayor of London website)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Simons was in San Francisco recently presiding over the \u003ca href=\"http://www.worldcitiescultureforum.com/events/world-cities-culture-summit-san-francisco-2018\" target=\"_blank\" rel=\"noopener\">World Cities Culture Summit\u003c/a> — an annual gathering of 40 or so cultural leaders from across the globe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We get together and share our ideas,” Simons said. “And we also steal the best ideas from each other.”\u003c/p>\n\u003cp>Like an idea London recently stole from San Francisco to reduce cultural displacement — \u003ca href=\"https://cast-sf.org/\" target=\"_blank\" rel=\"noopener\">Community Arts Stabilization Trust\u003c/a> — or CAST for short.\u003c/p>\n\u003cp>“London has been completely inspired by the San Francisco CAST model, to the extent that we are setting up our own version of it,” Simons said.\u003c/p>\n\u003cp>CAST is a nonprofit real estate development and holding company that helps arts groups secure space through long-term below-market leases and a lease-to-own model funded by philanthropy and other sources. It has raised $36 million to support a handful of projects since 2013.\u003c/p>\n\u003cp>The company has also helped nonprofit cultural groups keep the lights on in the shorter term, through providing $1.8 million in grants and technical assistance to date.\u003c/p>\n\u003cp>CAST projects at various stages of development include helping performing arts presenter \u003ca href=\"http://counterpulse.org/\" target=\"_blank\" rel=\"noopener\">CounterPulse\u003c/a> and the \u003ca href=\"http://www.luggagestoregallery.org/\" target=\"_blank\" rel=\"noopener\">Luggage Store Gallery\u003c/a> secure permanent spaces in the Tenderloin and mid-Market areas respectively, as well as working on plans to restore the Geneva Car Barn in the Excelsior neighborhood and create an arts and culture center as part of the 5M development in downtown San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11706400\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11706400 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/Moy-Eng-800x600.jpg\" alt=\"CAST executive director, Moy Eng.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Moy-Eng-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Moy-Eng-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Moy-Eng-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Moy-Eng-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Moy-Eng-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Moy Eng, CAST executive director \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The elements that are really critical to having creatives in our city are leadership, financial resources and space,” said CAST’s executive director, Moy Eng. “As the space has gotten increasingly expensive, we purchase property through subsidy and low-interest financing to make it possible for arts groups to stay here in our city.”\u003c/p>\n\u003cp>Eng said CounterPulse received $6 million in financing from CAST and has seven years to raise the money needed to purchase its premises at 80 Turk St. from her company at a cost frozen in 2015. “That’s well below market,” Eng said.\u003c/p>\n\u003cp>The Luggage Store Gallery has a similar lease-to-own arrangement with CAST.\u003c/p>\n\u003cp>CounterPulse artistic and executive director Julie Phelps said her organization has raised $4 million of the $7 million it needs to buy CAST out in 2023. She said helping to stabilize a couple of cultural groups might be a drop in the bucket when so many are desperate for affordable space.\u003c/p>\n\u003cp>Yet, she said, the model is powerful, because it not only secures a future for her own organization, but also helps stabilize the futures of other individual artists and groups working in CounterPulse’s orbit.\u003c/p>\n\u003cfigure id=\"attachment_11706401\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11706401 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/Justine-Simons-and-Julie-Phelps-800x1067.jpg\" alt=\"London deputy mayor for culture and the creative industries Justine Simons and CounterPulse executive and artistic director Julie Phelps pictured at CounterPulse. November 13, 2018.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Justine-Simons-and-Julie-Phelps-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Justine-Simons-and-Julie-Phelps-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Justine-Simons-and-Julie-Phelps-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Justine-Simons-and-Julie-Phelps-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/Justine-Simons-and-Julie-Phelps-1920x2560.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Simons, left, London deputy mayor for culture and the creative industries, and CounterPulse executive and artistic director Julie Phelps, at CounterPulse on Nov. 13, 2018. \u003ccite>(Kate Patterson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Having a permanent facility doesn’t just benefit CounterPulse because we serve countless artists and small companies every year,” Phelps said. “So those artists are also all stabilized by way of CounterPulse being stabilized.”\u003c/p>\n\u003cp>London’s version of CAST is expected to launch next year. But the UK capital isn’t the only city to come calling: Auckland, Tel Aviv and Amsterdam, among other urban centers, are also seeking anti-cultural displacement advice from San Francisco, as are several other cities around the United States, like Seattle, Austin and Denver.\u003c/p>\n\u003cp>“That the model is being applied to cities around the world is really where the broad impact is coming,” Phelps said.\u003c/p>\n\u003cp>Eng said she’s thrilled so many urban centers are hoping to replicate San Francisco’s CAST model. But she said each has to come up with its own take on the idea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We don’t think we’re the silver bullet,” Eng said. “What we can present is an illustration of what could work in a major city, and it will take its own form and set of nuances in each particular city.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the 40th anniversary of his death, the life and leadership of former San Francisco mayor George Moscone is the subject of a new documentary, \u003ci>Moscone: A Legacy of Change\u003c/i>. The film follows Moscone’s life, from a child coming of age in 1940s San Francisco, to his pioneering leadership in the state Senate, to his days as a beloved “mayor of the people,” which ended abruptly when he was assassinated by city supervisor Dan White. Featuring anecdotes from former colleagues like Sen. Dianne Feinstein and the Honorable Willie Brown, as well as from his youngest child, Jonathan Moscone, the documentary is a revealing portrait of a transformational leader. \u003ci>Moscone: A Legacy of Change \u003c/i>airs Friday, Nov. 23, at 8 p.m. on KQED.\u003c/p>\n\u003cp>Guests:\u003c/p>\n\u003cul>\n\u003cli> Nat Katzman, \u003ci>Moscone: A Legacy of Change \u003c/i>producer and director\u003c/li>\n\u003cli> Jonathan Moscone, George Moscone’s son\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The weekend before Thanksgiving is typically one of the biggest moneymakers all year for farmers who sell their produce at Bay Area farmers markets. But those farmers say they’re facing thousands of dollars in losses this week due to several smoke-related closures caused by the \u003ca href=\"https://www.kqed.org/news/11705243/california-wildfires-what-you-need-to-know\" rel=\"noopener\" target=\"_blank\">Camp Fire\u003c/a>.\u003c/p>\n\u003cp>Farmers markets are run by \u003ca href=\"https://www.slumbr.com/blog/slumbrs-guide-bay-area-san-francisco-farmers-market/\" rel=\"noopener\" target=\"_blank\">associations\u003c/a> that make the decision about whether or not to shut down. At least four markets in the Bay Area chose to shut down on Sunday, including the one in Walnut Creek where Lupe Valencia of \u003ca href=\"https://agriculturalinstitute.org/vendors/listing/hamlow-ranches\" rel=\"noopener\" target=\"_blank\">Hamlow Ranches\u003c/a> usually sells her uncle’s produce.\u003c/p>\n\u003cp>“That’s usually when we sell a lot of our winter crop, like the sweet potatoes and walnuts,” Valencia said. “People go crazy for them during this week for Thanksgiving.”\u003c/p>\n\u003cfigure id=\"attachment_11707207\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11707207 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/IMG_7098-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7098-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7098-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7098-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7098-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7098-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fort Mason Farmers Market crowds were thinner due to unhealthy air conditions on Sunday November 18, 2018, but many still came out to buy produce for Thanksgiving week.\u003c/figcaption>\u003c/figure>\n\u003cp>Hamlow Ranches was able to find a spot at \u003ca href=\"http://www.cafarmersmkts.com/fort-mason-center-farmers-market/\" rel=\"noopener\" target=\"_blank\">San Francisco’s Fort Mason Center market\u003c/a>, which decided to stay open, but the crowd was smaller due to the bad air.\u003c/p>\n\u003cp>Organic artisan mushroom vendor Levi Tull of \u003ca href=\"https://eandhfarms.com/\" rel=\"noopener\" target=\"_blank\">E&H Farm\u003c/a> says a week of smaller crowds and closures are hitting farmers hard. He says he didn’t find out until Saturday morning that Oakland’s large Saturday market at Grand Lake where he normally sells his mushrooms was shutting down.\u003c/p>\n\u003cfigure id=\"attachment_11707205\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11707205 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/IMG_7095-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7095-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7095-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7095-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7095-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7095-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Levi Tull of E&H Farms sells organic artisanal mushrooms at the Fort Mason Farmers Market in San Francisco on Sunday. He says a week of smaller crowds and smoke-related closures has put a dent in a typically very busy pre-Thanksgiving season at the market.\u003c/figcaption>\u003c/figure>\n\u003cp>“I was packing up the van at five in the morning about to leave and then had to change my shipment because we were going to somewhere else,” Tull said.\u003c/p>\n\u003cp>Despite saying that she’s facing thousands of dollars in losses after market closures both Friday and Saturday, Heather Griffith of vegetable vendor \u003ca href=\"http://www.happyboyfarms.com/\" rel=\"noopener\" target=\"_blank\">Happy Boy Farms\u003c/a> says her mind is focused more on people than profit, especially the fieldworkers who continue to harvest in unhealthy conditions.\u003c/p>\n\u003cp>“I just hope they are getting masks and wearing them in areas where they’re really getting affected,” Griffith said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The weekend before Thanksgiving is typically one of the biggest moneymakers all year for farmers who sell their produce at Bay Area farmers markets. But those farmers say they’re facing thousands of dollars in losses this week due to several smoke-related closures caused by the \u003ca href=\"https://www.kqed.org/news/11705243/california-wildfires-what-you-need-to-know\" rel=\"noopener\" target=\"_blank\">Camp Fire\u003c/a>.\u003c/p>\n\u003cp>Farmers markets are run by \u003ca href=\"https://www.slumbr.com/blog/slumbrs-guide-bay-area-san-francisco-farmers-market/\" rel=\"noopener\" target=\"_blank\">associations\u003c/a> that make the decision about whether or not to shut down. At least four markets in the Bay Area chose to shut down on Sunday, including the one in Walnut Creek where Lupe Valencia of \u003ca href=\"https://agriculturalinstitute.org/vendors/listing/hamlow-ranches\" rel=\"noopener\" target=\"_blank\">Hamlow Ranches\u003c/a> usually sells her uncle’s produce.\u003c/p>\n\u003cp>“That’s usually when we sell a lot of our winter crop, like the sweet potatoes and walnuts,” Valencia said. “People go crazy for them during this week for Thanksgiving.”\u003c/p>\n\u003cfigure id=\"attachment_11707207\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11707207 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/IMG_7098-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7098-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7098-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7098-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7098-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7098-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fort Mason Farmers Market crowds were thinner due to unhealthy air conditions on Sunday November 18, 2018, but many still came out to buy produce for Thanksgiving week.\u003c/figcaption>\u003c/figure>\n\u003cp>Hamlow Ranches was able to find a spot at \u003ca href=\"http://www.cafarmersmkts.com/fort-mason-center-farmers-market/\" rel=\"noopener\" target=\"_blank\">San Francisco’s Fort Mason Center market\u003c/a>, which decided to stay open, but the crowd was smaller due to the bad air.\u003c/p>\n\u003cp>Organic artisan mushroom vendor Levi Tull of \u003ca href=\"https://eandhfarms.com/\" rel=\"noopener\" target=\"_blank\">E&H Farm\u003c/a> says a week of smaller crowds and closures are hitting farmers hard. He says he didn’t find out until Saturday morning that Oakland’s large Saturday market at Grand Lake where he normally sells his mushrooms was shutting down.\u003c/p>\n\u003cfigure id=\"attachment_11707205\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11707205 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/IMG_7095-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7095-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7095-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7095-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7095-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/11/IMG_7095-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Levi Tull of E&H Farms sells organic artisanal mushrooms at the Fort Mason Farmers Market in San Francisco on Sunday. He says a week of smaller crowds and smoke-related closures has put a dent in a typically very busy pre-Thanksgiving season at the market.\u003c/figcaption>\u003c/figure>\n\u003cp>“I was packing up the van at five in the morning about to leave and then had to change my shipment because we were going to somewhere else,” Tull said.\u003c/p>\n\u003cp>Despite saying that she’s facing thousands of dollars in losses after market closures both Friday and Saturday, Heather Griffith of vegetable vendor \u003ca href=\"http://www.happyboyfarms.com/\" rel=\"noopener\" target=\"_blank\">Happy Boy Farms\u003c/a> says her mind is focused more on people than profit, especially the fieldworkers who continue to harvest in unhealthy conditions.\u003c/p>\n\u003cp>“I just hope they are getting masks and wearing them in areas where they’re really getting affected,” Griffith said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>FRISCO.\u003c/p>\n\u003cp>Just try dropping that word into conversation these days and see what kind of response you get. Chances are good the nickname will be met with a healthy dose of side-eye, a grimace or even a slap on the wrist.\u003c/p>\n\u003cp>Frisco is the nickname we love to hate.\u003c/p>\n\u003cp>Oakland native Rena Yang wanted to know: why?\u003c/p>\n\u003cp>Listen to the story above, or read the web version: \u003ca href=\"https://www.kqed.org/news/11339599/why-do-some-hate-the-nickname-frisco\" target=\"_blank\" rel=\"noopener\">Why Do Some Hate the Nickname ‘Frisco’?\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>FRISCO.\u003c/p>\n\u003cp>Just try dropping that word into conversation these days and see what kind of response you get. Chances are good the nickname will be met with a healthy dose of side-eye, a grimace or even a slap on the wrist.\u003c/p>\n\u003cp>Frisco is the nickname we love to hate.\u003c/p>\n\u003cp>Oakland native Rena Yang wanted to know: why?\u003c/p>\n\u003cp>Listen to the story above, or read the web version: \u003ca href=\"https://www.kqed.org/news/11339599/why-do-some-hate-the-nickname-frisco\" target=\"_blank\" rel=\"noopener\">Why Do Some Hate the Nickname ‘Frisco’?\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco voters have overwhelmingly come out in support of a measure that will boost the city's arts and culture scene. Artists and arts organizations are among those that have suffered at the hands of gentrification and the skyrocketing rents in San Francisco in recent decades.\u003c/p>\n\u003cp>But a sweeping \u003ca href=\"https://sfelections.sfgov.org/november-6-2018-election-results-summary\" target=\"_blank\" rel=\"noopener\">three-quarters of voters\u003c/a> approved \u003ca href=\"https://sfelections.sfgov.org/sites/default/files/Documents/Voting/2018/N18_VIP_EN.pdf\" target=\"_blank\" rel=\"noopener\">Proposition E, \u003c/a>which seeks to dedicate 1.5 percent of the base hotel tax — a 14 percent tax levied on hotel stays in the city — to support arts and culture programs. The city estimates this could add more than $15 million in funding over the next two years.\u003c/p>\n\u003cfigure id=\"attachment_11704737\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11704737 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/Prop-E-poster-800x600.jpg\" alt=\"Prop E posters appeared all over the city, including on the side of beat-up vans, like this one.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/11/Prop-E-poster-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/11/Prop-E-poster-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/11/Prop-E-poster-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/11/Prop-E-poster-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/11/Prop-E-poster-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Proposition E posters appeared all over the city, including on the side of beat-up vans like this one. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"San Francisco voters have clearly spoken and said that keeping artists in our city and keeping our neighborhoods unique and special are important investments for public dollars,\" said San Francisco's director of cultural affairs, Tom DeCaigny.\u003c/p>\n\u003cp>The cash injection will support a number of existing and new initiatives. These include providing operating support to nonprofit arts groups of all budget sizes, increasing\u003cb>\u003c/b> funding to the city's cultural equity endowment, and allocating funding for the first time to the city's cultural districts.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\"I am incredibly excited to finally have funding for the Compton\u003cbr>\nTransgender Cultural District,\" said Honey Mahogany, a San Francisco drag performer, queer rights activist and e\u003cb>\u003c/b>xecutive director of the district, one of a growing number of areas in the city to have received official designation as locations of distinct cultural identity and importance.\u003c/p>\n\u003cp>\"What this really does is it helps build capacity for cultural districts by guaranteeing a stable source of funding so that the core needs of the district can be met: The rent can be paid, staff can be hired and the work of the district can truly begin.\"\u003c/p>\n\u003cp>Proposition E isn't a brand-new piece of legislation. Rather, it restores an allocation originally created in 1961 to support the city’s cultural industries. The move turned San Francisco into an arts and culture-funding trailblazer for several decades.\u003c/p>\n\u003caside class=\"pullquote alignright\">\"It will mean that San Francisco can resume pride of place as a national model for enlightened arts support.\"\u003ccite>Kary Schulman, director of Grants for the Arts\u003c/cite>\u003c/aside>\n\u003cp>But starting in the early 2000s, owing to financial issues, the city gradually reduced the hotel tax funding allocation for the arts, ultimately repealing specific allocations altogether in 2013.\u003c/p>\n\u003cp>A couple of years ago, a coalition of more than 30 arts and homeless service organizations came together to try to restore the hotel tax funding allocation in a joint measure. But that bid\u003cstrong> — \u003ca href=\"https://www.kqed.org/arts/11622460/sf-arts-and-homeless-organizations-join-forces-to-secure-more-city-funding\">Proposition S\u003c/a> —\u003c/strong> failed to attract the necessary support from voters in the November 2016 election.\u003c/p>\n\u003cp>This election, more than 100 cultural organizations across the city of all scopes and sizes united to spread the word about Proposition E. And unlike Proposition S, the new measure garnered the support of the city's entire Board of Supervisors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"T\u003cb>\u003c/b>he two-thirds majority vote is difficult for anyone to achieve,\" said Mahogany. \"So I'm really proud of this coalition, that so many different organizations were able to come together to support this cause and get to a victory\u003ci>.\"\u003c/i>\u003c/p>\n\u003cp>“The passage of Prop. E will mean that Grants for the Arts can again fulfill its longtime pledge to give ongoing general operating support to the broadest array of arts organizations of all disciplines, cultures and budget sizes in all neighborhoods,\" said Kary Schulman, the longtime director of Grants for the Arts, the main city body that distributes hotel tax funds to cultural groups.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://www.kqed.org/arts/13809520/honey-mahogany-black-friday-stud-bar-san-francisco\">Honey Mahogany's Queer Black Variety Show for Everyone\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://www.kqed.org/arts/13809520/honey-mahogany-black-friday-stud-bar-san-francisco\">\u003cimg src=\"https://ww2.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-768x512.jpeg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003c/aside>\n\u003cp>\"It will mean that San Francisco can resume pride of place as a national model for enlightened arts support. And for residents and visitors it will go a long way toward assuring access to arts and culture as creators, students, volunteers and audience members.\"\u003c/p>\n\u003cp>Tom DeCaigny said some of the new funding will start to come online as early as next spring.\u003c/p>\n\u003cp>Before then, he said, the city plans to conduct community meetings and focus groups to figure out how best to use the increased resources.\u003c/p>\n\u003cp>\"We want to \u003cb>\u003c/b>ensure that these resources are invested in a way that is responsive not just to the needs of artists, but also to neighbors and residents who are experiencing the wonderful arts and cultural offerings in our neighborhoods,\" DeCaigny said.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco voters have overwhelmingly come out in support of a measure that will boost the city's arts and culture scene. Artists and arts organizations are among those that have suffered at the hands of gentrification and the skyrocketing rents in San Francisco in recent decades.\u003c/p>\n\u003cp>But a sweeping \u003ca href=\"https://sfelections.sfgov.org/november-6-2018-election-results-summary\" target=\"_blank\" rel=\"noopener\">three-quarters of voters\u003c/a> approved \u003ca href=\"https://sfelections.sfgov.org/sites/default/files/Documents/Voting/2018/N18_VIP_EN.pdf\" target=\"_blank\" rel=\"noopener\">Proposition E, \u003c/a>which seeks to dedicate 1.5 percent of the base hotel tax — a 14 percent tax levied on hotel stays in the city — to support arts and culture programs. The city estimates this could add more than $15 million in funding over the next two years.\u003c/p>\n\u003cfigure id=\"attachment_11704737\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11704737 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/11/Prop-E-poster-800x600.jpg\" alt=\"Prop E posters appeared all over the city, including on the side of beat-up vans, like this one.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/11/Prop-E-poster-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/11/Prop-E-poster-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/11/Prop-E-poster-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/11/Prop-E-poster-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/11/Prop-E-poster-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Proposition E posters appeared all over the city, including on the side of beat-up vans like this one. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"San Francisco voters have clearly spoken and said that keeping artists in our city and keeping our neighborhoods unique and special are important investments for public dollars,\" said San Francisco's director of cultural affairs, Tom DeCaigny.\u003c/p>\n\u003cp>The cash injection will support a number of existing and new initiatives. These include providing operating support to nonprofit arts groups of all budget sizes, increasing\u003cb>\u003c/b> funding to the city's cultural equity endowment, and allocating funding for the first time to the city's cultural districts.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\"I am incredibly excited to finally have funding for the Compton\u003cbr>\nTransgender Cultural District,\" said Honey Mahogany, a San Francisco drag performer, queer rights activist and e\u003cb>\u003c/b>xecutive director of the district, one of a growing number of areas in the city to have received official designation as locations of distinct cultural identity and importance.\u003c/p>\n\u003cp>\"What this really does is it helps build capacity for cultural districts by guaranteeing a stable source of funding so that the core needs of the district can be met: The rent can be paid, staff can be hired and the work of the district can truly begin.\"\u003c/p>\n\u003cp>Proposition E isn't a brand-new piece of legislation. Rather, it restores an allocation originally created in 1961 to support the city’s cultural industries. The move turned San Francisco into an arts and culture-funding trailblazer for several decades.\u003c/p>\n\u003caside class=\"pullquote alignright\">\"It will mean that San Francisco can resume pride of place as a national model for enlightened arts support.\"\u003ccite>Kary Schulman, director of Grants for the Arts\u003c/cite>\u003c/aside>\n\u003cp>But starting in the early 2000s, owing to financial issues, the city gradually reduced the hotel tax funding allocation for the arts, ultimately repealing specific allocations altogether in 2013.\u003c/p>\n\u003cp>A couple of years ago, a coalition of more than 30 arts and homeless service organizations came together to try to restore the hotel tax funding allocation in a joint measure. But that bid\u003cstrong> — \u003ca href=\"https://www.kqed.org/arts/11622460/sf-arts-and-homeless-organizations-join-forces-to-secure-more-city-funding\">Proposition S\u003c/a> —\u003c/strong> failed to attract the necessary support from voters in the November 2016 election.\u003c/p>\n\u003cp>This election, more than 100 cultural organizations across the city of all scopes and sizes united to spread the word about Proposition E. And unlike Proposition S, the new measure garnered the support of the city's entire Board of Supervisors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"T\u003cb>\u003c/b>he two-thirds majority vote is difficult for anyone to achieve,\" said Mahogany. \"So I'm really proud of this coalition, that so many different organizations were able to come together to support this cause and get to a victory\u003ci>.\"\u003c/i>\u003c/p>\n\u003cp>“The passage of Prop. E will mean that Grants for the Arts can again fulfill its longtime pledge to give ongoing general operating support to the broadest array of arts organizations of all disciplines, cultures and budget sizes in all neighborhoods,\" said Kary Schulman, the longtime director of Grants for the Arts, the main city body that distributes hotel tax funds to cultural groups.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://www.kqed.org/arts/13809520/honey-mahogany-black-friday-stud-bar-san-francisco\">Honey Mahogany's Queer Black Variety Show for Everyone\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://www.kqed.org/arts/13809520/honey-mahogany-black-friday-stud-bar-san-francisco\">\u003cimg src=\"https://ww2.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-768x512.jpeg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003c/aside>\n\u003cp>\"It will mean that San Francisco can resume pride of place as a national model for enlightened arts support. And for residents and visitors it will go a long way toward assuring access to arts and culture as creators, students, volunteers and audience members.\"\u003c/p>\n\u003cp>Tom DeCaigny said some of the new funding will start to come online as early as next spring.\u003c/p>\n\u003cp>Before then, he said, the city plans to conduct community meetings and focus groups to figure out how best to use the increased resources.\u003c/p>\n\u003cp>\"We want to \u003cb>\u003c/b>ensure that these resources are invested in a way that is responsive not just to the needs of artists, but also to neighbors and residents who are experiencing the wonderful arts and cultural offerings in our neighborhoods,\" DeCaigny said.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "SFMTA to Revisit Policy on Overnight Parking for Oversized Vehicles",
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"content": "\u003cp>The San Francisco Municipal Transportation Agency Board of Directors has called for changes in a proposal that would regulate overnight parking of oversize vehicles on city streets. The policy was introduced by SFMTA’s lead on the project, senior analyst Andy Thornley at the regular Board of Directors’ meeting on Nov. 6.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfmta.com/sites/default/files/reports-and-documents/2018/11/11-6-18_item_11_policy_guidelines_-_oversize_vehicle_parking.pdf\">The proposed regulations\u003c/a> would have formalized board guidelines on parking for vehicles more than 22 feet long or 7 feet tall. The rules would cover RVs, boats, moving trucks, landscaping trucks and food trucks.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘The MTA is not equipped to deal with homelessness, which is really what this issue is about.’\u003ccite>Supervisor Hillary Ronen\u003c/cite>\u003c/aside>\n\n\u003cp>However, upon discussing the proposal, the board directed the transportation agency’s staff to revise the proposed policy.\u003c/p>\n\u003cp>At the board’s request, the revisions will include input from the city’s \u003ca href=\"http://hsh.sfgov.org/\">Department of Homelessness and Supportive Housing\u003c/a>.\u003c/p>\n\u003cp>“I think there’s a lot that can be done without displacing people experiencing homelessness,” said the director of the Department of Homelessness and Supportive Housing, Jeff Kositsky. He said the agency has been considering approaches like designated safe parking or storing vehicles for people who have been moved into housing.\u003c/p>\n\u003cp>“I have to admit, I feel hopeful about this situation for the first time since we’re started discussing it,” said SFMTA board member Cristina Rubke, a sentiment echoed by several other members of the Board.\u003c/p>\n\u003cp>The proposed change to formally incorporate homeless services in the SFMTA’s policy addresses a concern voiced by Supervisor Hillary Ronen. She noted in a recent interview with KQED that the SFMTA “is not equipped to deal with homelessness, which is really what this issue is about.”\u003c/p>\n\u003cp>A city ordinance currently prohibits human habitation of a vehicle on any street between 10 p.m. and 6 a.m. The law has been on the books since 1971, but it has been difficult to enforce, Thornley said.\u003c/p>\n\u003cp>A 2017 count conducted by the Department of Homelessness and Supportive Housing found that roughly 1,200 people, including children, live in cars, vans, buses or RVs parked on city streets.\u003c/p>\n\u003cp>The MTA currently enforces rules using parking meters, Residential Parking Permits, and street sweeping — among other ordinances.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But while restrictions encourage vehicles to leave certain streets, this has not resolved the issue on a city level.\u003c/p>\n\u003cp> “Pretty much any tool that we will use to manage the curb has the potential to push parkers from one place to another,” said Thornley. “This is a puzzle that the agency wrestles with.”\u003c/p>\n\u003cp>The board did not give agency staff a timetable for the revised policy.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Municipal Transportation Agency Board of Directors has called for changes in a proposal that would regulate overnight parking of oversize vehicles on city streets. The policy was introduced by SFMTA’s lead on the project, senior analyst Andy Thornley at the regular Board of Directors’ meeting on Nov. 6.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfmta.com/sites/default/files/reports-and-documents/2018/11/11-6-18_item_11_policy_guidelines_-_oversize_vehicle_parking.pdf\">The proposed regulations\u003c/a> would have formalized board guidelines on parking for vehicles more than 22 feet long or 7 feet tall. The rules would cover RVs, boats, moving trucks, landscaping trucks and food trucks.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘The MTA is not equipped to deal with homelessness, which is really what this issue is about.’\u003ccite>Supervisor Hillary Ronen\u003c/cite>\u003c/aside>\n\n\u003cp>However, upon discussing the proposal, the board directed the transportation agency’s staff to revise the proposed policy.\u003c/p>\n\u003cp>At the board’s request, the revisions will include input from the city’s \u003ca href=\"http://hsh.sfgov.org/\">Department of Homelessness and Supportive Housing\u003c/a>.\u003c/p>\n\u003cp>“I think there’s a lot that can be done without displacing people experiencing homelessness,” said the director of the Department of Homelessness and Supportive Housing, Jeff Kositsky. He said the agency has been considering approaches like designated safe parking or storing vehicles for people who have been moved into housing.\u003c/p>\n\u003cp>“I have to admit, I feel hopeful about this situation for the first time since we’re started discussing it,” said SFMTA board member Cristina Rubke, a sentiment echoed by several other members of the Board.\u003c/p>\n\u003cp>The proposed change to formally incorporate homeless services in the SFMTA’s policy addresses a concern voiced by Supervisor Hillary Ronen. She noted in a recent interview with KQED that the SFMTA “is not equipped to deal with homelessness, which is really what this issue is about.”\u003c/p>\n\u003cp>A city ordinance currently prohibits human habitation of a vehicle on any street between 10 p.m. and 6 a.m. The law has been on the books since 1971, but it has been difficult to enforce, Thornley said.\u003c/p>\n\u003cp>A 2017 count conducted by the Department of Homelessness and Supportive Housing found that roughly 1,200 people, including children, live in cars, vans, buses or RVs parked on city streets.\u003c/p>\n\u003cp>The MTA currently enforces rules using parking meters, Residential Parking Permits, and street sweeping — among other ordinances.\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": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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