Backstage Heroes is a biweekly column spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the SF Weekly — where her Music Heroes series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.
Modern Times May Be Closed, But Ruth Mahaney Ain't Goin' Nowhere
Michelle Maxson Brings North Bay Talent to the Screen with 'Burn Country'
It Ain't a Party Without the Potties: For Mike Banda, Your Bottom Line Matters
Backstage Heroes: Local Foods Wheel Creators on Love and Locavores
Backstage Heroes: Thomas Harvey, Lighting Whiz and Working-Class Hero
Backstage Heroes: Eric Mueller on Regulars, Bachelorette Parties, and Why Gay Bars Exist in the First Place
Photojournalist Joel Angel Juárez on the Frisco Five and Capturing 'Truth Without Bias'
Backstage Heroes: Zyzzyva's Regan McMahon On the Devil In the Details
Curator Gravity Goldberg On Museum Life and the Art of Slowing Down
Sponsored
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FM","link":"/"}},"arts_12672623":{"type":"posts","id":"arts_12672623","meta":{"index":"posts_1591205157","site":"arts","id":"12672623","score":null,"sort":[1485392409000]},"guestAuthors":[],"slug":"modern-times-may-be-closed-but-ruth-mahaney-aint-goin-nowhere","title":"Modern Times May Be Closed, But Ruth Mahaney Ain't Goin' Nowhere","publishDate":1485392409,"format":"standard","headTitle":"Modern Times May Be Closed, But Ruth Mahaney Ain’t Goin’ Nowhere | KQED","labelTerm":{"term":1059,"site":"arts"},"content":"\u003cp>\u003cem>Backstage Heroes is a column by gal-about-town Hiya Swanhuyser spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area.\u003c/em>\u003c/p>\n\u003cp>The death of an independent bookstore is hard to un-see. Standing inside the echoing skeleton of Modern Times Books on 24th Street in late December of 2016, \u003ca href=\"https://ww2.kqed.org/arts/2016/10/11/mission-bookstore-modern-times-to-close-after-45-years-in-operation/\" target=\"_blank\" rel=\"noopener\">after the business had officially closed\u003c/a>, the empty space seems to amplify current certainties, and questions: I know who’s been elected President; I know hate crimes are on the rise; I know the incoming political machine has requested lists of names — which scientists worked on climate change? Who in the State Department encouraged gender equality?\u003c/p>\n\u003cp>The empty bookshelves of Modern Times, taller than any bookshelves I’ve ever had to fully reckon with, might as well be shouting about the future and its many challenges. Basically, I’m freaked out.\u003c/p>\n\u003cp>Ruth Mahaney, a Modern Times collective member for 35 years — the democratically run bookstore never had a boss — isn’t freaked out. Even though she’s been sitting in the depressing, mostly empty storefront for weeks now, trying to get rid of the last of the furniture and books, piece by piece, she’s still in practical mode, ever an on-the-fly organizer. (Later, I use my own van to take a desk—the desk over which Modern Times sold books for who knows how many years—to Community Thrift, and even so, I have to sell it a little, giving it a thump, saying “It’s really solid!” before they’ll agree to take it.)\u003c/p>\n\u003cfigure id=\"attachment_12673219\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12673219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-800x450.jpg\" alt=\"Modern Times in, well, happier times. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Modern Times in, well, happier times. \u003ccite>(Courtesy Modern Times bookstore.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Everything left at the bookstore is like that: too big to carry, too tall to fit in a regular car, and if no one takes it, Mahaney herself will have to pay for it to be hauled to the dump. She is still, to this bitter end, concerned with keeping as much as possible out of the public landfill.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As we talk, the bookstore’s double doors are wide open, and conversation, bus noise, and music from passing cars floats through. Every so often, somebody stops at the doorway and shouts in.\u003c/p>\n\u003cp>Man: Hi, are you getting rid of stuff?\u003cbr>\nMahaney: Yeah, everything you see is free. Haul it off on your skateboard!\u003c/p>\n\u003cp>“I was the one who was here the longest,” Mahaney tells me of the 45-year-old Modern Times. To give an idea of how much has changed since she first laid eyes on the place, here are some numbers to make you howl in pain: “I moved to San Francisco in September of 1971 and found a three-bedroom apartment for $150 a month, over on 14th near Sanchez.”\u003c/p>\n\u003cp>Walking around the neighborhood, she stumbled across “these people who had a big sign on the ground, and they were painting it.” This was Modern Times, and she became a customer of the new bookstore, which began (and, we can say now, ended) as a project of what Mahaney calls “movement people,” or “the left.”\u003c/p>\n\u003cp>“What does that mean?” I ask, and I don’t think she likes the question very much. I have the impression I’ve asked a fish to describe water. But it’s only a moment before she ticks off some specifics, not without pride: “It was one of the first bookstores to have a women’s section, and a gay section, and it was very involved in the struggles in Latin America to overthrow dictators and support progressive movements everywhere.”\u003c/p>\n\u003cp>It was also a dropoff spot for the Weather Underground, a radical activist group operating in secret, in the early days — Modern Times collective members were once instructed to go to the payphone booth in Dolores Park, under which was taped a package containing the manuscript of one of the group’s then-famous manifestos. Dorothy Allison had her first reading at the 888 Valencia site, Mahaney says. Alice Walker had her first reading at the 17th and Sanchez store, long before she published \u003cem>The Color Purple\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12673220\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/MODERNTIMES.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12673220\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/MODERNTIMES.jpg\" alt=\"What the store looked like at its Valencia Street location, from which it relocated to 24th Street in 2011.\" width=\"600\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES-520x390.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">What the store looked like at its Valencia Street location, from which it relocated to 24th Street in 2011. \u003ccite>(Pete Boyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ruth Mahaney’s careful haircut, cozy sweater, and “we got this” smile give her the look of a tough grandma, or the feminist professor who always wins the classroom argument with the guy who says “but men are stronger!” In fact, she \u003cem>is\u003c/em> that professor; she teaches LGBT history and culture just up the street at City College. (I intuit the argument-winning part, but trust me.)\u003c/p>\n\u003cp>The bookstore has certainly played no small part in her expertise on local history: Modern Times used to be “the place that people would call when there was a demonstration,” she says. “They’d ask where is it, where’s it starting? And in those days, we knew.”\u003c/p>\n\u003cp>One of those protests happened in 1991, a few days after the Rodney King verdict exonerating the LAPD officers that the whole country had watched beating King on television; it was one of the first citizen-reported stories of police brutality to go viral. Mahaney’s story begins with peaceful gathering of neighbors, then takes a sudden turn to looting Union Square, and ends with a declaration of Martial Law and 6 o’clock curfew, after which anyone outdoors would be subject to arrest.\u003c/p>\n\u003cp>“I was in hysterics about it,” Mahaney says, surprising me by laughing. “Because later, they announced that anyone out after 6 o’clock would be subject to arrest unless they were going to an expensive restaurant. The Chamber of Commerce got upset, like ‘Hello, this is how we make our money!’ But people going to cheap restaurants were still subject to arrest! This poor guy got arrested when he was going to get his pizza from a pizza place nearby his house. So that night at about 4 o’clock—” And then we’re interrupted by a woman standing in the doorway of Modern Times, looking shellshocked by its empty appearance.\u003c/p>\n\u003cp>Woman: Hi. I’m so sorry.\u003cbr>\nMahaney: Hi. Me too.\u003cbr>\nWoman: I’ll miss you.\u003cbr>\nMahaney: Well. Thank you.\u003cbr>\nWoman: Thank you for being here.\u003cbr>\nMahaney: Thanks!\u003c/p>\n\u003cp>I don’t know the extent of the loss Ruth Mahaney must feel, either emotionally or financially — she was in charge of paying the bills for Modern Times, so she knows exactly what happened — but I’m struck by her incredibly buoyant approach. She anticipates more demonstrations, but also notes she doesn’t walk as easily as she once did. She’ll still be out in the streets fighting injustice, she says, again surprising me by laughing, right in the face of this empty husk of a half-century’s dream, and the sound of her laugh echoes through it. I may be freaked out, but Mahaney’s concerns are brilliantly, bravely practical.\u003c/p>\n\u003cp>“There may be limits,” she says, “on how much running from the police I can do!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"The collective bookstore and San Francisco institution has written its final chapter — but for one original member, there's no doubt its story lives on. ","status":"publish","parent":0,"modified":1705031776,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1248},"headData":{"title":"Modern Times May Be Closed, But Ruth Mahaney Ain't Goin' Nowhere | KQED","description":"The collective bookstore and San Francisco institution has written its final chapter — but for one original member, there's no doubt its story lives on. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Modern Times May Be Closed, But Ruth Mahaney Ain't Goin' Nowhere","datePublished":"2017-01-26T01:00:09.000Z","dateModified":"2024-01-12T03:56:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12672623/modern-times-may-be-closed-but-ruth-mahaney-aint-goin-nowhere","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Backstage Heroes is a column by gal-about-town Hiya Swanhuyser spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area.\u003c/em>\u003c/p>\n\u003cp>The death of an independent bookstore is hard to un-see. Standing inside the echoing skeleton of Modern Times Books on 24th Street in late December of 2016, \u003ca href=\"https://ww2.kqed.org/arts/2016/10/11/mission-bookstore-modern-times-to-close-after-45-years-in-operation/\" target=\"_blank\" rel=\"noopener\">after the business had officially closed\u003c/a>, the empty space seems to amplify current certainties, and questions: I know who’s been elected President; I know hate crimes are on the rise; I know the incoming political machine has requested lists of names — which scientists worked on climate change? Who in the State Department encouraged gender equality?\u003c/p>\n\u003cp>The empty bookshelves of Modern Times, taller than any bookshelves I’ve ever had to fully reckon with, might as well be shouting about the future and its many challenges. Basically, I’m freaked out.\u003c/p>\n\u003cp>Ruth Mahaney, a Modern Times collective member for 35 years — the democratically run bookstore never had a boss — isn’t freaked out. Even though she’s been sitting in the depressing, mostly empty storefront for weeks now, trying to get rid of the last of the furniture and books, piece by piece, she’s still in practical mode, ever an on-the-fly organizer. (Later, I use my own van to take a desk—the desk over which Modern Times sold books for who knows how many years—to Community Thrift, and even so, I have to sell it a little, giving it a thump, saying “It’s really solid!” before they’ll agree to take it.)\u003c/p>\n\u003cfigure id=\"attachment_12673219\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12673219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-800x450.jpg\" alt=\"Modern Times in, well, happier times. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/12118987_434235283433575_4553268895729402721_n-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Modern Times in, well, happier times. \u003ccite>(Courtesy Modern Times bookstore.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Everything left at the bookstore is like that: too big to carry, too tall to fit in a regular car, and if no one takes it, Mahaney herself will have to pay for it to be hauled to the dump. She is still, to this bitter end, concerned with keeping as much as possible out of the public landfill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As we talk, the bookstore’s double doors are wide open, and conversation, bus noise, and music from passing cars floats through. Every so often, somebody stops at the doorway and shouts in.\u003c/p>\n\u003cp>Man: Hi, are you getting rid of stuff?\u003cbr>\nMahaney: Yeah, everything you see is free. Haul it off on your skateboard!\u003c/p>\n\u003cp>“I was the one who was here the longest,” Mahaney tells me of the 45-year-old Modern Times. To give an idea of how much has changed since she first laid eyes on the place, here are some numbers to make you howl in pain: “I moved to San Francisco in September of 1971 and found a three-bedroom apartment for $150 a month, over on 14th near Sanchez.”\u003c/p>\n\u003cp>Walking around the neighborhood, she stumbled across “these people who had a big sign on the ground, and they were painting it.” This was Modern Times, and she became a customer of the new bookstore, which began (and, we can say now, ended) as a project of what Mahaney calls “movement people,” or “the left.”\u003c/p>\n\u003cp>“What does that mean?” I ask, and I don’t think she likes the question very much. I have the impression I’ve asked a fish to describe water. But it’s only a moment before she ticks off some specifics, not without pride: “It was one of the first bookstores to have a women’s section, and a gay section, and it was very involved in the struggles in Latin America to overthrow dictators and support progressive movements everywhere.”\u003c/p>\n\u003cp>It was also a dropoff spot for the Weather Underground, a radical activist group operating in secret, in the early days — Modern Times collective members were once instructed to go to the payphone booth in Dolores Park, under which was taped a package containing the manuscript of one of the group’s then-famous manifestos. Dorothy Allison had her first reading at the 888 Valencia site, Mahaney says. Alice Walker had her first reading at the 17th and Sanchez store, long before she published \u003cem>The Color Purple\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12673220\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/MODERNTIMES.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12673220\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/MODERNTIMES.jpg\" alt=\"What the store looked like at its Valencia Street location, from which it relocated to 24th Street in 2011.\" width=\"600\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MODERNTIMES-520x390.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">What the store looked like at its Valencia Street location, from which it relocated to 24th Street in 2011. \u003ccite>(Pete Boyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ruth Mahaney’s careful haircut, cozy sweater, and “we got this” smile give her the look of a tough grandma, or the feminist professor who always wins the classroom argument with the guy who says “but men are stronger!” In fact, she \u003cem>is\u003c/em> that professor; she teaches LGBT history and culture just up the street at City College. (I intuit the argument-winning part, but trust me.)\u003c/p>\n\u003cp>The bookstore has certainly played no small part in her expertise on local history: Modern Times used to be “the place that people would call when there was a demonstration,” she says. “They’d ask where is it, where’s it starting? And in those days, we knew.”\u003c/p>\n\u003cp>One of those protests happened in 1991, a few days after the Rodney King verdict exonerating the LAPD officers that the whole country had watched beating King on television; it was one of the first citizen-reported stories of police brutality to go viral. Mahaney’s story begins with peaceful gathering of neighbors, then takes a sudden turn to looting Union Square, and ends with a declaration of Martial Law and 6 o’clock curfew, after which anyone outdoors would be subject to arrest.\u003c/p>\n\u003cp>“I was in hysterics about it,” Mahaney says, surprising me by laughing. “Because later, they announced that anyone out after 6 o’clock would be subject to arrest unless they were going to an expensive restaurant. The Chamber of Commerce got upset, like ‘Hello, this is how we make our money!’ But people going to cheap restaurants were still subject to arrest! This poor guy got arrested when he was going to get his pizza from a pizza place nearby his house. So that night at about 4 o’clock—” And then we’re interrupted by a woman standing in the doorway of Modern Times, looking shellshocked by its empty appearance.\u003c/p>\n\u003cp>Woman: Hi. I’m so sorry.\u003cbr>\nMahaney: Hi. Me too.\u003cbr>\nWoman: I’ll miss you.\u003cbr>\nMahaney: Well. Thank you.\u003cbr>\nWoman: Thank you for being here.\u003cbr>\nMahaney: Thanks!\u003c/p>\n\u003cp>I don’t know the extent of the loss Ruth Mahaney must feel, either emotionally or financially — she was in charge of paying the bills for Modern Times, so she knows exactly what happened — but I’m struck by her incredibly buoyant approach. She anticipates more demonstrations, but also notes she doesn’t walk as easily as she once did. She’ll still be out in the streets fighting injustice, she says, again surprising me by laughing, right in the face of this empty husk of a half-century’s dream, and the sound of her laugh echoes through it. I may be freaked out, but Mahaney’s concerns are brilliantly, bravely practical.\u003c/p>\n\u003cp>“There may be limits,” she says, “on how much running from the police I can do!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12672623/modern-times-may-be-closed-but-ruth-mahaney-aint-goin-nowhere","authors":["8641"],"series":["arts_1059"],"categories":["arts_1","arts_73"],"tags":["arts_1205","arts_1118","arts_596","arts_4360"],"featImg":"arts_12673029","label":"arts_1059"},"arts_12382008":{"type":"posts","id":"arts_12382008","meta":{"index":"posts_1591205157","site":"arts","id":"12382008","score":null,"sort":[1480374043000]},"guestAuthors":[],"slug":"michelle-maxson-and-burn-country-shine-a-spotlight-on-north-bay-talent","title":"Michelle Maxson Brings North Bay Talent to the Screen with 'Burn Country'","publishDate":1480374043,"format":"standard","headTitle":"Michelle Maxson Brings North Bay Talent to the Screen with ‘Burn Country’ | KQED","labelTerm":{"term":1059,"site":"arts"},"content":"\u003cp>\u003cem>Backstage Heroes is a biweekly column by gal-about-town Hiya Swanhuyser spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area.\u003c/em>\u003c/p>\n\u003cp>On a recent fall afternoon, I found myself seated on a casting couch — but in Michelle Maxson’s airy living room in Petaluma, I found the inversion, or the evolution, of that icky backroom stereotype. Maxson is the local casting director for the upcoming independent film \u003ca href=\"http://www.imdb.com/title/tt3519772/\" target=\"_blank\" rel=\"noopener\">\u003cem>Burn Country\u003c/em>\u003c/a>, directed and co-written by Sonoma County-raised filmmaker Ian Olds.\u003c/p>\n\u003cp>\u003cem>Burn Country\u003c/em>, which stars Melissa Leo and James Franco, finds an Afghani war zone “fixer” arriving, safely away from home, at a fictionalized but highly realistic version of small-town Northern California. After its star, Dominic Rains, won Best Actor at the Tribeca Film Festival, the project was \u003ca href=\"http://deadline.com/2016/09/burn-country-dominic-rains-release-date-samuel-goldwyn-orion-pictures-1201816023/\" target=\"_blank\" rel=\"noopener\">picked up for distribution by Samuel Goldwyn Films\u003c/a> — this small film has hit the big time.\u003c/p>\n\u003cp>Success only makes it more interesting to note the commitment director Olds and his producers maintained to casting local talent: not only filling the background with extras from the Bay Area, as with, say, Gus van Sant’s \u003cem>Milk\u003c/em>, but pushing the limit of how many featured and speaking roles could be populated with North Bay actors.\u003c/p>\n\u003cp>On that mission, Olds’ captain was Maxson, an accomplished actor and organizer whose deep knowledge of the local acting scene helped make the film into a well-reviewed, complex piece of art.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nVKTx0P6MBY\u003c/p>\n\u003cp>Maxson’s waist-length blonde hair grays at the temples, giving her the mien of a wise surfer-girl. It’s a look so awesome that if she were to appear on the cover of a magazine, she might set off a fierce new trend in feminist glamour. While she offers me sparkling water, I mull the industry in question, and figure we’ll talk about herding starstruck Bay Areans at “cattle calls,” or how to battle actor egos.\u003c/p>\n\u003cp>But after admitting she’s nervous about sounding dumb — an actor, nervous? — Maxson proceeds to speak, quickly and with perfect enunciation, for 30 minutes, about art. Far from the power-plays or squabbling of my preconceived notions, the casting director describes the day-to-day of her work in terms of empathy, cooperation, observation — and email.\u003c/p>\n\u003cp>“When I was first learning acting, I was told that the most important person on stage is not you, it’s your partner,” Maxson says. “And it’s your job to make your partner as good as they can possibly be. I’ve always made it a priority to champion my fellow actors.” She stresses the importance of “reading” actors as an actor, not just as a passive voice flatly providing responses during an audition.\u003c/p>\n\u003cp>Rains, the spectacular star of \u003cem>Burn Country\u003c/em>, tells me Maxson delivers. “I was very fortunate to work with Michelle,” he writes in a Facebook message. “What struck me about her and informed my character even more was the compassion and care she brought to the reading. She is one of those rare individuals who connects at the heart and once you’re in tow, all you have to do is let go and go on the ride. She is a magnificent soul with kindness and empathy vibrating at her very fingertips.” There were no cattle calls.\u003c/p>\n\u003cfigure id=\"attachment_12386775\" class=\"wp-caption aligncenter\" style=\"max-width: 597px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12386775\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501.jpg\" alt=\"Maxson a night shoot for Burn Country.\" width=\"597\" height=\"336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501.jpg 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501-520x293.jpg 520w\" sizes=\"(max-width: 597px) 100vw, 597px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maxson a night shoot for Burn Country. \u003ccite>(Katrina Marcinowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maxson, who also served as associate producer and appears in the film, lives in Petaluma with two young daughters and her husband, fellow actor Gabe Maxson, who also appears in\u003cem> Burn Country\u003c/em>; his semicomic turn as an inquisitive, philosophical, and deeply inebriated thespian leavens the film at a crucial moment. During production, both parents juggled their jobs as theater teachers at the University of San Francisco an hour away, and shared childcare duties. Several times during our talk, one or the other of the two girls interrupts us, and Maxson gently scoots them back out, her calm responses to their requests always involving the word “sweetie.”\u003c/p>\n\u003cp>“As a casting director — well [as a child yells in next room], this is what it was like!” she says. The children, who are friendly, bright, and confident, seem to have come out on top in the deal.\u003c/p>\n\u003cp>While \u003cem>Burn Country\u003c/em> as a whole is on a high, and primed to “break” Rains and director Olds, Maxson tells me there have been interior victories as well. The role of Carl, played by Tim Kniffin, is a big juicy plum for local casting. The result is a dyed-in-the-wool Northern Californian artist, with focus and skill to spare, in a complicated, challenging role. Onscreen, playing an ersatz cult leader literally writhing in pain of his own creation, Kniffin is clearly eating his own character up with a spoon; he’s great, and the role is great. But how did he get there? A classic Michelle Maxson operation, apparently.\u003c/p>\n\u003cfigure id=\"attachment_12386777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12386777\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-800x625.jpg\" alt=\"Michelle Maxson, director Ian Olds, and Gabe Maxson at the 2016 Tribeca Film Festival.\" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-800x625.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-768x600.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-1020x797.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-960x750.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-520x406.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michelle Maxson, director Ian Olds, and Gabe Maxson at the 2016 Tribeca Film Festival. \u003ccite>(Cindy Ord/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Tim’s part was a bigger part, the kind where typically, you’d try to get a ‘name’ for that,” she says, with a subtle, steely glint in her eye. Working as she did from a pool of “people I had worked with, people I had seen in plays in San Francisco,” Kniffin’s name just kept surfacing.\u003c/p>\n\u003cp>It was mid-production, down to the line for shooting this character’s scenes, and an actor hadn’t been cast yet. Olds was entrenched, and couldn’t get time to rent a space and hold the ensemble-type auditions he sometimes does. So Maxson summoned Kniffin into the very room in which we sit, and made do with the digital equivalent of a Super-8 home movie.\u003c/p>\n\u003cp>“He came here, and I got out my flip camera, do you remember those? They existed for like five minutes before everybody got cell phones. And he was amazing. Ian agreed, and the producers agreed, and he came on board.”\u003c/p>\n\u003cp>Local casting directors don’t always get “broken” into a world of greater opportunities when their films explode, the way directors or actors might. But while \u003cem>Burn Country\u003c/em> — which is currently earning comparisons to \u003cem>Twin Peaks\u003c/em> and \u003cem>Fargo\u003c/em> — looks ready to detonate, Michelle Maxson seems unfazeable. She’s a grown woman with a job and a house and a family and a rich community. That’s how she got here in the first place. That’s why she still wants to talk about what theater means and why she needs to make art at all, as opposed to name-dropping.\u003c/p>\n\u003cp>It’s obvious, actually, that theater is still among her favorite topics, as she recalls her first foray into acting: “It was a way to transform all of that pain, whatever difficulties and challenges we have as human beings, to turn them into something really beautiful,” she says of falling in love with the art form during her first acting class. It’s clearly part of what keeps her going in the industry. “That could possibly be life-changing for other people, as it was life-changing for me.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s like fertilizer,” she says. “It’s like sh-t. You take it and you spread it on the ground and beautiful flowers grow.”\u003c/p>\n\n","blocks":[],"excerpt":"Thanks to this unsung casting director, the buzzy new indie film of the moment features the best theatrical talent in Sonoma County.","status":"publish","parent":0,"modified":1705032373,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1297},"headData":{"title":"Michelle Maxson Brings North Bay Talent to the Screen with 'Burn Country' | KQED","description":"Thanks to this unsung casting director, the buzzy new indie film of the moment features the best theatrical talent in Sonoma County.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Michelle Maxson Brings North Bay Talent to the Screen with 'Burn Country'","datePublished":"2016-11-28T23:00:43.000Z","dateModified":"2024-01-12T04:06:13.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12382008/michelle-maxson-and-burn-country-shine-a-spotlight-on-north-bay-talent","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Backstage Heroes is a biweekly column by gal-about-town Hiya Swanhuyser spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area.\u003c/em>\u003c/p>\n\u003cp>On a recent fall afternoon, I found myself seated on a casting couch — but in Michelle Maxson’s airy living room in Petaluma, I found the inversion, or the evolution, of that icky backroom stereotype. Maxson is the local casting director for the upcoming independent film \u003ca href=\"http://www.imdb.com/title/tt3519772/\" target=\"_blank\" rel=\"noopener\">\u003cem>Burn Country\u003c/em>\u003c/a>, directed and co-written by Sonoma County-raised filmmaker Ian Olds.\u003c/p>\n\u003cp>\u003cem>Burn Country\u003c/em>, which stars Melissa Leo and James Franco, finds an Afghani war zone “fixer” arriving, safely away from home, at a fictionalized but highly realistic version of small-town Northern California. After its star, Dominic Rains, won Best Actor at the Tribeca Film Festival, the project was \u003ca href=\"http://deadline.com/2016/09/burn-country-dominic-rains-release-date-samuel-goldwyn-orion-pictures-1201816023/\" target=\"_blank\" rel=\"noopener\">picked up for distribution by Samuel Goldwyn Films\u003c/a> — this small film has hit the big time.\u003c/p>\n\u003cp>Success only makes it more interesting to note the commitment director Olds and his producers maintained to casting local talent: not only filling the background with extras from the Bay Area, as with, say, Gus van Sant’s \u003cem>Milk\u003c/em>, but pushing the limit of how many featured and speaking roles could be populated with North Bay actors.\u003c/p>\n\u003cp>On that mission, Olds’ captain was Maxson, an accomplished actor and organizer whose deep knowledge of the local acting scene helped make the film into a well-reviewed, complex piece of art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nVKTx0P6MBY'\n title='//www.youtube.com/embed/nVKTx0P6MBY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Maxson’s waist-length blonde hair grays at the temples, giving her the mien of a wise surfer-girl. It’s a look so awesome that if she were to appear on the cover of a magazine, she might set off a fierce new trend in feminist glamour. While she offers me sparkling water, I mull the industry in question, and figure we’ll talk about herding starstruck Bay Areans at “cattle calls,” or how to battle actor egos.\u003c/p>\n\u003cp>But after admitting she’s nervous about sounding dumb — an actor, nervous? — Maxson proceeds to speak, quickly and with perfect enunciation, for 30 minutes, about art. Far from the power-plays or squabbling of my preconceived notions, the casting director describes the day-to-day of her work in terms of empathy, cooperation, observation — and email.\u003c/p>\n\u003cp>“When I was first learning acting, I was told that the most important person on stage is not you, it’s your partner,” Maxson says. “And it’s your job to make your partner as good as they can possibly be. I’ve always made it a priority to champion my fellow actors.” She stresses the importance of “reading” actors as an actor, not just as a passive voice flatly providing responses during an audition.\u003c/p>\n\u003cp>Rains, the spectacular star of \u003cem>Burn Country\u003c/em>, tells me Maxson delivers. “I was very fortunate to work with Michelle,” he writes in a Facebook message. “What struck me about her and informed my character even more was the compassion and care she brought to the reading. She is one of those rare individuals who connects at the heart and once you’re in tow, all you have to do is let go and go on the ride. She is a magnificent soul with kindness and empathy vibrating at her very fingertips.” There were no cattle calls.\u003c/p>\n\u003cfigure id=\"attachment_12386775\" class=\"wp-caption aligncenter\" style=\"max-width: 597px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12386775\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501.jpg\" alt=\"Maxson a night shoot for Burn Country.\" width=\"597\" height=\"336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501.jpg 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12049646_835952259867524_9030819254995163796_n-1-e1479944277501-520x293.jpg 520w\" sizes=\"(max-width: 597px) 100vw, 597px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maxson a night shoot for Burn Country. \u003ccite>(Katrina Marcinowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maxson, who also served as associate producer and appears in the film, lives in Petaluma with two young daughters and her husband, fellow actor Gabe Maxson, who also appears in\u003cem> Burn Country\u003c/em>; his semicomic turn as an inquisitive, philosophical, and deeply inebriated thespian leavens the film at a crucial moment. During production, both parents juggled their jobs as theater teachers at the University of San Francisco an hour away, and shared childcare duties. Several times during our talk, one or the other of the two girls interrupts us, and Maxson gently scoots them back out, her calm responses to their requests always involving the word “sweetie.”\u003c/p>\n\u003cp>“As a casting director — well [as a child yells in next room], this is what it was like!” she says. The children, who are friendly, bright, and confident, seem to have come out on top in the deal.\u003c/p>\n\u003cp>While \u003cem>Burn Country\u003c/em> as a whole is on a high, and primed to “break” Rains and director Olds, Maxson tells me there have been interior victories as well. The role of Carl, played by Tim Kniffin, is a big juicy plum for local casting. The result is a dyed-in-the-wool Northern Californian artist, with focus and skill to spare, in a complicated, challenging role. Onscreen, playing an ersatz cult leader literally writhing in pain of his own creation, Kniffin is clearly eating his own character up with a spoon; he’s great, and the role is great. But how did he get there? A classic Michelle Maxson operation, apparently.\u003c/p>\n\u003cfigure id=\"attachment_12386777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12386777\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-800x625.jpg\" alt=\"Michelle Maxson, director Ian Olds, and Gabe Maxson at the 2016 Tribeca Film Festival.\" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-800x625.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-768x600.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-1020x797.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-960x750.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1-520x406.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/GettyImages-521635162-1.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michelle Maxson, director Ian Olds, and Gabe Maxson at the 2016 Tribeca Film Festival. \u003ccite>(Cindy Ord/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Tim’s part was a bigger part, the kind where typically, you’d try to get a ‘name’ for that,” she says, with a subtle, steely glint in her eye. Working as she did from a pool of “people I had worked with, people I had seen in plays in San Francisco,” Kniffin’s name just kept surfacing.\u003c/p>\n\u003cp>It was mid-production, down to the line for shooting this character’s scenes, and an actor hadn’t been cast yet. Olds was entrenched, and couldn’t get time to rent a space and hold the ensemble-type auditions he sometimes does. So Maxson summoned Kniffin into the very room in which we sit, and made do with the digital equivalent of a Super-8 home movie.\u003c/p>\n\u003cp>“He came here, and I got out my flip camera, do you remember those? They existed for like five minutes before everybody got cell phones. And he was amazing. Ian agreed, and the producers agreed, and he came on board.”\u003c/p>\n\u003cp>Local casting directors don’t always get “broken” into a world of greater opportunities when their films explode, the way directors or actors might. But while \u003cem>Burn Country\u003c/em> — which is currently earning comparisons to \u003cem>Twin Peaks\u003c/em> and \u003cem>Fargo\u003c/em> — looks ready to detonate, Michelle Maxson seems unfazeable. She’s a grown woman with a job and a house and a family and a rich community. That’s how she got here in the first place. That’s why she still wants to talk about what theater means and why she needs to make art at all, as opposed to name-dropping.\u003c/p>\n\u003cp>It’s obvious, actually, that theater is still among her favorite topics, as she recalls her first foray into acting: “It was a way to transform all of that pain, whatever difficulties and challenges we have as human beings, to turn them into something really beautiful,” she says of falling in love with the art form during her first acting class. It’s clearly part of what keeps her going in the industry. “That could possibly be life-changing for other people, as it was life-changing for me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s like fertilizer,” she says. “It’s like sh-t. You take it and you spread it on the ground and beautiful flowers grow.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12382008/michelle-maxson-and-burn-country-shine-a-spotlight-on-north-bay-talent","authors":["8641"],"series":["arts_1059"],"categories":["arts_835","arts_74"],"tags":["arts_1205","arts_1118","arts_596"],"featImg":"arts_12386770","label":"arts_1059"},"arts_12256127":{"type":"posts","id":"arts_12256127","meta":{"index":"posts_1591205157","site":"arts","id":"12256127","score":null,"sort":[1477494052000]},"guestAuthors":[],"slug":"it-aint-a-party-without-the-potties-for-mike-banda-your-bottom-line-matters","title":"It Ain't a Party Without the Potties: For Mike Banda, Your Bottom Line Matters","publishDate":1477494052,"format":"standard","headTitle":"It Ain’t a Party Without the Potties: For Mike Banda, Your Bottom Line Matters | KQED","labelTerm":{"term":1059,"site":"arts"},"content":"\u003cp>\u003cem>Backstage Heroes is a biweekly column by gal-about-town Hiya Swanhuyser spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. \u003c/em>\u003c/p>\n\u003cp>In a city that sometimes seems overrun with large-scale events, one of San Francisco’s undeniable favorites is \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a>, the 100-percent free, three-day music fest in Golden Gate Park, started and funded by the best billionaire ever, banjo fan Warren Hellman. Hellman, who died in 2011, will be missed forever, but his multi-genre music party lives on, and is consistently praised for its relaxed approach, lack of alcohol sales, and stellar musicians.\u003c/p>\n\u003cp>That’s the front end — glittering stars like Mavis Staples, national treasures like Steve Earle, the glam and grit of Conor Oberst, Mekons, or Jessica Hernandez and the Deltas. The festival always books a generous number of local acts as well, from sequinned pop-rockabilly idol Chris Isaak to indie-garage juggernauts Shannon and the Clams. Perhaps best of all? Emmylou Harris is always there.\u003c/p>\n\u003cp>And, if the numbers are to be believed, so are you: An estimated 750,000 people visited Hellman Hollow and Lindley and Marx Meadows earlier this month; Mick Hellman, Warren’s son, has said he hopes to see a million of us one of these years.\u003c/p>\n\u003cp>But what about the back end?\u003c/p>\n\u003cfigure id=\"attachment_12256332\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12256332\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-1020x765.jpg\" alt=\"A row of Golden State Portables set up in San Francisco during the 2008 Olympic Torch Relay.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A row of Golden State Portables set up in San Francisco during the 2008 Olympic Torch Relay. \u003ccite>(BrokenSphere / Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike Banda of \u003ca href=\"http://www.goldenstateportables.com/\" target=\"_blank\" rel=\"noopener\">Golden State Portables\u003c/a> has provided the toilets for Hardly Strictly Bluegrass for the past seven years, and in my analysis, such service makes him among the most important purveyors of live music in this entire built-on-rock’n’roll city. To borrow a slogan from the back of a plumber’s truck, without Banda, we’d have nowhere to go. Outdoor festivals simply would not exist without people like him; he also works Fleet Week, many popular runs, and various large private events, in addition to Hardly Strictly Bluegrass.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When I speak with him, I find Banda has the sense of humor I hoped he would have, for his own sake. Without it, how would he be able to function in the temporary sanitation industry for the past 25 years? \u003ca href=\"http://www.goldenstateportables.com/\" target=\"_blank\" rel=\"noopener\">The Golden State Portables website\u003c/a> shows Banda with a wide, genuine smile, the kind that can’t be faked. “You know what they say!” he tells me on the phone. “It’s not a party ‘til the potties show up!”\u003c/p>\n\u003cp>At Hardly Strictly Bluegrass, Banda tells me he likes to get an extra head start on setting up. “That thing is so humongous! I mean, there’s just so many people that attend that event.” (See above.) Working with Hardly Strictly Bluegrass’ Director of Operations Eliote Durham, he says it’s absolutely vital to start early. “I have to start three days prior to when the event starts, sometimes four, because there’s so much stuff to do. I do the executive [toilets] for the backstage, the VIP, and then everything I gotta do for the public.”\u003c/p>\n\u003cfigure id=\"attachment_12259641\" class=\"wp-caption alignright\" style=\"max-width: 409px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/mike-banda.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12259641\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/mike-banda.jpg\" alt=\"Mike Banda\" width=\"409\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mike-banda.jpg 409w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mike-banda-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mike-banda-240x344.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mike-banda-375x537.jpg 375w\" sizes=\"(max-width: 409px) 100vw, 409px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mike Banda\u003c/figcaption>\u003c/figure>\n\u003cp>That last is the part most of us know so well: The long lines that nevertheless move fairly quickly, the surprise at the lack of horrorshow inside. We’ve come to rely on the ample number of units at the free festival; ultimately, many attendees have developed an unlikely trust in Hardly Strictly Bluegrass’s port-a-potties. Yelper Alice L. backs it up, on the festival’s four-and-a-half-starred review page: “Porta Potties were surprisingly not so gross!” She’s no fool, though:“Just in case, bring some pocket tissue packets and hand sanitizer.”\u003c/p>\n\u003cp>Banda works hard to make sure you don’t need those items, but it’s sage advice and never wrong. Other music events’ toilets regularly result in harsh criticism online and scarring revulsion in real life. Not at HSB, thanks to Mike Banda. “My whole aspect is always, always to be the cleanest. Always the cleanest. And I get a lot of compliments! Like, ‘Wow, this isn’t bad, this is clean!’”\u003c/p>\n\u003cp>Durham, who’s also an event producer for E. Cee Productions, is an enthusiastic Mike Banda cheerleader. He’s professional, polite, and absolutely dependable, she says via email. “I had two years with another vendor who was the exact opposite of Mike,” she writes. “I’d cross my fingers each year that the toilets were going to arrive.”\u003c/p>\n\u003cp>(The potential stress of such a situation makes my vision go dim for a moment. Really, it must be said that event producers are also \u003ca href=\"https://ww2.kqed.org/arts/series/backstage-heroes/\" target=\"_blank\" rel=\"noopener\">Backstage Heroes\u003c/a>. Let’s all thank one next time we get a chance.) Calling Banda one of her favorite HSB connections, Durham says she’s gone on to hire him — “and his team, because he has a knack for hiring excellent people” — for all her events: the Pink Party, Bluegrass for the Greenbelt, the Nike Women’s Marathon, and more. He’s cheerful, Durham says of the man who not only hauls the toilets in but also hauls them away, laden with our expressions. “He’s got a great big smile that can change your day, and he’s never let me down.” This, I think, is what makes a true hero.\u003c/p>\n\u003cp>So while we celebrate the polished songbirds, the beautiful park, the magic weather, and one another’s good vibes at Hardly Strictly Bluegrass, we should also pause to appreciate the ADA-approved units, the handwashing stations, the account long held with the San Francisco Water Treatment Plant. And, if we’re special, the upscale all-amenities executive units provided by Mike Banda and the team at Golden State Portables. It’s not necessary to imagine Emmylou Harris actually using one — it’s enough to know they’re there, should that regally delicate golden-throated canary ever feel the call of nature.\u003c/p>\n\u003cp>Or, as Banda puts it, “It’s got to be nice and clean and shiny. That’s the bottom line.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"If you've ever encountered a clean public toilet at a large-scale festival in San Francisco, you probably have this Backstage Hero to thank. ","status":"publish","parent":0,"modified":1705032672,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1083},"headData":{"title":"It Ain't a Party Without the Potties: For Mike Banda, Your Bottom Line Matters | KQED","description":"If you've ever encountered a clean public toilet at a large-scale festival in San Francisco, you probably have this Backstage Hero to thank. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"It Ain't a Party Without the Potties: For Mike Banda, Your Bottom Line Matters","datePublished":"2016-10-26T15:00:52.000Z","dateModified":"2024-01-12T04:11:12.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12256127/it-aint-a-party-without-the-potties-for-mike-banda-your-bottom-line-matters","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Backstage Heroes is a biweekly column by gal-about-town Hiya Swanhuyser spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. \u003c/em>\u003c/p>\n\u003cp>In a city that sometimes seems overrun with large-scale events, one of San Francisco’s undeniable favorites is \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a>, the 100-percent free, three-day music fest in Golden Gate Park, started and funded by the best billionaire ever, banjo fan Warren Hellman. Hellman, who died in 2011, will be missed forever, but his multi-genre music party lives on, and is consistently praised for its relaxed approach, lack of alcohol sales, and stellar musicians.\u003c/p>\n\u003cp>That’s the front end — glittering stars like Mavis Staples, national treasures like Steve Earle, the glam and grit of Conor Oberst, Mekons, or Jessica Hernandez and the Deltas. The festival always books a generous number of local acts as well, from sequinned pop-rockabilly idol Chris Isaak to indie-garage juggernauts Shannon and the Clams. Perhaps best of all? Emmylou Harris is always there.\u003c/p>\n\u003cp>And, if the numbers are to be believed, so are you: An estimated 750,000 people visited Hellman Hollow and Lindley and Marx Meadows earlier this month; Mick Hellman, Warren’s son, has said he hopes to see a million of us one of these years.\u003c/p>\n\u003cp>But what about the back end?\u003c/p>\n\u003cfigure id=\"attachment_12256332\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12256332\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-1020x765.jpg\" alt=\"A row of Golden State Portables set up in San Francisco during the 2008 Olympic Torch Relay.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Row_of_Golden_State_Portables-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A row of Golden State Portables set up in San Francisco during the 2008 Olympic Torch Relay. \u003ccite>(BrokenSphere / Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike Banda of \u003ca href=\"http://www.goldenstateportables.com/\" target=\"_blank\" rel=\"noopener\">Golden State Portables\u003c/a> has provided the toilets for Hardly Strictly Bluegrass for the past seven years, and in my analysis, such service makes him among the most important purveyors of live music in this entire built-on-rock’n’roll city. To borrow a slogan from the back of a plumber’s truck, without Banda, we’d have nowhere to go. Outdoor festivals simply would not exist without people like him; he also works Fleet Week, many popular runs, and various large private events, in addition to Hardly Strictly Bluegrass.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I speak with him, I find Banda has the sense of humor I hoped he would have, for his own sake. Without it, how would he be able to function in the temporary sanitation industry for the past 25 years? \u003ca href=\"http://www.goldenstateportables.com/\" target=\"_blank\" rel=\"noopener\">The Golden State Portables website\u003c/a> shows Banda with a wide, genuine smile, the kind that can’t be faked. “You know what they say!” he tells me on the phone. “It’s not a party ‘til the potties show up!”\u003c/p>\n\u003cp>At Hardly Strictly Bluegrass, Banda tells me he likes to get an extra head start on setting up. “That thing is so humongous! I mean, there’s just so many people that attend that event.” (See above.) Working with Hardly Strictly Bluegrass’ Director of Operations Eliote Durham, he says it’s absolutely vital to start early. “I have to start three days prior to when the event starts, sometimes four, because there’s so much stuff to do. I do the executive [toilets] for the backstage, the VIP, and then everything I gotta do for the public.”\u003c/p>\n\u003cfigure id=\"attachment_12259641\" class=\"wp-caption alignright\" style=\"max-width: 409px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/mike-banda.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12259641\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/mike-banda.jpg\" alt=\"Mike Banda\" width=\"409\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mike-banda.jpg 409w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mike-banda-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mike-banda-240x344.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mike-banda-375x537.jpg 375w\" sizes=\"(max-width: 409px) 100vw, 409px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mike Banda\u003c/figcaption>\u003c/figure>\n\u003cp>That last is the part most of us know so well: The long lines that nevertheless move fairly quickly, the surprise at the lack of horrorshow inside. We’ve come to rely on the ample number of units at the free festival; ultimately, many attendees have developed an unlikely trust in Hardly Strictly Bluegrass’s port-a-potties. Yelper Alice L. backs it up, on the festival’s four-and-a-half-starred review page: “Porta Potties were surprisingly not so gross!” She’s no fool, though:“Just in case, bring some pocket tissue packets and hand sanitizer.”\u003c/p>\n\u003cp>Banda works hard to make sure you don’t need those items, but it’s sage advice and never wrong. Other music events’ toilets regularly result in harsh criticism online and scarring revulsion in real life. Not at HSB, thanks to Mike Banda. “My whole aspect is always, always to be the cleanest. Always the cleanest. And I get a lot of compliments! Like, ‘Wow, this isn’t bad, this is clean!’”\u003c/p>\n\u003cp>Durham, who’s also an event producer for E. Cee Productions, is an enthusiastic Mike Banda cheerleader. He’s professional, polite, and absolutely dependable, she says via email. “I had two years with another vendor who was the exact opposite of Mike,” she writes. “I’d cross my fingers each year that the toilets were going to arrive.”\u003c/p>\n\u003cp>(The potential stress of such a situation makes my vision go dim for a moment. Really, it must be said that event producers are also \u003ca href=\"https://ww2.kqed.org/arts/series/backstage-heroes/\" target=\"_blank\" rel=\"noopener\">Backstage Heroes\u003c/a>. Let’s all thank one next time we get a chance.) Calling Banda one of her favorite HSB connections, Durham says she’s gone on to hire him — “and his team, because he has a knack for hiring excellent people” — for all her events: the Pink Party, Bluegrass for the Greenbelt, the Nike Women’s Marathon, and more. He’s cheerful, Durham says of the man who not only hauls the toilets in but also hauls them away, laden with our expressions. “He’s got a great big smile that can change your day, and he’s never let me down.” This, I think, is what makes a true hero.\u003c/p>\n\u003cp>So while we celebrate the polished songbirds, the beautiful park, the magic weather, and one another’s good vibes at Hardly Strictly Bluegrass, we should also pause to appreciate the ADA-approved units, the handwashing stations, the account long held with the San Francisco Water Treatment Plant. And, if we’re special, the upscale all-amenities executive units provided by Mike Banda and the team at Golden State Portables. It’s not necessary to imagine Emmylou Harris actually using one — it’s enough to know they’re there, should that regally delicate golden-throated canary ever feel the call of nature.\u003c/p>\n\u003cp>Or, as Banda puts it, “It’s got to be nice and clean and shiny. That’s the bottom line.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12256127/it-aint-a-party-without-the-potties-for-mike-banda-your-bottom-line-matters","authors":["8641"],"series":["arts_1059"],"categories":["arts_835"],"tags":["arts_1205","arts_1118","arts_596"],"featImg":"arts_12256339","label":"arts_1059"},"arts_12109496":{"type":"posts","id":"arts_12109496","meta":{"index":"posts_1591205157","site":"arts","id":"12109496","score":null,"sort":[1475100014000]},"guestAuthors":[],"slug":"backstage-heroes-local-foods-wheel-creators-on-love-and-locavores","title":"Backstage Heroes: Local Foods Wheel Creators on Love and Locavores","publishDate":1475100014,"format":"standard","headTitle":"Backstage Heroes: Local Foods Wheel Creators on Love and Locavores | KQED","labelTerm":{"term":1059,"site":"arts"},"content":"\u003cp>Bay Area culture has its unsung corners — even in its much-touted food scene. Sometimes important work isn’t splashy, viral-marketed, or all over the blogs. Sometimes, it’s just two pieces of lightweight paperboard with a metal rivet in the center.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.localfoodswheel.com/\" target=\"_blank\" rel=\"noopener\">Local Foods Wheel \u003c/a>isn’t famous, exactly, but you’ll find one inside the home of anyone who likes food, tacked to the wall or magnetically attached to the refrigerator. It does the simple job of showing which foods are in season, month by month. The concentric circles, covered with tiny hand-drawn renderings of regional products, are a vital tool for the kitchen and shopping list of alert eaters around the Bay Area: The smaller top layer shows what items are available year-round, such as honey or radishes, while the bottom layer, revealed by the window in the top one, shows the fava beans, Dungeness crab, or tomatoes that only appear for a short time each year.\u003c/p>\n\u003cfigure id=\"attachment_12127072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12127072\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel.jpg\" alt=\"The SoCal local foods wheel. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The SoCal local foods wheel.\u003c/figcaption>\u003c/figure>\n\u003cp>Because of the wheel’s design, it’s simple enough for a child to understand — yet beautiful enough to be welcome in the most artful places. It’s well appreciated by the Bay Area, for example, at the Alice-Waters-helmed \u003ca href=\"http://edibleschoolyard.org/\" target=\"_blank\" rel=\"noopener\">Edible Schoolyard Project\u003c/a>. “The Local Foods Wheel is a wonderful tool for edible education,” Director of Partnerships and Engagement Liza Siegler, “illustrating for students in a fun and clever way how to eat with the seasons wherever you live.”\u003c/p>\n\u003cp>Ten years and 25,000-plus units into this project, six different regional Local Foods Wheels now exist: they cover the Bay Area, Southern California in both English and Spanish, the Upper Midwest, the Northeast, and recently, the Northwest, thanks to three women: illustrator Sarah Klein, designer Maggie Gosselin, and food expert/researcher Jessica Prentice.\u003c/p>\n\u003cp>Maggie Gosselin’s Mission District apartment is a marvel of cool light and gentle order. Gosselin welcomes me on a recent morning and offers coffee and fruit — seasonal, of course. She tells me putting together a fruit plate is one of her favorite things to do as she tends to a high-octane pourover. Unsurprisingly, she’s also quite skilled at putting together a fruit plate. The green and fuchsia kadota figs, in particular, are consternatingly good. I can’t understand why they taste so exactly like honey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She might say it’s because they’re “at their peak,” meaning, in the ideal spot in their season. And whether it’s how to compose sweet plants on vintage porcelain, or when to look for kadota figs at Bi-Rite, Gosselin should know: Her background includes five years of work at the food mecca of the Ferry Building, a Masters’ degree in Food Policy from Tufts, and five years working at the USDA. Keep in mind she’s only one-third of this project, and you’ll start to understand why the wheel is such a deceptively simple plethora of information.\u003c/p>\n\u003cfigure id=\"attachment_12127235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12127235\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-800x483.jpg\" alt=\"The Local Foods Wheel creators in action. \" width=\"800\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-400x241.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-768x464.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-1180x712.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-1920x1159.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-960x579.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Local Foods Wheel creators in action. \u003ccite>( Dianne Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gosselin tells me the idea for the Wheel germinated in the Ferry Building, where she and Prentice both worked for the \u003ca href=\"http://www.cuesa.org/\" target=\"_blank\" rel=\"noopener\">Center for Urban Education about Sustainable Agriculture\u003c/a>, which runs the Ferry Building farmers’ market (and many others), from 2003 to ’05, and realized consumers were somewhat undereducated where in-season foods were concerned.\u003c/p>\n\u003cp>I spoke with researcher and foodie star Prentice by phone the following day, and the two women’s often-similar answers to my questions showed a collaboration fueled by a healthy love of food, but something with deeper roots, as well. As Prentice put it, “To eat asparagus in spring is meaningful. It feeds my need for meaning.”\u003c/p>\n\u003cp>“As the as the education director, it kind of drove me crazy,” Prentice tells me of their time at CUESA. “Because people would come up and ask ‘Where are the mangoes?’ Or they’d come in winter and say ‘Are there any blueberries?’ And I was like ‘No, blueberries don’t grow in winter!’” Both women remember a seasonal-foods chart they made during that time, a linear, spreadsheet-based thing.\u003c/p>\n\u003cp>Gosselin says they were never satisfied with that chart, although they knew it was needed. “It didn’t convey the cyclical nature of the seasons. So Jessica had this idea to make something with moving parts.”\u003c/p>\n\u003cp>Prentice, meanwhile, first coined the term “locavore,” which she invented in 2005. She says that oddly enough, the term called out its own necessity. When she created the neologism, “There was a lot of press around it, and it really became clear that a lot of people just don’t know what’s local, and have a limited view of what local foods are and can be.” She looped in Gosselin and animator-illustrator Klein, who was then part of the kitchen of the \u003ca href=\"http://www.headlands.org/\" target=\"_blank\" rel=\"noopener\">Headlands Center for the Arts \u003c/a>, another Bay Area food focal point — and the Wheel was born.\u003c/p>\n\u003cp>In the ensuing 10 years, over 70 stores have stocked it, new items have been added, and the three have grown in their awareness of what local foods are and can be. The imminent new edit of the Bay Area Wheel, for example, will include bay nuts and elderberries, among other foraged goods.\u003c/p>\n\u003cp>When I suggest the project must really rake in money, Gosselin nearly chokes on a slice of Asian pear (Allard Farms, Castro Farmers’ Market). “Tens of dollars a year!” she laughs; Prentice affirms the accuracy of this estimate. When asked why they do it, then, Gosselin uses the word “love” twice in four seconds, while Prentice uses it four times in two seconds.\u003c/p>\n\u003cp>“It’s a labor of love,” Gosselin says, explaining that she intends to keep working on the Local Foods Wheels for as long as she can, just for the joy of working with her partners, because “I love them!”\u003c/p>\n\u003cp>Prentice, once again, on the echo: “Partly it’s because we just love it. And people who love it, really love it. And we all love each other, too.” The public loves the Local Foods Wheel for other reasons, of course, and the three co-creators are well aware. “It feels like we’re making a contribution. Something that’s needed.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"Sarah Klein, Maggie Gosselin and Jessica Prentice discuss the true meaning of eating \"in season\" -- and how to stay artfully in-the-know.","status":"publish","parent":0,"modified":1705032925,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1124},"headData":{"title":"Backstage Heroes: Local Foods Wheel Creators on Love and Locavores | KQED","description":"Sarah Klein, Maggie Gosselin and Jessica Prentice discuss the true meaning of eating "in season" -- and how to stay artfully in-the-know.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Backstage Heroes: Local Foods Wheel Creators on Love and Locavores","datePublished":"2016-09-28T22:00:14.000Z","dateModified":"2024-01-12T04:15:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"495838165","path":"/arts/12109496/backstage-heroes-local-foods-wheel-creators-on-love-and-locavores","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area culture has its unsung corners — even in its much-touted food scene. Sometimes important work isn’t splashy, viral-marketed, or all over the blogs. Sometimes, it’s just two pieces of lightweight paperboard with a metal rivet in the center.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.localfoodswheel.com/\" target=\"_blank\" rel=\"noopener\">Local Foods Wheel \u003c/a>isn’t famous, exactly, but you’ll find one inside the home of anyone who likes food, tacked to the wall or magnetically attached to the refrigerator. It does the simple job of showing which foods are in season, month by month. The concentric circles, covered with tiny hand-drawn renderings of regional products, are a vital tool for the kitchen and shopping list of alert eaters around the Bay Area: The smaller top layer shows what items are available year-round, such as honey or radishes, while the bottom layer, revealed by the window in the top one, shows the fava beans, Dungeness crab, or tomatoes that only appear for a short time each year.\u003c/p>\n\u003cfigure id=\"attachment_12127072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12127072\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel.jpg\" alt=\"The SoCal local foods wheel. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/socal-spanish-local-foods-wheel-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The SoCal local foods wheel.\u003c/figcaption>\u003c/figure>\n\u003cp>Because of the wheel’s design, it’s simple enough for a child to understand — yet beautiful enough to be welcome in the most artful places. It’s well appreciated by the Bay Area, for example, at the Alice-Waters-helmed \u003ca href=\"http://edibleschoolyard.org/\" target=\"_blank\" rel=\"noopener\">Edible Schoolyard Project\u003c/a>. “The Local Foods Wheel is a wonderful tool for edible education,” Director of Partnerships and Engagement Liza Siegler, “illustrating for students in a fun and clever way how to eat with the seasons wherever you live.”\u003c/p>\n\u003cp>Ten years and 25,000-plus units into this project, six different regional Local Foods Wheels now exist: they cover the Bay Area, Southern California in both English and Spanish, the Upper Midwest, the Northeast, and recently, the Northwest, thanks to three women: illustrator Sarah Klein, designer Maggie Gosselin, and food expert/researcher Jessica Prentice.\u003c/p>\n\u003cp>Maggie Gosselin’s Mission District apartment is a marvel of cool light and gentle order. Gosselin welcomes me on a recent morning and offers coffee and fruit — seasonal, of course. She tells me putting together a fruit plate is one of her favorite things to do as she tends to a high-octane pourover. Unsurprisingly, she’s also quite skilled at putting together a fruit plate. The green and fuchsia kadota figs, in particular, are consternatingly good. I can’t understand why they taste so exactly like honey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She might say it’s because they’re “at their peak,” meaning, in the ideal spot in their season. And whether it’s how to compose sweet plants on vintage porcelain, or when to look for kadota figs at Bi-Rite, Gosselin should know: Her background includes five years of work at the food mecca of the Ferry Building, a Masters’ degree in Food Policy from Tufts, and five years working at the USDA. Keep in mind she’s only one-third of this project, and you’ll start to understand why the wheel is such a deceptively simple plethora of information.\u003c/p>\n\u003cfigure id=\"attachment_12127235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12127235\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-800x483.jpg\" alt=\"The Local Foods Wheel creators in action. \" width=\"800\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-400x241.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-768x464.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-1180x712.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-1920x1159.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/local-foods-wheel-creators-table-960x579.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Local Foods Wheel creators in action. \u003ccite>( Dianne Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gosselin tells me the idea for the Wheel germinated in the Ferry Building, where she and Prentice both worked for the \u003ca href=\"http://www.cuesa.org/\" target=\"_blank\" rel=\"noopener\">Center for Urban Education about Sustainable Agriculture\u003c/a>, which runs the Ferry Building farmers’ market (and many others), from 2003 to ’05, and realized consumers were somewhat undereducated where in-season foods were concerned.\u003c/p>\n\u003cp>I spoke with researcher and foodie star Prentice by phone the following day, and the two women’s often-similar answers to my questions showed a collaboration fueled by a healthy love of food, but something with deeper roots, as well. As Prentice put it, “To eat asparagus in spring is meaningful. It feeds my need for meaning.”\u003c/p>\n\u003cp>“As the as the education director, it kind of drove me crazy,” Prentice tells me of their time at CUESA. “Because people would come up and ask ‘Where are the mangoes?’ Or they’d come in winter and say ‘Are there any blueberries?’ And I was like ‘No, blueberries don’t grow in winter!’” Both women remember a seasonal-foods chart they made during that time, a linear, spreadsheet-based thing.\u003c/p>\n\u003cp>Gosselin says they were never satisfied with that chart, although they knew it was needed. “It didn’t convey the cyclical nature of the seasons. So Jessica had this idea to make something with moving parts.”\u003c/p>\n\u003cp>Prentice, meanwhile, first coined the term “locavore,” which she invented in 2005. She says that oddly enough, the term called out its own necessity. When she created the neologism, “There was a lot of press around it, and it really became clear that a lot of people just don’t know what’s local, and have a limited view of what local foods are and can be.” She looped in Gosselin and animator-illustrator Klein, who was then part of the kitchen of the \u003ca href=\"http://www.headlands.org/\" target=\"_blank\" rel=\"noopener\">Headlands Center for the Arts \u003c/a>, another Bay Area food focal point — and the Wheel was born.\u003c/p>\n\u003cp>In the ensuing 10 years, over 70 stores have stocked it, new items have been added, and the three have grown in their awareness of what local foods are and can be. The imminent new edit of the Bay Area Wheel, for example, will include bay nuts and elderberries, among other foraged goods.\u003c/p>\n\u003cp>When I suggest the project must really rake in money, Gosselin nearly chokes on a slice of Asian pear (Allard Farms, Castro Farmers’ Market). “Tens of dollars a year!” she laughs; Prentice affirms the accuracy of this estimate. When asked why they do it, then, Gosselin uses the word “love” twice in four seconds, while Prentice uses it four times in two seconds.\u003c/p>\n\u003cp>“It’s a labor of love,” Gosselin says, explaining that she intends to keep working on the Local Foods Wheels for as long as she can, just for the joy of working with her partners, because “I love them!”\u003c/p>\n\u003cp>Prentice, once again, on the echo: “Partly it’s because we just love it. And people who love it, really love it. And we all love each other, too.” The public loves the Local Foods Wheel for other reasons, of course, and the three co-creators are well aware. “It feels like we’re making a contribution. Something that’s needed.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12109496/backstage-heroes-local-foods-wheel-creators-on-love-and-locavores","authors":["8641"],"series":["arts_1059"],"categories":["arts_835"],"tags":["arts_1205","arts_1118","arts_1297","arts_596"],"featImg":"arts_12127265","label":"arts_1059"},"arts_11856819":{"type":"posts","id":"arts_11856819","meta":{"index":"posts_1591205157","site":"arts","id":"11856819","score":null,"sort":[1469890848000]},"guestAuthors":[],"slug":"backstage-heroes-thomas-harvey","title":"Backstage Heroes: Thomas Harvey, Lighting Whiz and Working-Class Hero","publishDate":1469890848,"format":"image","headTitle":"Backstage Heroes: Thomas Harvey, Lighting Whiz and Working-Class Hero | KQED","labelTerm":{"term":1059,"site":"arts"},"content":"\u003cp>The American Dream may be a rare sight these days, but in Saratoga, at least, I think I found a little bit of it backstage.\u003c/p>\n\u003cp>Thomas Harvey, Head Rigger at the 2,500-seat Mountain Winery amphitheater, loves what he does. It’s a tough schedule, he says, with long days, late nights, and early mornings, but the crew’s good up there. Plus, it’s literally his job to watch world-class concerts. “There are so many nights where I’m leaving a show and I’m pinching myself, because that was not only the best show, but the best experience,” Harvey tells me by phone a week or so after I visit the remote, spectacularly scenic venue. \u003c/p>\n\u003cp>His job, he explains, is to maintain the integrity of “the grid.” At the start of the concert season in May, a specialized structural engineer comes in to calculate the weight ratios for the winery’s cantilevered light system. But the lights and set pieces change from night to night, of course, so for every show, Harvey hangs new lights, corrects for potential imbalances, and coordinates his crew. Safety is paramount, and Harvey talks a lot about how vital it is for stage crew members to keep their cool no matter what. Somehow, I’ve never contemplated the enormous weight hanging over performers and often audiences during concerts. I can feel my gaze travel upward now in my mind’s eye, and I think, well, yeah, it would be great if the people hanging stuff up there stayed calm. Apparently, that’s exactly the kind of person Thomas Harvey is.\u003c/p>\n\u003cfigure id=\"attachment_11856994\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/THarveySpot.jpg\" alt=\"Thomas Harvey at Mountain Winery.\" width=\"600\" height=\"800\" class=\"size-full wp-image-11856994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/THarveySpot.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/THarveySpot-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/THarveySpot-450x600.jpg 450w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Harvey at Mountain Winery. (Photo: Brian Conway)\u003c/figcaption>\u003c/figure>\n\u003cp>“Rigging is the most underrated and overlooked of the music industry professions, and Tom is the top of his craft,” says the winery’s production manager, Jon Garrett. Harvey is a soft-spoken man, Garrett says, but has a vivid memory for detail, a deep understanding of music production, and a genuine camaraderie with his crew. “When he does speak, we all listen like E.F. Hutton.” It’s a reference from the 1980s, but the old advertisement’s image of people gathering quickly and quietly has yet to be replaced in popular culture; perhaps it isn’t something people do very much anymore. Our attention is more often on blowhards than on storytellers, let alone on co-workers who might have something to tell us about our own lives. \u003c/p>\n\u003cp>Rigging may be overlooked, but it can be awesome, especially at the winery’s outdoor theater, where concerts take place looking out over the Santa Clara Valley while the sun goes down. “I’ve seen some just magical stuff happen here,” Harvey says. “A lot of times I’ll be on headset when I’m running a spotlight, and the [artist’s own touring] lighting director’ll be saying ‘Oh my god, they’ve never done that before. Wow!’” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/CurtainLight.jpg\" alt=\"CurtainLight\" width=\"1100\" height=\"729\" class=\"aligncenter size-full wp-image-11856995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/CurtainLight.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/CurtainLight-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/CurtainLight-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/CurtainLight-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/CurtainLight-960x636.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>I witnessed the Mountain Winery effect with my own eyes the night indie supergroup case/lang/veirs played. Mid-show, lesbian country-music legend k.d. lang announced that she loved the next song, and would like to dance to it. Bandmates Neko Case and Laura Veirs suggested she do so. And that’s how k.d. lang jumped off the stage, waded into the crowd, and started shaking outstretched hands and dancing in the aisles. Harvey says the band’s lighting director was floored. “He was used to having them do the same thing every day. Same setlist, no interruptions, so pretty much every show ends within a couple seconds of each other. And they were going off!” \u003c/p>\n\u003cp>Harvey tells me he first got into this kind of work because he loves music and music’s stories, in addition to regular adrenaline rushes. At UC Santa Cruz as an undergraduate, he took the famous oral history class with professors Marge Franz and Paul Skenazy, and says that someday he’d like to write a book to document the stories he’s heard from his colleagues, whom he invariably refers to as “my brothers and sisters.” It sounds like an unusually interesting family: Neil Young’s longtime production manager, Jimmy Page’s first guitar tech — “and the thing is, every time somebody passes away, all those stories and all those memories are lost.” \u003c/p>\n\u003cp>What makes this career possible, however, is the boring stuff. Harvey eventually realized that in addition to the excitement and rockstar shenanigans, he’d gotten himself a really good job. “I might be able to actually retire doing this,” he says. “I have a pension and an annuity, and I also have health insurance.” As for benefits like a 401k plan and a flex plan for premiums, childcare and medical expenses, Harvey credits his union, the International Alliance of Theatrical Stage Employees, or IATSE. (The link between labor unions and the health of the middle class is well-documented; a 2015 National Bureau of Economic Research paper “suggests a ‘strong, though not necessarily causal’ link between the power of labor unions [and] the well-being of the middle class,” according to the \u003ca href=\"http://www.ibtimes.com/decline-unions-weakens-us-middle-class-reduces-income-mobility-between-generations-2148618\" target=\"_blank\" rel=\"noopener\">International Business Times\u003c/a>.) “It was really the best decision that I made in my life,” he says. “I’m a member of Local 107 in Oakland, Local 134 in San Jose, and Local 611 in Santa Cruz.” \u003c/p>\n\u003cfigure id=\"attachment_11856996\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/THarveyMountainWinery.jpg\" alt=\"Thomas Harvey in the booth at Mountain Winery.\" width=\"600\" height=\"800\" class=\"size-full wp-image-11856996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/THarveyMountainWinery.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/THarveyMountainWinery-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/THarveyMountainWinery-450x600.jpg 450w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Harvey in the booth at Mountain Winery.\u003c/figcaption>\u003c/figure>\n\u003cp>Harvey, naturally, has memorable stories of his own. On November 23, 1997, he was at Fort Mason, trying to hang a stage for George Clinton and the P-Funk Allstars. That morning, production trucks had arrived, but the drivers refused to unload anything. They hadn’t gotten their money, so nothing moved. In addition, one of the three members of Harvey’s crew had fallen off a deck and torn his ACL that morning. The real problem, though, was the promoter, the man with the money, who was sitting on the Golden Gate Bridge in a five-hour traffic jam. Woody Harrelson had chosen that day to climb the north tower and unfurl a banner protesting the clear-cutting of old-growth redwoods; a good cause, but bad news for Harvey. He now had two people instead of three, and no stage.\u003c/p>\n\u003cp>On top of everything, there was the Mothership. “[It] was this spacecraft,” Harvey explains, “that they had suspended from the rafters and then dropped in the middle of the show, and then George Clinton would come out of it.” Currently residing in the Smithsonian Institution, the Mothership “existed conceptually as a fictional vehicle of funk deliverance,” according to its very funny Wikipedia page, powered “by unknown means, presumably The Funk and simple stagecraft.” The band stopped using the thing for many years because of its outrageous cost, but in the late 1990s had a new one built and were at it again. \u003c/p>\n\u003cp>“So the promoter showed up about one o’clock,” and paid the drivers, Harvey says. “We had doors at 8 and a show at 9… I basically had to go up and down all day, tie things on and then climb back up into the grid and pull them up… I was literally focusing lights with my butt hanging out over the audience five minutes before the band went on.” All the same, says the guy with a retirement plan, it was a kind of career high. “I got to rig the Mothership, which was amazing! Not many people can say that.” For his trouble, P-Funk’s legendary guitar player Michael Hampton invited Harvey to the recording session afterparty at Hyde Street Studios that night. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The very best part of being Head Rigger at Mountain Winery, though, Harvey says, in spite of the downsides like near-constant sweat, a surprising amount of waiting around, and occasionally finding out a favorite band is a bunch of jerks, is his distinctly middle-class joy. “I raised two beautiful kids!” he says. “I can’t really complain.” \u003c/p>\n\n","blocks":[],"excerpt":"Keeping the lights on is literally Thomas Harvey's job — without him, the show simply couldn't go on.","status":"publish","parent":0,"modified":1705033450,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1418},"headData":{"title":"Backstage Heroes: Thomas Harvey, Lighting Whiz and Working-Class Hero | KQED","description":"Keeping the lights on is literally Thomas Harvey's job — without him, the show simply couldn't go on.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Backstage Heroes: Thomas Harvey, Lighting Whiz and Working-Class Hero","datePublished":"2016-07-30T15:00:48.000Z","dateModified":"2024-01-12T04:24:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11856819/backstage-heroes-thomas-harvey","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The American Dream may be a rare sight these days, but in Saratoga, at least, I think I found a little bit of it backstage.\u003c/p>\n\u003cp>Thomas Harvey, Head Rigger at the 2,500-seat Mountain Winery amphitheater, loves what he does. It’s a tough schedule, he says, with long days, late nights, and early mornings, but the crew’s good up there. Plus, it’s literally his job to watch world-class concerts. “There are so many nights where I’m leaving a show and I’m pinching myself, because that was not only the best show, but the best experience,” Harvey tells me by phone a week or so after I visit the remote, spectacularly scenic venue. \u003c/p>\n\u003cp>His job, he explains, is to maintain the integrity of “the grid.” At the start of the concert season in May, a specialized structural engineer comes in to calculate the weight ratios for the winery’s cantilevered light system. But the lights and set pieces change from night to night, of course, so for every show, Harvey hangs new lights, corrects for potential imbalances, and coordinates his crew. Safety is paramount, and Harvey talks a lot about how vital it is for stage crew members to keep their cool no matter what. Somehow, I’ve never contemplated the enormous weight hanging over performers and often audiences during concerts. I can feel my gaze travel upward now in my mind’s eye, and I think, well, yeah, it would be great if the people hanging stuff up there stayed calm. Apparently, that’s exactly the kind of person Thomas Harvey is.\u003c/p>\n\u003cfigure id=\"attachment_11856994\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/THarveySpot.jpg\" alt=\"Thomas Harvey at Mountain Winery.\" width=\"600\" height=\"800\" class=\"size-full wp-image-11856994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/THarveySpot.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/THarveySpot-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/THarveySpot-450x600.jpg 450w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Harvey at Mountain Winery. (Photo: Brian Conway)\u003c/figcaption>\u003c/figure>\n\u003cp>“Rigging is the most underrated and overlooked of the music industry professions, and Tom is the top of his craft,” says the winery’s production manager, Jon Garrett. Harvey is a soft-spoken man, Garrett says, but has a vivid memory for detail, a deep understanding of music production, and a genuine camaraderie with his crew. “When he does speak, we all listen like E.F. Hutton.” It’s a reference from the 1980s, but the old advertisement’s image of people gathering quickly and quietly has yet to be replaced in popular culture; perhaps it isn’t something people do very much anymore. Our attention is more often on blowhards than on storytellers, let alone on co-workers who might have something to tell us about our own lives. \u003c/p>\n\u003cp>Rigging may be overlooked, but it can be awesome, especially at the winery’s outdoor theater, where concerts take place looking out over the Santa Clara Valley while the sun goes down. “I’ve seen some just magical stuff happen here,” Harvey says. “A lot of times I’ll be on headset when I’m running a spotlight, and the [artist’s own touring] lighting director’ll be saying ‘Oh my god, they’ve never done that before. Wow!’” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/CurtainLight.jpg\" alt=\"CurtainLight\" width=\"1100\" height=\"729\" class=\"aligncenter size-full wp-image-11856995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/CurtainLight.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/CurtainLight-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/CurtainLight-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/CurtainLight-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/CurtainLight-960x636.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>I witnessed the Mountain Winery effect with my own eyes the night indie supergroup case/lang/veirs played. Mid-show, lesbian country-music legend k.d. lang announced that she loved the next song, and would like to dance to it. Bandmates Neko Case and Laura Veirs suggested she do so. And that’s how k.d. lang jumped off the stage, waded into the crowd, and started shaking outstretched hands and dancing in the aisles. Harvey says the band’s lighting director was floored. “He was used to having them do the same thing every day. Same setlist, no interruptions, so pretty much every show ends within a couple seconds of each other. And they were going off!” \u003c/p>\n\u003cp>Harvey tells me he first got into this kind of work because he loves music and music’s stories, in addition to regular adrenaline rushes. At UC Santa Cruz as an undergraduate, he took the famous oral history class with professors Marge Franz and Paul Skenazy, and says that someday he’d like to write a book to document the stories he’s heard from his colleagues, whom he invariably refers to as “my brothers and sisters.” It sounds like an unusually interesting family: Neil Young’s longtime production manager, Jimmy Page’s first guitar tech — “and the thing is, every time somebody passes away, all those stories and all those memories are lost.” \u003c/p>\n\u003cp>What makes this career possible, however, is the boring stuff. Harvey eventually realized that in addition to the excitement and rockstar shenanigans, he’d gotten himself a really good job. “I might be able to actually retire doing this,” he says. “I have a pension and an annuity, and I also have health insurance.” As for benefits like a 401k plan and a flex plan for premiums, childcare and medical expenses, Harvey credits his union, the International Alliance of Theatrical Stage Employees, or IATSE. (The link between labor unions and the health of the middle class is well-documented; a 2015 National Bureau of Economic Research paper “suggests a ‘strong, though not necessarily causal’ link between the power of labor unions [and] the well-being of the middle class,” according to the \u003ca href=\"http://www.ibtimes.com/decline-unions-weakens-us-middle-class-reduces-income-mobility-between-generations-2148618\" target=\"_blank\" rel=\"noopener\">International Business Times\u003c/a>.) “It was really the best decision that I made in my life,” he says. “I’m a member of Local 107 in Oakland, Local 134 in San Jose, and Local 611 in Santa Cruz.” \u003c/p>\n\u003cfigure id=\"attachment_11856996\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/THarveyMountainWinery.jpg\" alt=\"Thomas Harvey in the booth at Mountain Winery.\" width=\"600\" height=\"800\" class=\"size-full wp-image-11856996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/THarveyMountainWinery.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/THarveyMountainWinery-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/THarveyMountainWinery-450x600.jpg 450w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Harvey in the booth at Mountain Winery.\u003c/figcaption>\u003c/figure>\n\u003cp>Harvey, naturally, has memorable stories of his own. On November 23, 1997, he was at Fort Mason, trying to hang a stage for George Clinton and the P-Funk Allstars. That morning, production trucks had arrived, but the drivers refused to unload anything. They hadn’t gotten their money, so nothing moved. In addition, one of the three members of Harvey’s crew had fallen off a deck and torn his ACL that morning. The real problem, though, was the promoter, the man with the money, who was sitting on the Golden Gate Bridge in a five-hour traffic jam. Woody Harrelson had chosen that day to climb the north tower and unfurl a banner protesting the clear-cutting of old-growth redwoods; a good cause, but bad news for Harvey. He now had two people instead of three, and no stage.\u003c/p>\n\u003cp>On top of everything, there was the Mothership. “[It] was this spacecraft,” Harvey explains, “that they had suspended from the rafters and then dropped in the middle of the show, and then George Clinton would come out of it.” Currently residing in the Smithsonian Institution, the Mothership “existed conceptually as a fictional vehicle of funk deliverance,” according to its very funny Wikipedia page, powered “by unknown means, presumably The Funk and simple stagecraft.” The band stopped using the thing for many years because of its outrageous cost, but in the late 1990s had a new one built and were at it again. \u003c/p>\n\u003cp>“So the promoter showed up about one o’clock,” and paid the drivers, Harvey says. “We had doors at 8 and a show at 9… I basically had to go up and down all day, tie things on and then climb back up into the grid and pull them up… I was literally focusing lights with my butt hanging out over the audience five minutes before the band went on.” All the same, says the guy with a retirement plan, it was a kind of career high. “I got to rig the Mothership, which was amazing! Not many people can say that.” For his trouble, P-Funk’s legendary guitar player Michael Hampton invited Harvey to the recording session afterparty at Hyde Street Studios that night. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The very best part of being Head Rigger at Mountain Winery, though, Harvey says, in spite of the downsides like near-constant sweat, a surprising amount of waiting around, and occasionally finding out a favorite band is a bunch of jerks, is his distinctly middle-class joy. “I raised two beautiful kids!” he says. “I can’t really complain.” \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11856819/backstage-heroes-thomas-harvey","authors":["8641"],"series":["arts_1059"],"categories":["arts_69"],"tags":["arts_1205","arts_1118","arts_596"],"featImg":"arts_11856828","label":"arts_1059"},"arts_11713874":{"type":"posts","id":"arts_11713874","meta":{"index":"posts_1591205157","site":"arts","id":"11713874","score":null,"sort":[1466794824000]},"guestAuthors":[],"slug":"backstage-heroes-eric-mueller-on-regulars-bachelorette-parties-and-why-gay-bars-exist-in-the-first-place","title":"Backstage Heroes: Eric Mueller on Regulars, Bachelorette Parties, and Why Gay Bars Exist in the First Place","publishDate":1466794824,"format":"standard","headTitle":"Backstage Heroes: Eric Mueller on Regulars, Bachelorette Parties, and Why Gay Bars Exist in the First Place | KQED","labelTerm":{"term":1059,"site":"arts"},"content":"\u003cp>\u003cem>‘Backstage Heroes’ is a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the \u003c/em>SF Weekly\u003cem> — where her \u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">‘Music Heroes’ \u003c/a>series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>Plenty has been written about the significance of gay bar space in the wake of the unthinkable attack on Pulse Orlando Night Club and Ultra Lounge, and I hope to see a lot more. \u003ca href=\"https://www.facebook.com/monique.jenkinson.7/posts/10154980334879179?pnref=story\" target=\"_blank\" rel=\"noopener\">This Facebook post\u003c/a> from San Francisco drag legend Monique Jenkinson, aka \u003ca href=\"http://www.fauxnique.net/\">Fauxnique,\u003c/a> is a start: “Feeling particular love for friends & family who have lived lives, made art, danced our asses off, talked over the music on the dance floor, watched shows, cried, eaten birthday cake & made everyone feel welcome to come together in difference in GAY BARS.”\u003c/p>\n\u003cp>As I tried to process the facts last week, I wondered about the unsung characters who were at work while it happened. What about the feet on the ground, the employees at Pulse, like those at every other cavernous, anarchic gay club? A \u003ca href=\"http://www.cbsnews.com/news/war-veteran-imran-yousef-saves-dozens-during-orlando-nightclub-shooting-omar-mateen/\" target=\"_blank\" rel=\"noopener\">recent article surfaced\u003c/a>: Imran Yousuf, a Pulse bouncer, saved 60 or 70 lives that night.\u003c/p>\n\u003cp>I decided to talk to Eric Mueller, a local gay bar employee. A former college football player, he moved across the country to join USF’s MFA in writing program in 2014, when he “won the apartment lottery,” and moved into a place at 18th and Castro streets. A week and a half later, he saw a sign in a window, and was quickly hired by a pair of large, popular gay bars to do barback and security work. To my mind, \u003cspan class=\"im\">although these places are located in San Francisco’s iconic, center-of-the-gay-universe district, in many ways, they could be, and are, everywhere. Suffice it to say they’re big, industrial-grade dancehalls, the kind you find all over the world.\u003c/span>\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Although he’s a writer by calling, Mueller’s six-foot-tall, offensive-lineman physique gives him solid qualifications for intense bar duty; the Allegheny Gators’ loss of a strongman was 18th Street hitting the bouncer jackpot. Tall, broad, blond, and muscular he may be, but Mueller is surprisingly soft-spoken and waits a full, unhurried beat after questions; it’s unnerving at first, but I soon realize the calm pace of conversation springs from the unusual care he takes with language and ideas. He also worked at the University of San Francisco’s Gleeson library.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-11714290 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-462x600.jpg\" width=\"462\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-462x600.jpg 462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-400x520.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-768x998.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-908x1180.jpg 908w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-1180x1534.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-960x1248.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971.jpg 1490w\" sizes=\"(max-width: 462px) 100vw, 462px\">\u003c/p>\n\u003cp>Mueller actually no longer works at bars — he’d like to find work at a bookstore — and his last shift was a recent Saturday night. But for the past two years, he’s been one of the people who cleaned up messes, stopped fights, enforced 86s, got yelled at by drunks on the sidewalk, and kept your glassware sanitized.\u003c/p>\n\u003cp>If Yousuf was paid anything close to what Mueller was, the money’s as heartbreaking as the work is hard — and dangerous even on a good night.\u003c/p>\n\u003cp>Following Mueller’s byzantine description of his salary rituals, for example: “If you work the door, you make $16 an hour, and the tipout you get is $5 per bartender, and then a payout from the owner, so weeknights that tipout would be $25, because there were usually three bartenders, and the millionaire in charge thought ten was good,” I calculate his net hourly rate to be between $21 and $32.\u003cbr>\nWe talk about community, about whether huge party-bars like those in the Castro can really provide a sense of home. Although I should know better, I question whether they can; maybe I just don’t like the constant deafening music, sticky surfaces, and aim-head-for-floor drinking style that define big gay bars.\u003c/p>\n\u003cp>Mueller surprises me: His bars have regulars, he says, people who live nearby and come through nearly every day, knowing their friends will be there. The places he worked for have had well-known problems with racial profiling — asking for multiple forms of ID from black patrons, that kind of thing — but he notes that “the regulars at at happy hour are people of color, surprisingly.”\u003c/p>\n\u003cp>“For a few months they were having Latin night on Wednesdays, which I thought was awesome,” Mueller adds. He’s tougher than I am; I tear up when he says the name of the same event that had been in progress during the attack in Orlando. \u003cem>What went through your head when you heard about it?\u003c/em> I ask. Mueller waits that beat before answering, but not to think about what he’s going to say. When he responds, he speaks quickly.\u003c/p>\n\u003cp>“My first thought was, how did the person get in with a gun like that? When you work the door, I was taught you check the IDs first and then check bags if they have them. You’re supposed to make sure that outside food or beverages don’t come in. Safety hazards like knives or stuff,” he says, emphasizing, maybe marveling at, the contrast between those items and the ones the shooter carried into Pulse. “And then I learned that he was sort of involved in the security of the club, which made me think, you know, it could have happened anywhere.”\u003c/p>\n\u003cp>Homophobia was a regular part of his job, along with those unexpected moments of community, and he tells a story that’s apparently extremely common, one that could have been taken out of \u003ca href=\"http://www.newnownext.com/straight-man-arrested-at-gay-friendly-bar-in-brooklyn-after-threatening-to-come-back-orlando-style/06/2016/\" target=\"_blank\" rel=\"noopener\">yesterday’s headlines\u003c/a>. When Mueller told a straight man he couldn’t cut to the front of a long line on the Sunday of Pride weekend, just because he’d “brought a lot of business,” the man instantly became verbally abusive, “dropping f-bombs.” A police officer happened to be nearby, and the man was arrested.\u003c/p>\n\u003cp>Another, very different, but according to Mueller extremely plaguing day-to-day problem is the dehumanizing treatment bar workers receive at the hands of a group that would never suspect itself: bachelorette parties. “When a bachelorette party comes in, everyone working inside just looks at each other, and gets mentally prepared.” Prepared for trash to be thrown everywhere, prepared for entitlement to be turned up to 11. Pretty princesses’ “little crowns, and penis-shaped things, because that’s what consumerized bachelorette parties all have,” it seems, are often left behind in a wave of what Mueller thinks of as “indirect homophobia.” Guess who has to clean it up.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“There are thousands of establishments that are quote-unquote straight bars. Straight people can be straight almost anywhere they want,” Mueller observes. What’s his advice for the gaggles of girls, for the homophobia-enraged toxic masculines, for the non-bar-going public? “Remember why gay bars exist, and remember who they exist for,” he says simply. In return, that door guy, barback, floater, bouncer, or busboy will mop the floor, stop the fights, pick up the trash — and, hopefully, never have to save your life.\u003c/p>\n\n","blocks":[],"excerpt":"In the wake of the Orlando shooting, a local bouncer reflects on the gay bar as sacred space -- and unfortunate battleground. ","status":"publish","parent":0,"modified":1705033804,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1264},"headData":{"title":"Backstage Heroes: Eric Mueller on Regulars, Bachelorette Parties, and Why Gay Bars Exist in the First Place | KQED","description":"In the wake of the Orlando shooting, a local bouncer reflects on the gay bar as sacred space -- and unfortunate battleground. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Backstage Heroes: Eric Mueller on Regulars, Bachelorette Parties, and Why Gay Bars Exist in the First Place","datePublished":"2016-06-24T19:00:24.000Z","dateModified":"2024-01-12T04:30:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11713874/backstage-heroes-eric-mueller-on-regulars-bachelorette-parties-and-why-gay-bars-exist-in-the-first-place","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>‘Backstage Heroes’ is a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the \u003c/em>SF Weekly\u003cem> — where her \u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">‘Music Heroes’ \u003c/a>series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>Plenty has been written about the significance of gay bar space in the wake of the unthinkable attack on Pulse Orlando Night Club and Ultra Lounge, and I hope to see a lot more. \u003ca href=\"https://www.facebook.com/monique.jenkinson.7/posts/10154980334879179?pnref=story\" target=\"_blank\" rel=\"noopener\">This Facebook post\u003c/a> from San Francisco drag legend Monique Jenkinson, aka \u003ca href=\"http://www.fauxnique.net/\">Fauxnique,\u003c/a> is a start: “Feeling particular love for friends & family who have lived lives, made art, danced our asses off, talked over the music on the dance floor, watched shows, cried, eaten birthday cake & made everyone feel welcome to come together in difference in GAY BARS.”\u003c/p>\n\u003cp>As I tried to process the facts last week, I wondered about the unsung characters who were at work while it happened. What about the feet on the ground, the employees at Pulse, like those at every other cavernous, anarchic gay club? A \u003ca href=\"http://www.cbsnews.com/news/war-veteran-imran-yousef-saves-dozens-during-orlando-nightclub-shooting-omar-mateen/\" target=\"_blank\" rel=\"noopener\">recent article surfaced\u003c/a>: Imran Yousuf, a Pulse bouncer, saved 60 or 70 lives that night.\u003c/p>\n\u003cp>I decided to talk to Eric Mueller, a local gay bar employee. A former college football player, he moved across the country to join USF’s MFA in writing program in 2014, when he “won the apartment lottery,” and moved into a place at 18th and Castro streets. A week and a half later, he saw a sign in a window, and was quickly hired by a pair of large, popular gay bars to do barback and security work. To my mind, \u003cspan class=\"im\">although these places are located in San Francisco’s iconic, center-of-the-gay-universe district, in many ways, they could be, and are, everywhere. Suffice it to say they’re big, industrial-grade dancehalls, the kind you find all over the world.\u003c/span>\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Although he’s a writer by calling, Mueller’s six-foot-tall, offensive-lineman physique gives him solid qualifications for intense bar duty; the Allegheny Gators’ loss of a strongman was 18th Street hitting the bouncer jackpot. Tall, broad, blond, and muscular he may be, but Mueller is surprisingly soft-spoken and waits a full, unhurried beat after questions; it’s unnerving at first, but I soon realize the calm pace of conversation springs from the unusual care he takes with language and ideas. He also worked at the University of San Francisco’s Gleeson library.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-11714290 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-462x600.jpg\" width=\"462\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-462x600.jpg 462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-400x520.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-768x998.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-908x1180.jpg 908w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-1180x1534.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-960x1248.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971.jpg 1490w\" sizes=\"(max-width: 462px) 100vw, 462px\">\u003c/p>\n\u003cp>Mueller actually no longer works at bars — he’d like to find work at a bookstore — and his last shift was a recent Saturday night. But for the past two years, he’s been one of the people who cleaned up messes, stopped fights, enforced 86s, got yelled at by drunks on the sidewalk, and kept your glassware sanitized.\u003c/p>\n\u003cp>If Yousuf was paid anything close to what Mueller was, the money’s as heartbreaking as the work is hard — and dangerous even on a good night.\u003c/p>\n\u003cp>Following Mueller’s byzantine description of his salary rituals, for example: “If you work the door, you make $16 an hour, and the tipout you get is $5 per bartender, and then a payout from the owner, so weeknights that tipout would be $25, because there were usually three bartenders, and the millionaire in charge thought ten was good,” I calculate his net hourly rate to be between $21 and $32.\u003cbr>\nWe talk about community, about whether huge party-bars like those in the Castro can really provide a sense of home. Although I should know better, I question whether they can; maybe I just don’t like the constant deafening music, sticky surfaces, and aim-head-for-floor drinking style that define big gay bars.\u003c/p>\n\u003cp>Mueller surprises me: His bars have regulars, he says, people who live nearby and come through nearly every day, knowing their friends will be there. The places he worked for have had well-known problems with racial profiling — asking for multiple forms of ID from black patrons, that kind of thing — but he notes that “the regulars at at happy hour are people of color, surprisingly.”\u003c/p>\n\u003cp>“For a few months they were having Latin night on Wednesdays, which I thought was awesome,” Mueller adds. He’s tougher than I am; I tear up when he says the name of the same event that had been in progress during the attack in Orlando. \u003cem>What went through your head when you heard about it?\u003c/em> I ask. Mueller waits that beat before answering, but not to think about what he’s going to say. When he responds, he speaks quickly.\u003c/p>\n\u003cp>“My first thought was, how did the person get in with a gun like that? When you work the door, I was taught you check the IDs first and then check bags if they have them. You’re supposed to make sure that outside food or beverages don’t come in. Safety hazards like knives or stuff,” he says, emphasizing, maybe marveling at, the contrast between those items and the ones the shooter carried into Pulse. “And then I learned that he was sort of involved in the security of the club, which made me think, you know, it could have happened anywhere.”\u003c/p>\n\u003cp>Homophobia was a regular part of his job, along with those unexpected moments of community, and he tells a story that’s apparently extremely common, one that could have been taken out of \u003ca href=\"http://www.newnownext.com/straight-man-arrested-at-gay-friendly-bar-in-brooklyn-after-threatening-to-come-back-orlando-style/06/2016/\" target=\"_blank\" rel=\"noopener\">yesterday’s headlines\u003c/a>. When Mueller told a straight man he couldn’t cut to the front of a long line on the Sunday of Pride weekend, just because he’d “brought a lot of business,” the man instantly became verbally abusive, “dropping f-bombs.” A police officer happened to be nearby, and the man was arrested.\u003c/p>\n\u003cp>Another, very different, but according to Mueller extremely plaguing day-to-day problem is the dehumanizing treatment bar workers receive at the hands of a group that would never suspect itself: bachelorette parties. “When a bachelorette party comes in, everyone working inside just looks at each other, and gets mentally prepared.” Prepared for trash to be thrown everywhere, prepared for entitlement to be turned up to 11. Pretty princesses’ “little crowns, and penis-shaped things, because that’s what consumerized bachelorette parties all have,” it seems, are often left behind in a wave of what Mueller thinks of as “indirect homophobia.” Guess who has to clean it up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There are thousands of establishments that are quote-unquote straight bars. Straight people can be straight almost anywhere they want,” Mueller observes. What’s his advice for the gaggles of girls, for the homophobia-enraged toxic masculines, for the non-bar-going public? “Remember why gay bars exist, and remember who they exist for,” he says simply. In return, that door guy, barback, floater, bouncer, or busboy will mop the floor, stop the fights, pick up the trash — and, hopefully, never have to save your life.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11713874/backstage-heroes-eric-mueller-on-regulars-bachelorette-parties-and-why-gay-bars-exist-in-the-first-place","authors":["8641"],"series":["arts_1059"],"categories":["arts_968","arts_235"],"tags":["arts_1205","arts_596"],"featImg":"arts_11714247","label":"arts_1059"},"arts_11616261":{"type":"posts","id":"arts_11616261","meta":{"index":"posts_1591205157","site":"arts","id":"11616261","score":null,"sort":[1464213641000]},"guestAuthors":[],"slug":"photojournalist-joel-angel-juarez-on-the-frisco-five-and-capturing-truth-without-bias","title":"Photojournalist Joel Angel Juárez on the Frisco Five and Capturing 'Truth Without Bias'","publishDate":1464213641,"format":"standard","headTitle":"Photojournalist Joel Angel Juárez on the Frisco Five and Capturing ‘Truth Without Bias’ | KQED","labelTerm":{"term":1059,"site":"arts"},"content":"\u003cp>\u003cem>‘Backstage Heroes’ is a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the \u003c/em>SF Weekly\u003cem> — where her \u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">‘Music Heroes’ \u003c/a>series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>On May 7, 2016, the \u003cem>Washington Post\u003c/em> ran an article with the headline “\u003ca href=\"https://www.washingtonpost.com/national/33-protesters-arrested-in-clash-with-san-francisco-deputies/2016/05/07/14b94c7c-149f-11e6-a9b5-bf703a5a7191_story.html\" target=\"_blank\" rel=\"noopener\">33 protesters arrested in clash with San Francisco deputies\u003c/a>.” I noticed it because I’d been at City Hall protesting police brutality the day before.\u003c/p>\n\u003cp>At the demonstrations, I had followed organizers’ instructions — “Join hands, join hands!” — to create a giant outdoor human hallway from Hyde Street to the steps on Goodlett Place. The hunger-striking “Frisco Five” used the corridor to approach City Hall, wheeled forward shoulder to shoulder by white-coated volunteer doctors. The intense visual symbolism struck me: sickened citizens, weak yet totally powerful, making their way to the seat of government, framed by this spontaneous phalanx. I wondered if anyone would transmit this image out to the world. I don’t think any did.\u003c/p>\n\u003cp>The next day, I ran across the \u003cem>Washington Post\u003c/em> article and its sock-in-the-gut image, instead: Surrounded by disembodied hands, a snarling, uniformed white man slams a black man’s face into a metal door frame. A hand emerges from the crowd, grasping the officer’s arm to stop him. Another holds a paper sign.\u003c/p>\n\u003cp>My eyes dropped instinctively to the photo credit: Joel Angel Juárez. I immediately wished this photographer had been standing on the front steps of City Hall when the hunger strikers were making their way through the plaza. Then I realized how close Juárez had been to the dangerous chaos he’d photographed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The photo, picked up by the Associated Press, also appeared in the \u003cem>OC Register\u003c/em>, the \u003cem>San Diego Union Tribune\u003c/em>, the \u003cem>San Jose Mercury News\u003c/em>, Fox News, and more. The protester, James Burch, became, for a short time, the public face of San Francisco’s racist police brutality problem.\u003c/p>\n\u003cfigure id=\"attachment_11616458\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11616458 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/JAJuarezSanFranciscoPoliceProtest-049f7-800x533.jpg\" alt=\"JAJuarezSanFranciscoPoliceProtest-049f7\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/JAJuarezSanFranciscoPoliceProtest-049f7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/JAJuarezSanFranciscoPoliceProtest-049f7-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/JAJuarezSanFranciscoPoliceProtest-049f7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/JAJuarezSanFranciscoPoliceProtest-049f7-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/JAJuarezSanFranciscoPoliceProtest-049f7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/JAJuarezSanFranciscoPoliceProtest-049f7.jpg 1484w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photo by Joel Angel Juárez. \u003ccite>(Joel Angel Juárez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joel Angel Juárez is 20 years old, tall, and quick to smile. He’s a third-year journalism major at San Francisco State University, with a photojournalism emphasis and an international relations minor. When we sit down at a Mediterranean café near the Main Library, he’s just finished covering the Frisco Five’s visit to a Police Commission meeting. We talk about how he got started shooting (“On film!” he says, himself a little incredulous) and about how a street-art fan on a bike became an independent photojournalist committed to learning how to tell the story of police brutality.\u003c/p>\n\u003cp>He’s much more of a “show” guy than a “tell” guy; several times I ask a question and he just looks at me. He draws a diagram at one point, and describes protest scenes in vivid terms of direction and action, but if the subject is himself, the line goes quiet. “Sorry,” he says. “I just can’t find the words.”\u003c/p>\n\u003cp>What he can find, often, is the perfect shot — and the guts to get the right angle.\u003c/p>\n\u003cp>“It’s funny, because some people feel like ‘Okay, I have a camera in my hand, I’m invisible, I won’t get hurt,’” he laughs. “But that’s BS. You’re always on the line, you’re out there.” This is a visceral reality: Later in the evening of May 6, Juárez and three other journalists tumbled down a flight of stairs inside City Hall after a scuffle with a Sheriff’s deputy. Some of the journalists \u003ca href=\"http://www.sfexaminer.com/four-journalists-allegedly-injured-sheriffs-hunger-strike-protest/\" target=\"_blank\" rel=\"noopener\">allege they were shoved\u003c/a>; two of the journalists required medical attention.\u003c/p>\n\u003cp>“I hit the ground, my camera hit the ground,” Juárez tells me. A Sheriff’s Department investigation has begun, and there’s a possible civil damages suit.\u003c/p>\n\u003cp>Although he’s very clear about his role — he’s a journalist, not an activist — Juárez considers it the duty of photojournalists to dive deep into people’s lives, to tell the truth without bias. “I’ve been in situations where it’s really tense. And you’ve got to understand it’s not only tense for protesters, but it’s also tense for the officers who are getting yelled at.” All this, he says, and at the end of the day, “Like, three-quarters of the time we don’t get paid.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ssa7rQRfpCU\u003c/p>\n\u003cp>Juárez grew up in Oxnard, Calif., where the first serious work he did involved photographing the aftermath of the death of a local teen, Alfonso Limon, Jr. As he recounts the details, the café clanks around us and men yell to each other outside on the street, but he lowers his voice. “The whole story about Alfonso Limon was that he was face down, and had his hands up. And he got shot by a police officer, and I believe there was a car chase. And he was a bystander. When I heard that news…” His voice trails off, becomes unintelligible for a moment. I can hear the important part just fine, though: “…tell people.”\u003c/p>\n\u003cp>This is photojournalism’s mandate; the Brooks Institute of Photography’s Jim McNay writes on the \u003ca href=\"https://nppa.org/page/3154\" target=\"_blank\" rel=\"noopener\">National Press Photographers’ Association website\u003c/a> that a good photojournalist is “…not at home in their studio or apartment. The work is out in the world with people.” Echoing Juárez’ self-propelled “deep dive” into the stories of American police brutality, McNay also specifies that “Unlike the world of fine art where the aim is for the photographer to tell their story to the world, in photojournalism the photographer/storyteller concentrates on the story of other people.”\u003c/p>\n\u003cp>“Our role is sort of as watchdog,” Juárez agrees. “You’ve got to hold people accountable. You’ve got to figure out what happened in a situation, and us going out there can help figure it out, help figure out the relationship between these communities, and law enforcement, and the city.”\u003c/p>\n\u003cp>Maybe I’ll never get my photo of the Frisco Five taxiing up to City Hall. Then again, maybe that pretty picture wasn’t the important one, wouldn’t have gotten at the real story about San Francisco right now.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>On May 20, San Francisco Police Chief Greg Suhr complied with Mayor Edwin Lee’s request for his resignation, hours after an SFPD officer shot and killed an unarmed 27-year-old black woman. A \u003ca href=\"http://www.reuters.com/article/us-sanfrancisco-police-idUSKCN0YA31G\" target=\"_blank\" rel=\"noopener\">Reuters article from that day\u003c/a> points out that lethal police brutality against communities of color “has been the focus of nationwide protests since mid-2014.” And I can’t help but think on how committed journalists, photo and otherwise, have played a part in holding people accountable on these issues, have helped figure out what happened in these situations. Especially those who, when they find themselves at the bottom of a flight of stairs, get right back up and keep going.\u003c/p>\n\n","blocks":[],"excerpt":"Recent protests about police brutality in SF captured the nation's attention, in no small part thanks to photographs -- but how often do we consider who's behind the camera?","status":"publish","parent":0,"modified":1705034114,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1321},"headData":{"title":"Photojournalist Joel Angel Juárez on the Frisco Five and Capturing 'Truth Without Bias' | KQED","description":"Recent protests about police brutality in SF captured the nation's attention, in no small part thanks to photographs -- but how often do we consider who's behind the camera?","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Photojournalist Joel Angel Juárez on the Frisco Five and Capturing 'Truth Without Bias'","datePublished":"2016-05-25T22:00:41.000Z","dateModified":"2024-01-12T04:35:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"479523461","path":"/arts/11616261/photojournalist-joel-angel-juarez-on-the-frisco-five-and-capturing-truth-without-bias","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>‘Backstage Heroes’ is a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the \u003c/em>SF Weekly\u003cem> — where her \u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">‘Music Heroes’ \u003c/a>series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>On May 7, 2016, the \u003cem>Washington Post\u003c/em> ran an article with the headline “\u003ca href=\"https://www.washingtonpost.com/national/33-protesters-arrested-in-clash-with-san-francisco-deputies/2016/05/07/14b94c7c-149f-11e6-a9b5-bf703a5a7191_story.html\" target=\"_blank\" rel=\"noopener\">33 protesters arrested in clash with San Francisco deputies\u003c/a>.” I noticed it because I’d been at City Hall protesting police brutality the day before.\u003c/p>\n\u003cp>At the demonstrations, I had followed organizers’ instructions — “Join hands, join hands!” — to create a giant outdoor human hallway from Hyde Street to the steps on Goodlett Place. The hunger-striking “Frisco Five” used the corridor to approach City Hall, wheeled forward shoulder to shoulder by white-coated volunteer doctors. The intense visual symbolism struck me: sickened citizens, weak yet totally powerful, making their way to the seat of government, framed by this spontaneous phalanx. I wondered if anyone would transmit this image out to the world. I don’t think any did.\u003c/p>\n\u003cp>The next day, I ran across the \u003cem>Washington Post\u003c/em> article and its sock-in-the-gut image, instead: Surrounded by disembodied hands, a snarling, uniformed white man slams a black man’s face into a metal door frame. A hand emerges from the crowd, grasping the officer’s arm to stop him. Another holds a paper sign.\u003c/p>\n\u003cp>My eyes dropped instinctively to the photo credit: Joel Angel Juárez. I immediately wished this photographer had been standing on the front steps of City Hall when the hunger strikers were making their way through the plaza. Then I realized how close Juárez had been to the dangerous chaos he’d photographed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The photo, picked up by the Associated Press, also appeared in the \u003cem>OC Register\u003c/em>, the \u003cem>San Diego Union Tribune\u003c/em>, the \u003cem>San Jose Mercury News\u003c/em>, Fox News, and more. The protester, James Burch, became, for a short time, the public face of San Francisco’s racist police brutality problem.\u003c/p>\n\u003cfigure id=\"attachment_11616458\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11616458 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/JAJuarezSanFranciscoPoliceProtest-049f7-800x533.jpg\" alt=\"JAJuarezSanFranciscoPoliceProtest-049f7\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/JAJuarezSanFranciscoPoliceProtest-049f7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/JAJuarezSanFranciscoPoliceProtest-049f7-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/JAJuarezSanFranciscoPoliceProtest-049f7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/JAJuarezSanFranciscoPoliceProtest-049f7-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/JAJuarezSanFranciscoPoliceProtest-049f7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/JAJuarezSanFranciscoPoliceProtest-049f7.jpg 1484w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photo by Joel Angel Juárez. \u003ccite>(Joel Angel Juárez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joel Angel Juárez is 20 years old, tall, and quick to smile. He’s a third-year journalism major at San Francisco State University, with a photojournalism emphasis and an international relations minor. When we sit down at a Mediterranean café near the Main Library, he’s just finished covering the Frisco Five’s visit to a Police Commission meeting. We talk about how he got started shooting (“On film!” he says, himself a little incredulous) and about how a street-art fan on a bike became an independent photojournalist committed to learning how to tell the story of police brutality.\u003c/p>\n\u003cp>He’s much more of a “show” guy than a “tell” guy; several times I ask a question and he just looks at me. He draws a diagram at one point, and describes protest scenes in vivid terms of direction and action, but if the subject is himself, the line goes quiet. “Sorry,” he says. “I just can’t find the words.”\u003c/p>\n\u003cp>What he can find, often, is the perfect shot — and the guts to get the right angle.\u003c/p>\n\u003cp>“It’s funny, because some people feel like ‘Okay, I have a camera in my hand, I’m invisible, I won’t get hurt,’” he laughs. “But that’s BS. You’re always on the line, you’re out there.” This is a visceral reality: Later in the evening of May 6, Juárez and three other journalists tumbled down a flight of stairs inside City Hall after a scuffle with a Sheriff’s deputy. Some of the journalists \u003ca href=\"http://www.sfexaminer.com/four-journalists-allegedly-injured-sheriffs-hunger-strike-protest/\" target=\"_blank\" rel=\"noopener\">allege they were shoved\u003c/a>; two of the journalists required medical attention.\u003c/p>\n\u003cp>“I hit the ground, my camera hit the ground,” Juárez tells me. A Sheriff’s Department investigation has begun, and there’s a possible civil damages suit.\u003c/p>\n\u003cp>Although he’s very clear about his role — he’s a journalist, not an activist — Juárez considers it the duty of photojournalists to dive deep into people’s lives, to tell the truth without bias. “I’ve been in situations where it’s really tense. And you’ve got to understand it’s not only tense for protesters, but it’s also tense for the officers who are getting yelled at.” All this, he says, and at the end of the day, “Like, three-quarters of the time we don’t get paid.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ssa7rQRfpCU'\n title='//www.youtube.com/embed/ssa7rQRfpCU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Juárez grew up in Oxnard, Calif., where the first serious work he did involved photographing the aftermath of the death of a local teen, Alfonso Limon, Jr. As he recounts the details, the café clanks around us and men yell to each other outside on the street, but he lowers his voice. “The whole story about Alfonso Limon was that he was face down, and had his hands up. And he got shot by a police officer, and I believe there was a car chase. And he was a bystander. When I heard that news…” His voice trails off, becomes unintelligible for a moment. I can hear the important part just fine, though: “…tell people.”\u003c/p>\n\u003cp>This is photojournalism’s mandate; the Brooks Institute of Photography’s Jim McNay writes on the \u003ca href=\"https://nppa.org/page/3154\" target=\"_blank\" rel=\"noopener\">National Press Photographers’ Association website\u003c/a> that a good photojournalist is “…not at home in their studio or apartment. The work is out in the world with people.” Echoing Juárez’ self-propelled “deep dive” into the stories of American police brutality, McNay also specifies that “Unlike the world of fine art where the aim is for the photographer to tell their story to the world, in photojournalism the photographer/storyteller concentrates on the story of other people.”\u003c/p>\n\u003cp>“Our role is sort of as watchdog,” Juárez agrees. “You’ve got to hold people accountable. You’ve got to figure out what happened in a situation, and us going out there can help figure it out, help figure out the relationship between these communities, and law enforcement, and the city.”\u003c/p>\n\u003cp>Maybe I’ll never get my photo of the Frisco Five taxiing up to City Hall. Then again, maybe that pretty picture wasn’t the important one, wouldn’t have gotten at the real story about San Francisco right now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On May 20, San Francisco Police Chief Greg Suhr complied with Mayor Edwin Lee’s request for his resignation, hours after an SFPD officer shot and killed an unarmed 27-year-old black woman. A \u003ca href=\"http://www.reuters.com/article/us-sanfrancisco-police-idUSKCN0YA31G\" target=\"_blank\" rel=\"noopener\">Reuters article from that day\u003c/a> points out that lethal police brutality against communities of color “has been the focus of nationwide protests since mid-2014.” And I can’t help but think on how committed journalists, photo and otherwise, have played a part in holding people accountable on these issues, have helped figure out what happened in these situations. Especially those who, when they find themselves at the bottom of a flight of stairs, get right back up and keep going.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11616261/photojournalist-joel-angel-juarez-on-the-frisco-five-and-capturing-truth-without-bias","authors":["8641"],"series":["arts_1059"],"categories":["arts_835"],"tags":["arts_1205","arts_1118","arts_596"],"featImg":"arts_11616392","label":"arts_1059"},"arts_11517713":{"type":"posts","id":"arts_11517713","meta":{"index":"posts_1591205157","site":"arts","id":"11517713","score":null,"sort":[1461628849000]},"guestAuthors":[],"slug":"backstage-heroes-zyzzyvas-regan-mcmahon-on-the-devil-in-the-details","title":"Backstage Heroes: \u003ci>Zyzzyva\u003c/i>'s Regan McMahon On the Devil In the Details","publishDate":1461628849,"format":"standard","headTitle":"Backstage Heroes: Zyzzyva‘s Regan McMahon On the Devil In the Details | KQED","labelTerm":{"term":1059,"site":"arts"},"content":"\u003cp>\u003cem>‘Backstage Heroes’ is a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the \u003c/em>SF Weekly\u003cem> — where her \u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">‘Music Heroes’ \u003c/a>series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>Last month in Los Angeles, the \u003ca href=\"https://www.awpwriter.org/awp_conference/\" target=\"_blank\" rel=\"noopener\">writers’ convention known as AWP \u003c/a>hosted 12,000 people. AWP, which oddly enough stands for the Association of Writers and Writers’ Programs, will draw as many or more again next spring in Washington, DC. Many consider the main event at AWP to be the book fair, a giant maze of stalls similar to a trade show. It’s dizzying, exhausting, and exciting. The stars here are literary magazines, publications not always familiar to the public, but which serve as the white-hot center of the universe for anyone who wants to “get published.”\u003c/p>\n\u003cp>One of the most important literary magazines in the country is San Francisco’s own \u003ca href=\"http://www.zyzzyva.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Zyzzyva\u003c/em> magazine\u003c/a>, named after a weevil (and the last word in many dictionaries). But the journal’s presence in the world of letters is more like an elephant than an insect: On the Pushcart Prize 2016 Literary Magazine Rankings, it’s number 35 among the 50 top publications, out of a field Poets & Writers Magazine lists at about 800. \u003cem>Zyzzyva\u003c/em>’s editors, Oscar Villalon and Laura Cogan, are stars in their own right who in turn publish luminaries: Robert Hass, Adrienne Rich, Ursula K. LeGuin, Sherman Alexie, and many others.\u003c/p>\n\u003cp>All that writing, big-name and otherwise, passes through the careful hands of \u003cem>Zyzzyva\u003c/em>’s copy editor, Regan McMahon. While it might not sound as glamorous as the work of her colleagues, McMahon says copyediting is satisfying and interesting. Ultimately, the copy editor is not just “picky and persnickety, like people might think,” but instead, dedicated to maintaining each author’s singular voice.\u003c/p>\n\u003cp>A longtime former copy editor for the \u003cem>San Francisco Chronicle\u003c/em>, McMahon says her job is her life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Copyediting is so natural to me that I’m just doing it constantly. It’s like breathing to me. If I’m reading the newspaper, if I’m reading a magazine, if I’m reading somebody’s book, if I’m editing for a job — I’m always seeing words through the same lens.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11517832\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/ZyzzyvaCover-435x600.jpg\" alt=\"ZyzzyvaCover\" width=\"435\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ZyzzyvaCover-435x600.jpg 435w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ZyzzyvaCover-400x552.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ZyzzyvaCover-768x1060.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ZyzzyvaCover.jpg 849w\" sizes=\"(max-width: 435px) 100vw, 435px\">\u003c/p>\n\u003cp>We’re sitting in the conference room of the magazine’s elegant offices in one of downtown San Francisco’s most writer-friendly buildings; the Mechanics’ Institute Library is here, on the index in the lobby I notice the name of Ted Weinstein, agent to many a successful San Francisco writer, and on my way out, I cross paths with poet D.A. Powell.\u003c/p>\n\u003cp>McMahon is a small, serious person with a disarmingly steady focus. Her professionalism, she says, comes from happiness. Her first copyediting job was at \u003cem>BAM\u003c/em> magazine, the longtime local rock ‘n’ roll publication, but she moved on to the \u003cem>Chronicle\u003c/em>, eventually taking the buyout the paper infamously offered to many of its staff in the late 2000s. She’s happy doing this kind of work, she says. “I’ve always just been the kind of person who wanted to work in something that was satisfying and interesting and stimulating to my brain.”\u003c/p>\n\u003cp>McMahon has only one enemy: the \u003cem>Chicago Manual of Style\u003c/em>. Every editor uses a stylesheet, a rubric that keeps language consistent inside each publication. English is not a perfectly defined language, so \u003cem>Zyzzyva\u003c/em>, like most magazines, has an in-house stylesheet.\u003c/p>\n\u003cp>“I’ve made some tweaks to it,” McMahon says when I want to hear stylesheet nitty-gritty. “I’ve said well, can’t we do ‘goodbye’ as one word? Or can’t we do ‘OK?’ It drove me nuts — people who write books love to write ‘OK’ as the whole word, like ‘o-k-a-y.’ But it just seems really fusty to me to spell it out. I was victorious, and now our style is to write it capital O, capital K. These are the things that copy editors care about!”\u003c/p>\n\u003cp>I agree: Someone’s got to negotiate with the barbarians at the gates. But when the conversation turns to the two main public style guides, the Associated Press and its counterpart, the \u003cem>Chicago Manual of Style\u003c/em>, McMahon sings the praises of AP, geared for the fast work of daily journalism, in which, for example, “It’s numerals for anything 10 and up. You’re just zooming along.”\u003c/p>\n\u003cp>With \u003cem>Chicago\u003c/em>, the style used widely in books, “You’re not supposed to use a numeral until after 101, but they prefer that you use words for whole numbers like ‘four thousand.’ \u003cem>But \u003c/em>if you were going to have three numbers in the same sentence, [e.g.] ‘four thousand, 231, and 15,’ then they say it’s better to use all numerals because there’s three of them. You have to make these judgement calls, in sentence after sentence.”\u003c/p>\n\u003cp>Maybe not everyone finds these concerns as riveting as I do — not as rich with meaning or imbued with their own (perhaps uncool) sense of humor. Luckily, I’m talking to a copy editor.\u003c/p>\n\u003cp>We talk about the challenges of editing the different genres \u003cem>Zyzzyva\u003c/em> offers: “You certainly touch poetry less,” she says, but it’s still under scrutiny. She thinks a lot about the difference between the news articles she polished at the \u003cem>Chronicle\u003c/em> and the creative work she sees here, and tries to expand her appreciation for stylistic innovations.\u003c/p>\n\u003cp>McMahon’s appreciation for the magazine is returned in kind. “It’s fantastic to work with Regan, because we can trust her to catch infelicities and obfuscations that somehow squirmed past Laura and me,” says Managing Editor Villalon. “Having copy editors like Regan is like having a reliable last line of defense.”\u003c/p>\n\u003cp>There are those barbarians again — yet even saddled with the inexactitude of the \u003cem>Chicago Manual of Style\u003c/em>, McMahon is absolutely up for the job.\u003c/p>\n\u003cp>“Words have meaning. If you put the wrong word up there, it could change the meaning of the sentence. It could change the meaning of the news you’re delivering. Or the ideas that you’re delivering.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The throngs at AWP dreaming of publication in \u003cem>Zyzzyva\u003c/em> may never know it, but Regan McMahon not only loves her job. She loves those “word people,” and reading Zyzzyva, just as much as they do.\u003c/p>\n\n","blocks":[],"excerpt":"Copyediting might not sound like the world's most exciting job -- but the gatekeeper at one of the best literary magazines in the U.S. says otherwise. ","status":"publish","parent":0,"modified":1705044473,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1189},"headData":{"title":"Backstage Heroes: \u003ci>Zyzzyva\u003c/i>'s Regan McMahon On the Devil In the Details | KQED","description":"Copyediting might not sound like the world's most exciting job -- but the gatekeeper at one of the best literary magazines in the U.S. says otherwise. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Backstage Heroes: \u003ci>Zyzzyva\u003c/i>'s Regan McMahon On the Devil In the Details","datePublished":"2016-04-26T00:00:49.000Z","dateModified":"2024-01-12T07:27:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11517713/backstage-heroes-zyzzyvas-regan-mcmahon-on-the-devil-in-the-details","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>‘Backstage Heroes’ is a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the \u003c/em>SF Weekly\u003cem> — where her \u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">‘Music Heroes’ \u003c/a>series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>Last month in Los Angeles, the \u003ca href=\"https://www.awpwriter.org/awp_conference/\" target=\"_blank\" rel=\"noopener\">writers’ convention known as AWP \u003c/a>hosted 12,000 people. AWP, which oddly enough stands for the Association of Writers and Writers’ Programs, will draw as many or more again next spring in Washington, DC. Many consider the main event at AWP to be the book fair, a giant maze of stalls similar to a trade show. It’s dizzying, exhausting, and exciting. The stars here are literary magazines, publications not always familiar to the public, but which serve as the white-hot center of the universe for anyone who wants to “get published.”\u003c/p>\n\u003cp>One of the most important literary magazines in the country is San Francisco’s own \u003ca href=\"http://www.zyzzyva.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Zyzzyva\u003c/em> magazine\u003c/a>, named after a weevil (and the last word in many dictionaries). But the journal’s presence in the world of letters is more like an elephant than an insect: On the Pushcart Prize 2016 Literary Magazine Rankings, it’s number 35 among the 50 top publications, out of a field Poets & Writers Magazine lists at about 800. \u003cem>Zyzzyva\u003c/em>’s editors, Oscar Villalon and Laura Cogan, are stars in their own right who in turn publish luminaries: Robert Hass, Adrienne Rich, Ursula K. LeGuin, Sherman Alexie, and many others.\u003c/p>\n\u003cp>All that writing, big-name and otherwise, passes through the careful hands of \u003cem>Zyzzyva\u003c/em>’s copy editor, Regan McMahon. While it might not sound as glamorous as the work of her colleagues, McMahon says copyediting is satisfying and interesting. Ultimately, the copy editor is not just “picky and persnickety, like people might think,” but instead, dedicated to maintaining each author’s singular voice.\u003c/p>\n\u003cp>A longtime former copy editor for the \u003cem>San Francisco Chronicle\u003c/em>, McMahon says her job is her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Copyediting is so natural to me that I’m just doing it constantly. It’s like breathing to me. If I’m reading the newspaper, if I’m reading a magazine, if I’m reading somebody’s book, if I’m editing for a job — I’m always seeing words through the same lens.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11517832\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/ZyzzyvaCover-435x600.jpg\" alt=\"ZyzzyvaCover\" width=\"435\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ZyzzyvaCover-435x600.jpg 435w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ZyzzyvaCover-400x552.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ZyzzyvaCover-768x1060.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/ZyzzyvaCover.jpg 849w\" sizes=\"(max-width: 435px) 100vw, 435px\">\u003c/p>\n\u003cp>We’re sitting in the conference room of the magazine’s elegant offices in one of downtown San Francisco’s most writer-friendly buildings; the Mechanics’ Institute Library is here, on the index in the lobby I notice the name of Ted Weinstein, agent to many a successful San Francisco writer, and on my way out, I cross paths with poet D.A. Powell.\u003c/p>\n\u003cp>McMahon is a small, serious person with a disarmingly steady focus. Her professionalism, she says, comes from happiness. Her first copyediting job was at \u003cem>BAM\u003c/em> magazine, the longtime local rock ‘n’ roll publication, but she moved on to the \u003cem>Chronicle\u003c/em>, eventually taking the buyout the paper infamously offered to many of its staff in the late 2000s. She’s happy doing this kind of work, she says. “I’ve always just been the kind of person who wanted to work in something that was satisfying and interesting and stimulating to my brain.”\u003c/p>\n\u003cp>McMahon has only one enemy: the \u003cem>Chicago Manual of Style\u003c/em>. Every editor uses a stylesheet, a rubric that keeps language consistent inside each publication. English is not a perfectly defined language, so \u003cem>Zyzzyva\u003c/em>, like most magazines, has an in-house stylesheet.\u003c/p>\n\u003cp>“I’ve made some tweaks to it,” McMahon says when I want to hear stylesheet nitty-gritty. “I’ve said well, can’t we do ‘goodbye’ as one word? Or can’t we do ‘OK?’ It drove me nuts — people who write books love to write ‘OK’ as the whole word, like ‘o-k-a-y.’ But it just seems really fusty to me to spell it out. I was victorious, and now our style is to write it capital O, capital K. These are the things that copy editors care about!”\u003c/p>\n\u003cp>I agree: Someone’s got to negotiate with the barbarians at the gates. But when the conversation turns to the two main public style guides, the Associated Press and its counterpart, the \u003cem>Chicago Manual of Style\u003c/em>, McMahon sings the praises of AP, geared for the fast work of daily journalism, in which, for example, “It’s numerals for anything 10 and up. You’re just zooming along.”\u003c/p>\n\u003cp>With \u003cem>Chicago\u003c/em>, the style used widely in books, “You’re not supposed to use a numeral until after 101, but they prefer that you use words for whole numbers like ‘four thousand.’ \u003cem>But \u003c/em>if you were going to have three numbers in the same sentence, [e.g.] ‘four thousand, 231, and 15,’ then they say it’s better to use all numerals because there’s three of them. You have to make these judgement calls, in sentence after sentence.”\u003c/p>\n\u003cp>Maybe not everyone finds these concerns as riveting as I do — not as rich with meaning or imbued with their own (perhaps uncool) sense of humor. Luckily, I’m talking to a copy editor.\u003c/p>\n\u003cp>We talk about the challenges of editing the different genres \u003cem>Zyzzyva\u003c/em> offers: “You certainly touch poetry less,” she says, but it’s still under scrutiny. She thinks a lot about the difference between the news articles she polished at the \u003cem>Chronicle\u003c/em> and the creative work she sees here, and tries to expand her appreciation for stylistic innovations.\u003c/p>\n\u003cp>McMahon’s appreciation for the magazine is returned in kind. “It’s fantastic to work with Regan, because we can trust her to catch infelicities and obfuscations that somehow squirmed past Laura and me,” says Managing Editor Villalon. “Having copy editors like Regan is like having a reliable last line of defense.”\u003c/p>\n\u003cp>There are those barbarians again — yet even saddled with the inexactitude of the \u003cem>Chicago Manual of Style\u003c/em>, McMahon is absolutely up for the job.\u003c/p>\n\u003cp>“Words have meaning. If you put the wrong word up there, it could change the meaning of the sentence. It could change the meaning of the news you’re delivering. Or the ideas that you’re delivering.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The throngs at AWP dreaming of publication in \u003cem>Zyzzyva\u003c/em> may never know it, but Regan McMahon not only loves her job. She loves those “word people,” and reading Zyzzyva, just as much as they do.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11517713/backstage-heroes-zyzzyvas-regan-mcmahon-on-the-devil-in-the-details","authors":["8641"],"series":["arts_1059"],"categories":["arts_1","arts_73","arts_835"],"tags":["arts_1205","arts_1118","arts_596"],"featImg":"arts_11517830","label":"arts_1059"},"arts_11418231":{"type":"posts","id":"arts_11418231","meta":{"index":"posts_1591205157","site":"arts","id":"11418231","score":null,"sort":[1458597602000]},"guestAuthors":[],"slug":"curator-gravity-goldberg-on-museum-life-and-the-art-of-slowing-down","title":"Curator Gravity Goldberg On Museum Life and the Art of Slowing Down","publishDate":1458597602,"format":"standard","headTitle":"Curator Gravity Goldberg On Museum Life and the Art of Slowing Down | KQED","labelTerm":{"term":1059,"site":"arts"},"content":"\u003cp>\u003cem>‘Backstage Heroes’ is a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the SF Weekly — where her \u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">‘Music Heroes’ \u003c/a>series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>When we think of museums, we think about display — about objects to view. But more and more, art institutions are interested in something else: we might call it “fun” or “hipster band night” or “craft tables,” but the umbrella term is programming.\u003c/p>\n\u003cp>While plenty of Bay Area museums have instituted evening cocktails and performance series, few have committed to the practice of highly social, interactive “extras” like the \u003ca href=\"http://www.thecjm.org/\" target=\"_blank\" rel=\"noopener\">Contemporary Jewish Museum\u003c/a>, and behind it is Gravity Goldberg, a woman with an extraordinary name and a deep love of her behind-the-scenes job.\u003c/p>\n\u003cfigure id=\"attachment_11422776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11422776\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n-800x531.jpg\" alt=\"Gravity Goldberg with noted filmmaker Tiffany Shlain at one of the museum's frequent after-hours events. \" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gravity Goldberg with noted filmmaker Tiffany Shlain at Night at the Jewseum, one of the museum’s frequent after-hours events. \u003ccite>(Gracie Malley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Walk into the CJM’s lofty entrance hall, and you’re already smiling. The parade of globes on a chain track mechanism have caught your eye, but also, you could grab a bagel at Wise Sons, or there might be little tricks or games by the coat check. As associate director and curator of public programs, Goldberg’s work has only begun. Starting with the factoid that the average person looks at the average piece of art for just two seconds, her goal is to give the public permission to slow down a little, to take more time to absorb things.\u003c/p>\n\u003cp>“Art takes a little bit of the world and defamiliarizes what is familiar,” Goldberg says over green-tea lattes at a café on a recent sunny afternoon. “It brings us back around to where we can re-engage and re-understand, and maybe make more sense out of our lives.” Her events take place inside the museum’s installations, right in the galleries themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perched on a narrow bench seat with the café chattering away around her, Goldberg radiates a quiet, compassionate intensity. Later, she’ll tell me no one ever asks her to talk about her work. Too bad, since she’s got plenty to say and nearly five years’ worth of deep meditation on the moment — those two seconds — of seeing art. “People look at a deconstructed car that’s strewn across the floor, and they think there’s supposed to be a right answer … And part of what I’m trying to do is to say there’s not a right answer, but rather we’re supposed to bring what we have to art.”\u003c/p>\n\u003cfigure id=\"attachment_11422777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11422777\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n-800x535.jpg\" alt=\"Cassette-making craft time accompanied the museum's recent Amy Winehouse exhibit.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cassette-making craft time accompanied the museum’s recent Amy Winehouse exhibit. \u003ccite>(Gracie Malley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With that philosophy in mind, she programs events in conversation with the exhibits, but also with the project of roughing up the idea of expertise; bringing it out of the art world. Talks have been about photomicroscopy, rock medicine, the CIA, and 20th century socialism. Speakers have included Ed Hardy, Greil Marcus, and at one particularly memorable panel, writer Michelle Tea, poet Eileen Myles, and writer-director Jill Soloway. Myles and Soloway met there and started dating afterward, Goldberg tells me. “So we’re proud of that.”\u003c/p>\n\u003cp>These are live events, after all, not static exhibitions, and Goldberg is often the responsible party, no matter what goes down. People yell at her, or complain randomly in long, handwritten letters. You never know what’s going to come out of someone’s mouth, she says, be they audience or presenter. “And that’s half the fun of it!”\u003c/p>\n\u003cp>Goldberg’s the right person in the right place, obviously. As she describes her process — Invite poets? Dancers? Who has something interesting to say about this particular piece of art? — she says it’s about becoming completely immersed in the exhibit itself, researching, listening, thinking. She waxes slightly lysergic when I ask about her favorite part of the job. It’s the moment when anything is possible, she says, when “You’ve absorbed the content enough, and it’s kind of coursing through your veins, and it smells like the perfume you’re wearing, and you’re dressing to match the colors of the exhibition in your mind, and it’s just part of you.”\u003c/p>\n\u003cp>This, I think, is how you fight the two-second problem. Still, programming has problems a lot of jobs share: Too much email, not enough money. Museum workers are having the same hard time scraping by in an inflated market as anyone else. But the rewards are many.\u003c/p>\n\u003cfigure id=\"attachment_11422779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11422779\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n-800x597.jpg\" alt=\"SF rockers The She's performing at the CJM.\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n-400x298.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF rockers The She’s performing at the CJM. \u003ccite>(Gracie Malley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve had a blast,” says Bonnie Simmons, Executive Director of the Bill Graham Memorial Foundation and an artist organizer for the Hardly Strictly Bluegrass Festival. “Gravity and I have been working together recently both on the Warren Hellman exhibit and now the Bill Graham exhibit.” (Check out KQED Music Editor Gabe Meline’s \u003ca href=\"http://ww2.kqed.org/arts/2016/03/16/bill-graham-the-personality-no-museum-could-possibly-contain/\" target=\"_blank\" rel=\"noopener\">review of that exhibit right here\u003c/a>.) Simmons says she and Goldberg are both “passionate” about their work, and that Goldberg excels at incorporating younger artists; supporting living artists is a big deal for the CJM.\u003c/p>\n\u003cp>In February, as part of the “Chasing Justice” exhibition, Goldberg invited a staff attorney at the Electronic Frontier Foundation to give a talk. Mark Rumold, who often works with the Freedom of Information Act, addressed the art of Arnold Mesches, who had FOIA-ed his own FBI file, heavily redacted, or “blacked out,” as they often are, and used it as the basis for a series of collaged paintings. The lawyer “looked at the redacted text, under the painting,” Goldberg tells me. “He said, ‘I know this looks really blacked-out to your eye, but to me, no. I still see words. And see the little codes written next to this black line? This means that under these black lines there’s a list of names of people who were informants.”\u003c/p>\n\u003cp>This is what she does: If the story of a lawyer who found meanings that even the artist himself couldn’t see in his own painting doesn’t get us to spend more than two seconds, well, it’s still “fun.” If you’d been there, though, looking at the Mesches painting while someone from way outside the art world completely recontextualized it, you’d have gotten a big electric bolt of permission: To slow down, to think your own thoughts, to make more sense out of life.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"The average person apparently looks at a piece of art for just two seconds. The Contemporary Jewish Museum's Gravity Goldberg would like to hit \"pause.\"","status":"publish","parent":0,"modified":1705044803,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1208},"headData":{"title":"Curator Gravity Goldberg On Museum Life and the Art of Slowing Down | KQED","description":"The average person apparently looks at a piece of art for just two seconds. The Contemporary Jewish Museum's Gravity Goldberg would like to hit "pause."","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Curator Gravity Goldberg On Museum Life and the Art of Slowing Down","datePublished":"2016-03-21T22:00:02.000Z","dateModified":"2024-01-12T07:33:23.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11418231/curator-gravity-goldberg-on-museum-life-and-the-art-of-slowing-down","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>‘Backstage Heroes’ is a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the SF Weekly — where her \u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">‘Music Heroes’ \u003c/a>series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>When we think of museums, we think about display — about objects to view. But more and more, art institutions are interested in something else: we might call it “fun” or “hipster band night” or “craft tables,” but the umbrella term is programming.\u003c/p>\n\u003cp>While plenty of Bay Area museums have instituted evening cocktails and performance series, few have committed to the practice of highly social, interactive “extras” like the \u003ca href=\"http://www.thecjm.org/\" target=\"_blank\" rel=\"noopener\">Contemporary Jewish Museum\u003c/a>, and behind it is Gravity Goldberg, a woman with an extraordinary name and a deep love of her behind-the-scenes job.\u003c/p>\n\u003cfigure id=\"attachment_11422776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11422776\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n-800x531.jpg\" alt=\"Gravity Goldberg with noted filmmaker Tiffany Shlain at one of the museum's frequent after-hours events. \" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gravity Goldberg with noted filmmaker Tiffany Shlain at Night at the Jewseum, one of the museum’s frequent after-hours events. \u003ccite>(Gracie Malley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Walk into the CJM’s lofty entrance hall, and you’re already smiling. The parade of globes on a chain track mechanism have caught your eye, but also, you could grab a bagel at Wise Sons, or there might be little tricks or games by the coat check. As associate director and curator of public programs, Goldberg’s work has only begun. Starting with the factoid that the average person looks at the average piece of art for just two seconds, her goal is to give the public permission to slow down a little, to take more time to absorb things.\u003c/p>\n\u003cp>“Art takes a little bit of the world and defamiliarizes what is familiar,” Goldberg says over green-tea lattes at a café on a recent sunny afternoon. “It brings us back around to where we can re-engage and re-understand, and maybe make more sense out of our lives.” Her events take place inside the museum’s installations, right in the galleries themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perched on a narrow bench seat with the café chattering away around her, Goldberg radiates a quiet, compassionate intensity. Later, she’ll tell me no one ever asks her to talk about her work. Too bad, since she’s got plenty to say and nearly five years’ worth of deep meditation on the moment — those two seconds — of seeing art. “People look at a deconstructed car that’s strewn across the floor, and they think there’s supposed to be a right answer … And part of what I’m trying to do is to say there’s not a right answer, but rather we’re supposed to bring what we have to art.”\u003c/p>\n\u003cfigure id=\"attachment_11422777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11422777\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n-800x535.jpg\" alt=\"Cassette-making craft time accompanied the museum's recent Amy Winehouse exhibit.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cassette-making craft time accompanied the museum’s recent Amy Winehouse exhibit. \u003ccite>(Gracie Malley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With that philosophy in mind, she programs events in conversation with the exhibits, but also with the project of roughing up the idea of expertise; bringing it out of the art world. Talks have been about photomicroscopy, rock medicine, the CIA, and 20th century socialism. Speakers have included Ed Hardy, Greil Marcus, and at one particularly memorable panel, writer Michelle Tea, poet Eileen Myles, and writer-director Jill Soloway. Myles and Soloway met there and started dating afterward, Goldberg tells me. “So we’re proud of that.”\u003c/p>\n\u003cp>These are live events, after all, not static exhibitions, and Goldberg is often the responsible party, no matter what goes down. People yell at her, or complain randomly in long, handwritten letters. You never know what’s going to come out of someone’s mouth, she says, be they audience or presenter. “And that’s half the fun of it!”\u003c/p>\n\u003cp>Goldberg’s the right person in the right place, obviously. As she describes her process — Invite poets? Dancers? Who has something interesting to say about this particular piece of art? — she says it’s about becoming completely immersed in the exhibit itself, researching, listening, thinking. She waxes slightly lysergic when I ask about her favorite part of the job. It’s the moment when anything is possible, she says, when “You’ve absorbed the content enough, and it’s kind of coursing through your veins, and it smells like the perfume you’re wearing, and you’re dressing to match the colors of the exhibition in your mind, and it’s just part of you.”\u003c/p>\n\u003cp>This, I think, is how you fight the two-second problem. Still, programming has problems a lot of jobs share: Too much email, not enough money. Museum workers are having the same hard time scraping by in an inflated market as anyone else. But the rewards are many.\u003c/p>\n\u003cfigure id=\"attachment_11422779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11422779\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n-800x597.jpg\" alt=\"SF rockers The She's performing at the CJM.\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n-400x298.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF rockers The She’s performing at the CJM. \u003ccite>(Gracie Malley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve had a blast,” says Bonnie Simmons, Executive Director of the Bill Graham Memorial Foundation and an artist organizer for the Hardly Strictly Bluegrass Festival. “Gravity and I have been working together recently both on the Warren Hellman exhibit and now the Bill Graham exhibit.” (Check out KQED Music Editor Gabe Meline’s \u003ca href=\"http://ww2.kqed.org/arts/2016/03/16/bill-graham-the-personality-no-museum-could-possibly-contain/\" target=\"_blank\" rel=\"noopener\">review of that exhibit right here\u003c/a>.) Simmons says she and Goldberg are both “passionate” about their work, and that Goldberg excels at incorporating younger artists; supporting living artists is a big deal for the CJM.\u003c/p>\n\u003cp>In February, as part of the “Chasing Justice” exhibition, Goldberg invited a staff attorney at the Electronic Frontier Foundation to give a talk. Mark Rumold, who often works with the Freedom of Information Act, addressed the art of Arnold Mesches, who had FOIA-ed his own FBI file, heavily redacted, or “blacked out,” as they often are, and used it as the basis for a series of collaged paintings. The lawyer “looked at the redacted text, under the painting,” Goldberg tells me. “He said, ‘I know this looks really blacked-out to your eye, but to me, no. I still see words. And see the little codes written next to this black line? This means that under these black lines there’s a list of names of people who were informants.”\u003c/p>\n\u003cp>This is what she does: If the story of a lawyer who found meanings that even the artist himself couldn’t see in his own painting doesn’t get us to spend more than two seconds, well, it’s still “fun.” If you’d been there, though, looking at the Mesches painting while someone from way outside the art world completely recontextualized it, you’d have gotten a big electric bolt of permission: To slow down, to think your own thoughts, to make more sense out of life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11418231/curator-gravity-goldberg-on-museum-life-and-the-art-of-slowing-down","authors":["8641"],"series":["arts_1059"],"categories":["arts_1","arts_835","arts_70"],"tags":["arts_1118","arts_596"],"featImg":"arts_11422774","label":"arts_1059"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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