Claiming Community Walls for the Black Panther Party
Talking Tony Kushner's 'Angels in America' at Cafe Flore
On the Trail of the Woman who Performed 50,000 Illegal Abortions
San Francisco Looks to Create Low-Cost Housing Preference for Artists
Oakland Artists Still Worried, Despite New Housing Protections
Reading Ginsberg's 'Howl' in the Wake of the Florida School Shooting
The Story of Johnny Cash's Unlikely Collaboration with a Folsom Inmate
MoviePass a Mixed Blessing for Bay Area Theaters
SF Arts Commission to Vote for Three Initial Treasure Island Art Projects
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Rightnowish","ogImgSrc":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ogpenn"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal 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FM","link":"/"}},"arts_13851520":{"type":"posts","id":"arts_13851520","meta":{"index":"posts_1591205157","site":"arts","id":"13851520","score":null,"sort":[1577444443000]},"guestAuthors":[],"slug":"rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history","title":"Claiming Community Walls for the Black Panther Party","publishDate":1577444443,"format":"audio","headTitle":"Claiming Community Walls for the Black Panther Party | KQED","labelTerm":{},"content":"\u003cp>\u003ci>Listen to the podcast to hear moments from the Rightnowish Family Gathering.\u003c/i>\u003c/p>\n\u003cp>I stand on the corner of 14th and Peralta in West Oakland, marveling over a mural painted on the broad side of the Sav-Mor liquor store. With a brilliant blue background, African Adinkra symbols along the top and the image of Black Panther Party co-founder Huey Newton squarely in the middle, the words “Serve The People” send a simple, clear mission statement.\u003c/p>\n\u003cp>“We are standing at ground zero, where the Black Panther Party started,” says \u003ca href=\"http://www.refa1.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>, the artist behind the mural. “And there is nothing in this neighborhood of any consequence that is promoting the legacy of the Black Panther Party.”\u003c/p>\n\u003cp>Until last year, that is, when Refa painted the mural, giving visual honor to one of the most well-known organizations to emerge from the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13851524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851524\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-800x492.jpg\" alt=\"Refa One's mural honoring Huey Newton of the Black Panthers.\" width=\"800\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-1200x738.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One’s mural honoring Huey Newton of the Black Panthers. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having his work on the walls around town isn’t new to Refa—he’s been active since the 1980s, when he painted with the graffiti crew BSK. You can see his work \u003ca href=\"http://www.refa1.com/uploads/1/0/4/0/10407124/ahc-mural_orig.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">under the 580 overpass at Market\u003c/a>, or on 8th Street, between Campbell and Willow. He’s currently working on a mural dedicated to the memory of Oscar Grant at Fruitvale BART station, where Grant was fatally shot 10 years ago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, the Huey Newton piece is directly representative of the reason Refa, founder of the \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AeroSoul\u003c/a> art collective, is invested in art. Both of his parents were Black Panther members, rank-and-file, as he called them. His dad, \u003ca href=\"https://www.eastbayexpress.com/oakland/panther-power/Content?oid=4994061\" target=\"_blank\" rel=\"noopener noreferrer\">Ducho Dennis\u003c/a>, served as official photographer for the Panthers, and walls of his photos transform Refa’s living room into a sort of mini-museum.\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Yeah I’m a collector of many sorts, mostly related to art. Whether it’s sculpture, paintings, music, you know, I’m also an archivist,” says Refa as we walk into his house. “There’s times where I will meet rank-and-file panthers, and this documentation may be the only physical documentation that records their involvement in the party, and that means a lot to their family.”\u003c/p>\n\u003cp>And it means a lot to me.\u003c/p>\n\u003cp>Knowing how rapidly West Oakland is changing, this documentation is gold. The stories from this soil need to be told, no matter their form. To let them dissipate into history would be a disservice to those who came before us—as well as those who come after us.\u003c/p>\n\u003cfigure id=\"attachment_13851525\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851525\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-800x535.jpg\" alt=\"Artist Refa One with his mural honoring Huey Newton at 14th and Peralta in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Refa One with his mural honoring Huey Newton at 14th and Peralta in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Refa One would agree about the importance of that intergenerational connection. Along with his parents’ involvement in the party, his son Senay Alkebu-lan runs a clothing line called \u003ca href=\"https://www.madowfutur.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MADOW FUTUR\u003c/a>, which features images of the Black Panther logo on the apparel.\u003c/p>\n\u003cp>When asked about his art’s purpose, Refa One doesn’t have to deliberate. “My mission statement can be capsulated in the Black Panther commemorative mural around the corner from here: to serve the people.”\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on February 24, 2019.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" 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":"Pendarvis Harshaw's 'Rightnowish' kicks off with Oakland muralist and culture keeper Refa One.","status":"publish","parent":0,"modified":1705021620,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":562},"headData":{"title":"Claiming Community Walls for the Black Panther Party | KQED","description":"Pendarvis Harshaw's 'Rightnowish' kicks off with Oakland muralist and culture keeper Refa One.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Claiming Community Walls for the Black Panther Party","datePublished":"2019-12-27T11:00:43.000Z","dateModified":"2024-01-12T01:07:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Rightnowish","sourceUrl":"https://www.kqed.org/podcasts/rightnowish","audioUrl":"https://www.kqed.org/.stream/anon/radio/rightnowish/2019/12/RightnowishEp10Refa.mp3","sticky":false,"audioTrackLength":240,"path":"/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history","audioDuration":713000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Listen to the podcast to hear moments from the Rightnowish Family Gathering.\u003c/i>\u003c/p>\n\u003cp>I stand on the corner of 14th and Peralta in West Oakland, marveling over a mural painted on the broad side of the Sav-Mor liquor store. With a brilliant blue background, African Adinkra symbols along the top and the image of Black Panther Party co-founder Huey Newton squarely in the middle, the words “Serve The People” send a simple, clear mission statement.\u003c/p>\n\u003cp>“We are standing at ground zero, where the Black Panther Party started,” says \u003ca href=\"http://www.refa1.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>, the artist behind the mural. “And there is nothing in this neighborhood of any consequence that is promoting the legacy of the Black Panther Party.”\u003c/p>\n\u003cp>Until last year, that is, when Refa painted the mural, giving visual honor to one of the most well-known organizations to emerge from the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13851524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851524\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-800x492.jpg\" alt=\"Refa One's mural honoring Huey Newton of the Black Panthers.\" width=\"800\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural-1200x738.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.HueyMural.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One’s mural honoring Huey Newton of the Black Panthers. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having his work on the walls around town isn’t new to Refa—he’s been active since the 1980s, when he painted with the graffiti crew BSK. You can see his work \u003ca href=\"http://www.refa1.com/uploads/1/0/4/0/10407124/ahc-mural_orig.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">under the 580 overpass at Market\u003c/a>, or on 8th Street, between Campbell and Willow. He’s currently working on a mural dedicated to the memory of Oscar Grant at Fruitvale BART station, where Grant was fatally shot 10 years ago.\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>Still, the Huey Newton piece is directly representative of the reason Refa, founder of the \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AeroSoul\u003c/a> art collective, is invested in art. Both of his parents were Black Panther members, rank-and-file, as he called them. His dad, \u003ca href=\"https://www.eastbayexpress.com/oakland/panther-power/Content?oid=4994061\" target=\"_blank\" rel=\"noopener noreferrer\">Ducho Dennis\u003c/a>, served as official photographer for the Panthers, and walls of his photos transform Refa’s living room into a sort of mini-museum.\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Yeah I’m a collector of many sorts, mostly related to art. Whether it’s sculpture, paintings, music, you know, I’m also an archivist,” says Refa as we walk into his house. “There’s times where I will meet rank-and-file panthers, and this documentation may be the only physical documentation that records their involvement in the party, and that means a lot to their family.”\u003c/p>\n\u003cp>And it means a lot to me.\u003c/p>\n\u003cp>Knowing how rapidly West Oakland is changing, this documentation is gold. The stories from this soil need to be told, no matter their form. To let them dissipate into history would be a disservice to those who came before us—as well as those who come after us.\u003c/p>\n\u003cfigure id=\"attachment_13851525\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851525\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-800x535.jpg\" alt=\"Artist Refa One with his mural honoring Huey Newton at 14th and Peralta in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.fist_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Refa One with his mural honoring Huey Newton at 14th and Peralta in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Refa One would agree about the importance of that intergenerational connection. Along with his parents’ involvement in the party, his son Senay Alkebu-lan runs a clothing line called \u003ca href=\"https://www.madowfutur.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MADOW FUTUR\u003c/a>, which features images of the Black Panther logo on the apparel.\u003c/p>\n\u003cp>When asked about his art’s purpose, Refa One doesn’t have to deliberate. “My mission statement can be capsulated in the Black Panther commemorative mural around the corner from here: to serve the people.”\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on February 24, 2019.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" 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/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history","authors":["11491"],"programs":["arts_8720"],"categories":["arts_835","arts_21759","arts_70"],"tags":["arts_1037","arts_1346","arts_1118","arts_903","arts_5035","arts_596","arts_2356","arts_6764","arts_2533"],"featImg":"arts_13851522","label":"source_arts_13851520"},"arts_13831586":{"type":"posts","id":"arts_13831586","meta":{"index":"posts_1591205157","site":"arts","id":"13831586","score":null,"sort":[1525878002000]},"guestAuthors":[],"slug":"talking-tony-kushners-angels-in-america-at-cafe-flore","title":"Talking Tony Kushner's 'Angels in America' at Cafe Flore","publishDate":1525878002,"format":"audio","headTitle":"Talking Tony Kushner’s ‘Angels in America’ at Cafe Flore | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Every once in a while a piece of art comes along that not only captures a moment in time, but also manages to speak to the future. In 1991, Tony Kushner’s play \u003ca href=\"https://en.wikipedia.org/wiki/Angels_in_America\" target=\"_blank\" rel=\"noopener\">\u003cem>Angels in America\u003c/em>\u003c/a> about the AIDS crisis did just that.\u003c/p>\n\u003cp>The Pulitzer Prize-winning drama was birthed in San Francisco and KQED’s Brian Watt and Chloe Veltman went along to opening night of a new production of the work at \u003ca href=\"http://berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a>. A few days later, they headed to \u003ca href=\"http://flore415.com/\" target=\"_blank\" rel=\"noopener\">Flore\u003c/a> in the Castro, where Kushner penned much of his epic drama, to talk about the experience. (The cafe was known as “Cafe Flore” back when Kushner frequented it.)\u003c/p>\n\u003cp>Their conversation, recorded and edited for KQED Radio, includes thoughts about how the play’s depiction of environmental woes and political braggadocio feel even more relevant today than they did in the early 1990s, and how it’s possible for eight hours of theater to fly by so fast.\u003c/p>\n\u003cp>Click the play button above to hear the discussion, produced by Erika Kelly.\u003c/p>\n\u003cfigure id=\"attachment_13831594\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13831594\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/AG1_lr.jpg\" alt=\"Stephen Spinella (Roy Cohn) in Berkeley Repertory Theatre’s production of Angels in America, Part One: Millennium Approaches.\" width=\"560\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-520x346.jpg 520w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Spinella (Roy Cohn) in Berkeley Repertory Theatre’s production of Angels in America, Part One: Millennium Approaches. \u003ccite>(Photo: Courtesy of Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Angels in America plays at Berkeley Repertory Theatre through July 22. To find out more about the production, click \u003ca href=\"http://berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"KQED's Brian Watt and Chloe Veltman discuss the game-changing 1991 drama in the Castro coffee shop where the playwright wrote much of it. ","status":"publish","parent":0,"modified":1705027916,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":230},"headData":{"title":"Talking Tony Kushner's 'Angels in America' at Cafe Flore | KQED","description":"KQED's Brian Watt and Chloe Veltman discuss the game-changing 1991 drama in the Castro coffee shop where the playwright wrote much of it. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Talking Tony Kushner's 'Angels in America' at Cafe Flore","datePublished":"2018-05-09T15:00:02.000Z","dateModified":"2024-01-12T02:51:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2018/05/VeltmanAngels2way.mp3","sticky":false,"path":"/arts/13831586/talking-tony-kushners-angels-in-america-at-cafe-flore","audioDuration":421000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every once in a while a piece of art comes along that not only captures a moment in time, but also manages to speak to the future. In 1991, Tony Kushner’s play \u003ca href=\"https://en.wikipedia.org/wiki/Angels_in_America\" target=\"_blank\" rel=\"noopener\">\u003cem>Angels in America\u003c/em>\u003c/a> about the AIDS crisis did just that.\u003c/p>\n\u003cp>The Pulitzer Prize-winning drama was birthed in San Francisco and KQED’s Brian Watt and Chloe Veltman went along to opening night of a new production of the work at \u003ca href=\"http://berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a>. A few days later, they headed to \u003ca href=\"http://flore415.com/\" target=\"_blank\" rel=\"noopener\">Flore\u003c/a> in the Castro, where Kushner penned much of his epic drama, to talk about the experience. (The cafe was known as “Cafe Flore” back when Kushner frequented it.)\u003c/p>\n\u003cp>Their conversation, recorded and edited for KQED Radio, includes thoughts about how the play’s depiction of environmental woes and political braggadocio feel even more relevant today than they did in the early 1990s, and how it’s possible for eight hours of theater to fly by so fast.\u003c/p>\n\u003cp>Click the play button above to hear the discussion, produced by Erika Kelly.\u003c/p>\n\u003cfigure id=\"attachment_13831594\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13831594\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/AG1_lr.jpg\" alt=\"Stephen Spinella (Roy Cohn) in Berkeley Repertory Theatre’s production of Angels in America, Part One: Millennium Approaches.\" width=\"560\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-520x346.jpg 520w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Spinella (Roy Cohn) in Berkeley Repertory Theatre’s production of Angels in America, Part One: Millennium Approaches. \u003ccite>(Photo: Courtesy of Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Angels in America plays at Berkeley Repertory Theatre through July 22. To find out more about the production, click \u003ca href=\"http://berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13831586/talking-tony-kushners-angels-in-america-at-cafe-flore","authors":["8608"],"categories":["arts_235","arts_967"],"tags":["arts_1037","arts_1119","arts_1118","arts_746","arts_596","arts_1072","arts_1928"],"featImg":"arts_13831617","label":"arts"},"arts_13828983":{"type":"posts","id":"arts_13828983","meta":{"index":"posts_1591205157","site":"arts","id":"13828983","score":null,"sort":[1523654148000]},"guestAuthors":[],"slug":"on-the-trail-of-the-woman-who-performed-50000-illegal-abortions","title":"On the Trail of the Woman who Performed 50,000 Illegal Abortions","publishDate":1523654148,"format":"audio","headTitle":"On the Trail of the Woman who Performed 50,000 Illegal Abortions | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In a jewel-box mansion in the heart of San Francisco’s Mission District, artifacts tell a fascinating story involving a secret abortion clinic, hidden cash, police raids, Hollywood starlets, and a highly-publicized trial that went to the Supreme Court.\u003c/p>\n\u003cp>Among the relics is a pair of Victorian-era forceps. The slender metal tool, one of close to 20 medical instruments unearthed at the property years ago by people who used to live there, once belonged to Inez Burns.\u003c/p>\n\u003cfigure id=\"attachment_13829072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829072\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0100-800x600.jpg\" alt=\"A collection of medical instruments that once belonged to Inez Burns.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of medical instruments that once belonged to Inez Burns. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the first half of the 20th century, Burns was one of California’s most sought-after abortionists. She is said to have terminated around 50,000 pregnancies in San Francisco during her long career using these tools — at a time when doing so could land you in prison.\u003c/p>\n\u003cp>Jeff and Diane Cerf bought Burns’ former home in 1999. They enjoy showing visitors the instruments, as well as the nooks where the abortionist hid her cash.\u003c/p>\n\u003cp>“There’s a part of the wall where the baseboard opens up,” Jeff Cerf says. “So she had a little hiding spot there. But we haven’t found any money.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The couple knows a little about their home’s most infamous inhabitant: that she threw wild parties and made a vast fortune performing up to twenty abortions a day; that her patients included everyone from housewives to celebrities like Olympic skater and film-star Sonja Henie.\u003c/p>\n\u003cp>But they don’t know Burns like \u003ca href=\"https://en.wikipedia.org/wiki/Stephen_G._Bloom\" target=\"_blank\" rel=\"noopener\">Stephen Bloom\u003c/a> does.\u003c/p>\n\u003cfigure id=\"attachment_13829073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829073\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0115-800x600.jpg\" alt=\"Author Stephen Bloom shares his knowledge of Inez Burns with Jeff and Diane Cerf. The Cerfs are the present owners of the mansion that once belonged to Burns.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Stephen Bloom shares his knowledge of Inez Burns with Jeff and Diane Cerf. The Cerfs are the present owners of the mansion that once belonged to Burns. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bloom is a journalism professor at the University of Iowa and the author of a painstakingly researched new book about the abortionist, \u003ca href=\"https://www.amazon.com/dp/B072MFMG1D/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1\" target=\"_blank\" rel=\"noopener\">\u003cem>The Audacity of Inez Burns\u003c/em>\u003c/a>. Bloom and I are spending the day together visiting some of the sites associated with Burns’ formidable life. “I’ve been in love with Inez for 20 years,” Bloom tells me as we set out from KQED’s headquarters.\u003c/p>\n\u003cp>Burns (birthname, Inez Ingenthron) was born to a poor German immigrant family in 1886 in San Francisco’s then-grimy South of Market neighborhood. Her father was an alcoholic, and her mother, a taskmaster. “Her mother didn’t believe in education,” Bloom says. “She believed that girls and boys needed to work.”\u003c/p>\n\u003cp>So at 17, with good looks but otherwise no real prospects, Burns landed her first job as a manicurist at the barbershop in San Francisco’s luxurious \u003ca href=\"https://www.sfpalace.com/\" target=\"_blank\" rel=\"noopener\">Palace Hotel\u003c/a>.\u003c/p>\n\u003cp>Bloom and I stop in at what used to be the Palace’s barbershop. Today it’s \u003ca href=\"https://flatiron-wines.com/sf_store/\" target=\"_blank\" rel=\"noopener\">Flatiron Wines\u003c/a>, a high-end liquor store. Over a glass of wine, we chat with manager Beau Rapier.\u003c/p>\n\u003cfigure id=\"attachment_13829077\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829077\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0096-800x600.jpg\" alt=\"Author Stephen Bloom shares details about Inez Burns' story with Beau Rapier, the manager of Flatiron Wines. The liquor store now stands on the site where the Palace Hotel's barbershop used to be. It was where Burns' worked as a manicurist.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Stephen Bloom shares details about Inez Burns’ story with Beau Rapier, the manager of Flatiron Wines. The liquor store now stands on the site where the Palace Hotel’s barbershop used to be. It was where Burns’ worked as a manicurist. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the turn of the last century, wealthy men liked getting their nails done by pretty young women. The alabaster-skinned, auburn-haired Inez Burns quickly became popular among the clientele.\u003c/p>\n\u003cp>“She buffed and polished the nails of a lot of important people,” Bloom tells Rapier.\u003c/p>\n\u003cp>One such high-roller was Dr. Eugene West. Bloom says West was three times the young manicurist’s age and a notorious ladies’ man. He was also a notorious abortionist. The two started dating and eventually West taught Burns his trade.\u003c/p>\n\u003cp>“Dr. West realized that Inez had the touch and really was able to perform the abortions as well as Dr. West,” Bloom says. “This is how Inez got her beginning as an abortionist.”\u003c/p>\n\u003cp>“So she learned how to do the abortions from the doctor that she was dating?” says Rapier, incredulous.\u003c/p>\n\u003cfigure id=\"attachment_13829087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13829087 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-800x354.png\" alt=\"Inez Burns launched her career in the early years of the 20th century. Many prospective customers would find their way to her when they landed in San Francisco at the Ferry Building. This image dates from Sep., 1912.\" width=\"800\" height=\"354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-800x354.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-160x71.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-768x340.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-240x106.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-375x166.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-520x230.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM.png 836w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inez Burns launched her career in the early years of the 20th century. Many prospective customers would find their way to her when they landed in San Francisco at the Ferry Building. This image dates from Sep., 1912. \u003ccite>(Photo: Library of Congress, LC-USZ62-137812)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the pre \u003ca href=\"https://en.wikipedia.org/wiki/Roe_v._Wade\" target=\"_blank\" rel=\"noopener\">Roe vs. Wade\u003c/a> era, cities like San Francisco were flush with practitioners of varying degrees of skill and legitimacy. They plied their trade under the table while cops and lawmakers took kickbacks and turned a blind eye. It was a dangerous business, leaving many women injured and sometimes dead.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A lot of women showed up in emergency rooms with failed abortions with injuries as a result of very botched abortions by very inept practitioners,” says Carole Joffe, a professor in the department of obstetrics, gynecology and reproductive sciences at the \u003ca href=\"https://obgyn.ucsf.edu/san-francisco-general-hospital/carole-joffe-phd\" target=\"_blank\" rel=\"noopener\">University of California San Francisco\u003c/a> and an expert on reproductive history.\u003c/span>\u003c/p>\n\u003cp>But Burns was meticulous and scrupulously hygienic. Before long, word got around. In 1927, she set up her own clinic in San Francisco’s Lower Haight neighborhood.\u003c/p>\n\u003cp>Bloom and I visit the apartment building that used to house Burns’ clinic. Bloom says Burns had no shortage of customers willing to pay her hundreds of dollars in cash to get them out of trouble. “It wasn’t unusual for Inez to arrive here and find five or six women in a line waiting for her to arrive in the morning,” Bloom says.\u003c/p>\n\u003cp>The building is a little run down, with narrow corridors and few distinguishing features. Bloom says the place looked very different in Burns’s day. “There were Chippendale chairs,” Bloom says. “There were Persian carpets.”\u003c/p>\n\u003cfigure id=\"attachment_13828984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Pat-Brown--800x1442.jpg\" alt='Edmund G. \"Pat\" Brown, 1939' width=\"800\" height=\"1442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--800x1442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--160x288.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--768x1385.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--1020x1839.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--1180x2127.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--960x1731.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--240x433.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--375x676.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--520x937.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown-.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edmund G. “Pat” Brown, 1939 \u003ccite>(Photo: Courtesy of San Francisco History Center, San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bloom says Burns was in it for the money and rarely provided discounts. The clinic was one of many properties she owned all over California thanks to the millions she made.\u003c/p>\n\u003cp>That fortune bought her friends in high places including politicians and lawmakers. Her longtime, live-in lover was Joe Burns, a former assemblyman. But she couldn’t buy off ambitious district attorney \u003ca href=\"http://governors.library.ca.gov/32-pbrown.html\" target=\"_blank\" rel=\"noopener\">Edmund G. “Pat” Brown\u003c/a>, father of current California governor Jerry Brown.\u003c/p>\n\u003cp>“I did enforce the law, but I tried to enforce it rather selectively in the sense that I didn’t call the press and say ‘I’m going out on a crusade against whores or against abortionists or against gamblers,'” Brown said in an interview for the \u003ca href=\"http://digitalassets.lib.berkeley.edu/rohoia/ucb/text/yearsofgrowthlaw00browrich.pdf\" target=\"_blank\" rel=\"noopener\">Governmental History Documentation Project\u003c/a>. “I just quietly waited for an incident.”\u003c/p>\n\u003cp>That incident happened in 1945. Brown had attempted a couple of unsuccessful raids on Burns’ clinic that year. She had been tipped off and gotten away. But the third time, an undercover cop posing as a patient exposed Burns and she was arrested.\u003c/p>\n\u003cp>“Police confiscated oxygen tanks, instruments, actual beds,” author Stephen Bloom says. “They were all hauled over to the courthouse and were used as exhibits during the trial.”\u003c/p>\n\u003cfigure id=\"attachment_13829076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829076\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0078-800x600.jpg\" alt=\"Author Stephen Bloom standing in the federal courthouse in San Francisco. Burns was tried there for tax evasion.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Stephen Bloom standing in the federal courthouse in San Francisco. Burns was tried there for tax evasion. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But convicting Burns wasn’t easy. In the first two trials, the jury members couldn’t agree on her culpability. “The grand jury met twice and they found nothing wrong with what she was doing, or at least there wasn’t enough evidence to indict her,” Bloom says.\u003c/p>\n\u003cp>But Brown was persistent in his efforts to make\u003cspan style=\"font-weight: 400\"> an example of Burns in his crusade against vice. “\u003c/span>\u003cspan style=\"font-weight: 400\">I took her out of business, yes,” Brown admitted in \u003ca href=\"http://digitalassets.lib.berkeley.edu/rohoia/ucb/text/warrenfellowconst00earlrich.pdf\" target=\"_blank\" rel=\"noopener\">another\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\"> interview. “\u003c/span>\u003cspan style=\"font-weight: 400\">She was also corrupting the police department. We had substantial evidence that she was paying off about $400 a day to the police.”\u003c/span>\u003c/p>\n\u003cp>Burns’ luck finally ran out on Sep. 26, 1946, when she was convicted for performing illegal abortions. At 61, Burns served the first of her two state sentences. There were federal convictions too, for tax evasion. She was in and out of prison several times in her old age.\u003c/p>\n\u003cp>An appeal went all the way to the Supreme Court. But the justices declined to review the conviction.\u003c/p>\n\u003cp>Bloom says Burns ended up paying the U.S. government $800,000 in back taxes (roughly equivalent to $8 million in today’s money.) Burns was left penniless. She passed away in a nursing home a few miles south of San Francisco in 1976. She was 89.\u003c/p>\n\u003cfigure id=\"attachment_13828980\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828980\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/INEZ-AT-WEDDING-1976-800x600.jpg\" alt=\"Inez Burns at a family wedding, standing third to left, 1966\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Inez Burns at a family wedding, standing third to left, 1966\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Brown’s quest against corruption and vice paid off. He was elected California attorney general and then governor, in 1959.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Supreme Court legalized a woman’s right to an abortion in 1973. But Burns wasn’t particularly happy about the way things were heading. “Scores of women will die,” she told a newspaper reporter at the time the Roe vs Wade case was pending at the Supreme Court. “It will be quite a while before physicians who have not been trained for this type of surgery will be able to do it well and safely.”\u003c/p>\n\n","blocks":[],"excerpt":"Inez Burns had no shortage of customers willing to pay her hundreds in cash to get them out of trouble. ","status":"publish","parent":0,"modified":1705028084,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":35,"wordCount":1590},"headData":{"title":"On the Trail of the Woman who Performed 50,000 Illegal Abortions | KQED","description":"Inez Burns had no shortage of customers willing to pay her hundreds in cash to get them out of trouble. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On the Trail of the Woman who Performed 50,000 Illegal Abortions","datePublished":"2018-04-13T21:15:48.000Z","dateModified":"2024-01-12T02:54:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2018/04/VeltmanInezBurns.mp3","sticky":false,"path":"/arts/13828983/on-the-trail-of-the-woman-who-performed-50000-illegal-abortions","audioDuration":493000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a jewel-box mansion in the heart of San Francisco’s Mission District, artifacts tell a fascinating story involving a secret abortion clinic, hidden cash, police raids, Hollywood starlets, and a highly-publicized trial that went to the Supreme Court.\u003c/p>\n\u003cp>Among the relics is a pair of Victorian-era forceps. The slender metal tool, one of close to 20 medical instruments unearthed at the property years ago by people who used to live there, once belonged to Inez Burns.\u003c/p>\n\u003cfigure id=\"attachment_13829072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829072\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0100-800x600.jpg\" alt=\"A collection of medical instruments that once belonged to Inez Burns.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of medical instruments that once belonged to Inez Burns. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the first half of the 20th century, Burns was one of California’s most sought-after abortionists. She is said to have terminated around 50,000 pregnancies in San Francisco during her long career using these tools — at a time when doing so could land you in prison.\u003c/p>\n\u003cp>Jeff and Diane Cerf bought Burns’ former home in 1999. They enjoy showing visitors the instruments, as well as the nooks where the abortionist hid her cash.\u003c/p>\n\u003cp>“There’s a part of the wall where the baseboard opens up,” Jeff Cerf says. “So she had a little hiding spot there. But we haven’t found any money.”\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 couple knows a little about their home’s most infamous inhabitant: that she threw wild parties and made a vast fortune performing up to twenty abortions a day; that her patients included everyone from housewives to celebrities like Olympic skater and film-star Sonja Henie.\u003c/p>\n\u003cp>But they don’t know Burns like \u003ca href=\"https://en.wikipedia.org/wiki/Stephen_G._Bloom\" target=\"_blank\" rel=\"noopener\">Stephen Bloom\u003c/a> does.\u003c/p>\n\u003cfigure id=\"attachment_13829073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829073\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0115-800x600.jpg\" alt=\"Author Stephen Bloom shares his knowledge of Inez Burns with Jeff and Diane Cerf. The Cerfs are the present owners of the mansion that once belonged to Burns.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Stephen Bloom shares his knowledge of Inez Burns with Jeff and Diane Cerf. The Cerfs are the present owners of the mansion that once belonged to Burns. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bloom is a journalism professor at the University of Iowa and the author of a painstakingly researched new book about the abortionist, \u003ca href=\"https://www.amazon.com/dp/B072MFMG1D/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1\" target=\"_blank\" rel=\"noopener\">\u003cem>The Audacity of Inez Burns\u003c/em>\u003c/a>. Bloom and I are spending the day together visiting some of the sites associated with Burns’ formidable life. “I’ve been in love with Inez for 20 years,” Bloom tells me as we set out from KQED’s headquarters.\u003c/p>\n\u003cp>Burns (birthname, Inez Ingenthron) was born to a poor German immigrant family in 1886 in San Francisco’s then-grimy South of Market neighborhood. Her father was an alcoholic, and her mother, a taskmaster. “Her mother didn’t believe in education,” Bloom says. “She believed that girls and boys needed to work.”\u003c/p>\n\u003cp>So at 17, with good looks but otherwise no real prospects, Burns landed her first job as a manicurist at the barbershop in San Francisco’s luxurious \u003ca href=\"https://www.sfpalace.com/\" target=\"_blank\" rel=\"noopener\">Palace Hotel\u003c/a>.\u003c/p>\n\u003cp>Bloom and I stop in at what used to be the Palace’s barbershop. Today it’s \u003ca href=\"https://flatiron-wines.com/sf_store/\" target=\"_blank\" rel=\"noopener\">Flatiron Wines\u003c/a>, a high-end liquor store. Over a glass of wine, we chat with manager Beau Rapier.\u003c/p>\n\u003cfigure id=\"attachment_13829077\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829077\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0096-800x600.jpg\" alt=\"Author Stephen Bloom shares details about Inez Burns' story with Beau Rapier, the manager of Flatiron Wines. The liquor store now stands on the site where the Palace Hotel's barbershop used to be. It was where Burns' worked as a manicurist.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Stephen Bloom shares details about Inez Burns’ story with Beau Rapier, the manager of Flatiron Wines. The liquor store now stands on the site where the Palace Hotel’s barbershop used to be. It was where Burns’ worked as a manicurist. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the turn of the last century, wealthy men liked getting their nails done by pretty young women. The alabaster-skinned, auburn-haired Inez Burns quickly became popular among the clientele.\u003c/p>\n\u003cp>“She buffed and polished the nails of a lot of important people,” Bloom tells Rapier.\u003c/p>\n\u003cp>One such high-roller was Dr. Eugene West. Bloom says West was three times the young manicurist’s age and a notorious ladies’ man. He was also a notorious abortionist. The two started dating and eventually West taught Burns his trade.\u003c/p>\n\u003cp>“Dr. West realized that Inez had the touch and really was able to perform the abortions as well as Dr. West,” Bloom says. “This is how Inez got her beginning as an abortionist.”\u003c/p>\n\u003cp>“So she learned how to do the abortions from the doctor that she was dating?” says Rapier, incredulous.\u003c/p>\n\u003cfigure id=\"attachment_13829087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13829087 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-800x354.png\" alt=\"Inez Burns launched her career in the early years of the 20th century. Many prospective customers would find their way to her when they landed in San Francisco at the Ferry Building. This image dates from Sep., 1912.\" width=\"800\" height=\"354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-800x354.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-160x71.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-768x340.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-240x106.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-375x166.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-520x230.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM.png 836w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inez Burns launched her career in the early years of the 20th century. Many prospective customers would find their way to her when they landed in San Francisco at the Ferry Building. This image dates from Sep., 1912. \u003ccite>(Photo: Library of Congress, LC-USZ62-137812)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the pre \u003ca href=\"https://en.wikipedia.org/wiki/Roe_v._Wade\" target=\"_blank\" rel=\"noopener\">Roe vs. Wade\u003c/a> era, cities like San Francisco were flush with practitioners of varying degrees of skill and legitimacy. They plied their trade under the table while cops and lawmakers took kickbacks and turned a blind eye. It was a dangerous business, leaving many women injured and sometimes dead.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A lot of women showed up in emergency rooms with failed abortions with injuries as a result of very botched abortions by very inept practitioners,” says Carole Joffe, a professor in the department of obstetrics, gynecology and reproductive sciences at the \u003ca href=\"https://obgyn.ucsf.edu/san-francisco-general-hospital/carole-joffe-phd\" target=\"_blank\" rel=\"noopener\">University of California San Francisco\u003c/a> and an expert on reproductive history.\u003c/span>\u003c/p>\n\u003cp>But Burns was meticulous and scrupulously hygienic. Before long, word got around. In 1927, she set up her own clinic in San Francisco’s Lower Haight neighborhood.\u003c/p>\n\u003cp>Bloom and I visit the apartment building that used to house Burns’ clinic. Bloom says Burns had no shortage of customers willing to pay her hundreds of dollars in cash to get them out of trouble. “It wasn’t unusual for Inez to arrive here and find five or six women in a line waiting for her to arrive in the morning,” Bloom says.\u003c/p>\n\u003cp>The building is a little run down, with narrow corridors and few distinguishing features. Bloom says the place looked very different in Burns’s day. “There were Chippendale chairs,” Bloom says. “There were Persian carpets.”\u003c/p>\n\u003cfigure id=\"attachment_13828984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Pat-Brown--800x1442.jpg\" alt='Edmund G. \"Pat\" Brown, 1939' width=\"800\" height=\"1442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--800x1442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--160x288.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--768x1385.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--1020x1839.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--1180x2127.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--960x1731.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--240x433.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--375x676.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--520x937.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown-.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edmund G. “Pat” Brown, 1939 \u003ccite>(Photo: Courtesy of San Francisco History Center, San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bloom says Burns was in it for the money and rarely provided discounts. The clinic was one of many properties she owned all over California thanks to the millions she made.\u003c/p>\n\u003cp>That fortune bought her friends in high places including politicians and lawmakers. Her longtime, live-in lover was Joe Burns, a former assemblyman. But she couldn’t buy off ambitious district attorney \u003ca href=\"http://governors.library.ca.gov/32-pbrown.html\" target=\"_blank\" rel=\"noopener\">Edmund G. “Pat” Brown\u003c/a>, father of current California governor Jerry Brown.\u003c/p>\n\u003cp>“I did enforce the law, but I tried to enforce it rather selectively in the sense that I didn’t call the press and say ‘I’m going out on a crusade against whores or against abortionists or against gamblers,'” Brown said in an interview for the \u003ca href=\"http://digitalassets.lib.berkeley.edu/rohoia/ucb/text/yearsofgrowthlaw00browrich.pdf\" target=\"_blank\" rel=\"noopener\">Governmental History Documentation Project\u003c/a>. “I just quietly waited for an incident.”\u003c/p>\n\u003cp>That incident happened in 1945. Brown had attempted a couple of unsuccessful raids on Burns’ clinic that year. She had been tipped off and gotten away. But the third time, an undercover cop posing as a patient exposed Burns and she was arrested.\u003c/p>\n\u003cp>“Police confiscated oxygen tanks, instruments, actual beds,” author Stephen Bloom says. “They were all hauled over to the courthouse and were used as exhibits during the trial.”\u003c/p>\n\u003cfigure id=\"attachment_13829076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829076\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0078-800x600.jpg\" alt=\"Author Stephen Bloom standing in the federal courthouse in San Francisco. Burns was tried there for tax evasion.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Stephen Bloom standing in the federal courthouse in San Francisco. Burns was tried there for tax evasion. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But convicting Burns wasn’t easy. In the first two trials, the jury members couldn’t agree on her culpability. “The grand jury met twice and they found nothing wrong with what she was doing, or at least there wasn’t enough evidence to indict her,” Bloom says.\u003c/p>\n\u003cp>But Brown was persistent in his efforts to make\u003cspan style=\"font-weight: 400\"> an example of Burns in his crusade against vice. “\u003c/span>\u003cspan style=\"font-weight: 400\">I took her out of business, yes,” Brown admitted in \u003ca href=\"http://digitalassets.lib.berkeley.edu/rohoia/ucb/text/warrenfellowconst00earlrich.pdf\" target=\"_blank\" rel=\"noopener\">another\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\"> interview. “\u003c/span>\u003cspan style=\"font-weight: 400\">She was also corrupting the police department. We had substantial evidence that she was paying off about $400 a day to the police.”\u003c/span>\u003c/p>\n\u003cp>Burns’ luck finally ran out on Sep. 26, 1946, when she was convicted for performing illegal abortions. At 61, Burns served the first of her two state sentences. There were federal convictions too, for tax evasion. She was in and out of prison several times in her old age.\u003c/p>\n\u003cp>An appeal went all the way to the Supreme Court. But the justices declined to review the conviction.\u003c/p>\n\u003cp>Bloom says Burns ended up paying the U.S. government $800,000 in back taxes (roughly equivalent to $8 million in today’s money.) Burns was left penniless. She passed away in a nursing home a few miles south of San Francisco in 1976. She was 89.\u003c/p>\n\u003cfigure id=\"attachment_13828980\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828980\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/INEZ-AT-WEDDING-1976-800x600.jpg\" alt=\"Inez Burns at a family wedding, standing third to left, 1966\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Inez Burns at a family wedding, standing third to left, 1966\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Brown’s quest against corruption and vice paid off. He was elected California attorney general and then governor, in 1959.\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 Supreme Court legalized a woman’s right to an abortion in 1973. But Burns wasn’t particularly happy about the way things were heading. “Scores of women will die,” she told a newspaper reporter at the time the Roe vs Wade case was pending at the Supreme Court. “It will be quite a while before physicians who have not been trained for this type of surgery will be able to do it well and safely.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13828983/on-the-trail-of-the-woman-who-performed-50000-illegal-abortions","authors":["8608"],"categories":["arts_73","arts_835","arts_235"],"tags":["arts_1037","arts_1119","arts_1118","arts_746","arts_596"],"label":"arts"},"arts_13828581":{"type":"posts","id":"arts_13828581","meta":{"index":"posts_1591205157","site":"arts","id":"13828581","score":null,"sort":[1522846808000]},"guestAuthors":[],"slug":"san-francisco-looks-to-create-low-cost-housing-preference-for-artists","title":"San Francisco Looks to Create Low-Cost Housing Preference for Artists","publishDate":1522846808,"format":"audio","headTitle":"San Francisco Looks to Create Low-Cost Housing Preference for Artists | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>San Francisco has this thing called an affordable housing lottery. It allows low-income residents to rent or buy homes. The city selects winners at random from a pool of qualified applicants. Though the system is mostly online these days, some of the methods are still decidedly old school.\u003c/p>\n\u003cp>“They hand you a real lottery ticket, like the kind that you would take to get on a carousel or something,” says Jeremiah Barber. He and his partner Ingrid Rojas Contreras are both artists who have lost count of the number of times they’ve had to reapply for the lottery.\u003c/p>\n\u003cp>“Every time that we apply we have to clear it with the bank again and get a loan again and then submit the same documents to the apartment,” Contreras says. “It doesn’t make sense.”\u003c/p>\n\u003cp>Like many arts industry workers, the couple has no fixed income. So the process of reapplying each time is especially onerous.\u003c/p>\n\u003cp>“We have been making the amount that would clear us for a loan, but it just comes from different places one year, then the next year, it’s just a completely different array of places,” Contreras says. “The bank people say that doesn’t look good. They don’t want to give us a loan for that.”\u003c/p>\n\u003cfigure id=\"attachment_13828601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828601\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/tom-decaigny-800x600.jpg\" alt=\"San Francisco Director of Cultural Affairs Tom DeCaigny\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Director of Cultural Affairs, Tom DeCaigny \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many artists aren’t even in the financial position where they’re able to apply for a loan. Many can’t even make rent. Displacement of the creative class has become such a problem, the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a> decided to take action – at least for the renters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Arts Commission is working on a provocative plan that would designate some affordable housing units specially for artists. “Units specifically earmarked for people who qualify as working artists or cultural workers,” says Tom DeCaigny, the city’s director of cultural affairs. “So it would increase their chances within the lottery.”\u003c/p>\n\u003cp>DeCaigny and his team at the Arts Commission are trying to make the case that artists should have the same access to affordable housing as other preferred classes, such as veterans and people with disabilities.\u003c/p>\n\u003cp>To get in, applicants would have to income qualify and prove they’re real, working artists. Because many artists have gigs on the side to pay the rent, like driving for a ride-sharing service or waiting tables, the designation has more to do with an applicant’s artistic resume than how much money he or she makes from an artistic practice.\u003c/p>\n\u003cp>“Do they have a track record of exhibiting or showcasing creative work as an artist?” DeCaigny says. “So for visual artists, that would mean exhibitions at a gallery or perhaps a stint in a residency or a teaching commitment.”\u003c/p>\n\u003cp>In 2016, teachers became the first professional class to earn a low cost housing preference in San Francisco. Now the city is developing its inaugural construction project of 100 to 130 rental units earmarked specifically for this group.\u003c/p>\n\u003cfigure id=\"attachment_13828600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828600\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-800x391.png\" alt=\"Part of the front page of the San Francisco Arts Commission’s online artists’ survey.\" width=\"800\" height=\"391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-800x391.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-160x78.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-768x375.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-1020x498.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-1920x938.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-1180x576.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-960x469.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-240x117.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-375x183.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-520x254.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49.png 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the front page of the San Francisco Arts Commission’s online artists’ survey. \u003ccite>(Photo: Courtesy San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a first step towards securing the same status for artists, DeCaigny says his team is spending the first half of this year undertaking a \u003ca href=\"http://www.sfartscommission.org/our-role-impact/press-room/press-release/take-our-survey\" target=\"_blank\" rel=\"noopener\">multilingual, demographic survey\u003c/a> of the local creative population to glean demographic information on race and ethnicity as well as income data for artists’ households.\u003c/p>\n\u003cp>The aim is to prove a preference to artists wouldn’t negatively impact protected classes. “What we want to do is show that the artist population is on par with the overall population of people who would qualify for affordable housing in San Francisco,” DeCaigny says.\u003c/p>\n\u003cp>So far, the Arts Commission has received more than 1750 responses to the survey, which is open through June. In addition to English, it is available in Chinese, Tagalog and Spanish.\u003c/p>\n\u003cp>The city is on track to create or rehabilitate \u003ca href=\"http://sfmohcd.org/affordable-housing-pipeline\" target=\"_blank\" rel=\"noopener\">more than four thousand affordable housing units by 2020\u003c/a>. Creating an artists’ housing preference is possible during this time. But Contreras fears the process might take too long.\u003c/p>\n\u003cp>“It’s just so slow moving, you know,” she says. “And we’ve already lost so many artists. How many artists are still going to be here hanging on?”\u003c/p>\n\u003cp>And even if the preference is approved, artists will still need to jump through multiple bureaucratic hoops to qualify.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" 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":"The San Francisco Arts Commission is working on a provocative plan that would give artists preference when affordable housing becomes available. ","status":"publish","parent":0,"modified":1705028142,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":778},"headData":{"title":"San Francisco Looks to Create Low-Cost Housing Preference for Artists | KQED","description":"The San Francisco Arts Commission is working on a provocative plan that would give artists preference when affordable housing becomes available. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Francisco Looks to Create Low-Cost Housing Preference for Artists","datePublished":"2018-04-04T13:00:08.000Z","dateModified":"2024-01-12T02:55:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2018/04/VeltmanArtistHousing.mp3","sticky":false,"path":"/arts/13828581/san-francisco-looks-to-create-low-cost-housing-preference-for-artists","audioDuration":243000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco has this thing called an affordable housing lottery. It allows low-income residents to rent or buy homes. The city selects winners at random from a pool of qualified applicants. Though the system is mostly online these days, some of the methods are still decidedly old school.\u003c/p>\n\u003cp>“They hand you a real lottery ticket, like the kind that you would take to get on a carousel or something,” says Jeremiah Barber. He and his partner Ingrid Rojas Contreras are both artists who have lost count of the number of times they’ve had to reapply for the lottery.\u003c/p>\n\u003cp>“Every time that we apply we have to clear it with the bank again and get a loan again and then submit the same documents to the apartment,” Contreras says. “It doesn’t make sense.”\u003c/p>\n\u003cp>Like many arts industry workers, the couple has no fixed income. So the process of reapplying each time is especially onerous.\u003c/p>\n\u003cp>“We have been making the amount that would clear us for a loan, but it just comes from different places one year, then the next year, it’s just a completely different array of places,” Contreras says. “The bank people say that doesn’t look good. They don’t want to give us a loan for that.”\u003c/p>\n\u003cfigure id=\"attachment_13828601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828601\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/tom-decaigny-800x600.jpg\" alt=\"San Francisco Director of Cultural Affairs Tom DeCaigny\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Director of Cultural Affairs, Tom DeCaigny \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many artists aren’t even in the financial position where they’re able to apply for a loan. Many can’t even make rent. Displacement of the creative class has become such a problem, the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a> decided to take action – at least for the renters.\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 Arts Commission is working on a provocative plan that would designate some affordable housing units specially for artists. “Units specifically earmarked for people who qualify as working artists or cultural workers,” says Tom DeCaigny, the city’s director of cultural affairs. “So it would increase their chances within the lottery.”\u003c/p>\n\u003cp>DeCaigny and his team at the Arts Commission are trying to make the case that artists should have the same access to affordable housing as other preferred classes, such as veterans and people with disabilities.\u003c/p>\n\u003cp>To get in, applicants would have to income qualify and prove they’re real, working artists. Because many artists have gigs on the side to pay the rent, like driving for a ride-sharing service or waiting tables, the designation has more to do with an applicant’s artistic resume than how much money he or she makes from an artistic practice.\u003c/p>\n\u003cp>“Do they have a track record of exhibiting or showcasing creative work as an artist?” DeCaigny says. “So for visual artists, that would mean exhibitions at a gallery or perhaps a stint in a residency or a teaching commitment.”\u003c/p>\n\u003cp>In 2016, teachers became the first professional class to earn a low cost housing preference in San Francisco. Now the city is developing its inaugural construction project of 100 to 130 rental units earmarked specifically for this group.\u003c/p>\n\u003cfigure id=\"attachment_13828600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828600\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-800x391.png\" alt=\"Part of the front page of the San Francisco Arts Commission’s online artists’ survey.\" width=\"800\" height=\"391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-800x391.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-160x78.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-768x375.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-1020x498.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-1920x938.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-1180x576.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-960x469.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-240x117.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-375x183.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-520x254.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49.png 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the front page of the San Francisco Arts Commission’s online artists’ survey. \u003ccite>(Photo: Courtesy San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a first step towards securing the same status for artists, DeCaigny says his team is spending the first half of this year undertaking a \u003ca href=\"http://www.sfartscommission.org/our-role-impact/press-room/press-release/take-our-survey\" target=\"_blank\" rel=\"noopener\">multilingual, demographic survey\u003c/a> of the local creative population to glean demographic information on race and ethnicity as well as income data for artists’ households.\u003c/p>\n\u003cp>The aim is to prove a preference to artists wouldn’t negatively impact protected classes. “What we want to do is show that the artist population is on par with the overall population of people who would qualify for affordable housing in San Francisco,” DeCaigny says.\u003c/p>\n\u003cp>So far, the Arts Commission has received more than 1750 responses to the survey, which is open through June. In addition to English, it is available in Chinese, Tagalog and Spanish.\u003c/p>\n\u003cp>The city is on track to create or rehabilitate \u003ca href=\"http://sfmohcd.org/affordable-housing-pipeline\" target=\"_blank\" rel=\"noopener\">more than four thousand affordable housing units by 2020\u003c/a>. Creating an artists’ housing preference is possible during this time. But Contreras fears the process might take too long.\u003c/p>\n\u003cp>“It’s just so slow moving, you know,” she says. “And we’ve already lost so many artists. How many artists are still going to be here hanging on?”\u003c/p>\n\u003cp>And even if the preference is approved, artists will still need to jump through multiple bureaucratic hoops to qualify.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" 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/13828581/san-francisco-looks-to-create-low-cost-housing-preference-for-artists","authors":["8608"],"categories":["arts_1","arts_835","arts_235"],"tags":["arts_1037","arts_1119","arts_1118","arts_596","arts_1300"],"featImg":"arts_13828614","label":"arts"},"arts_13827785":{"type":"posts","id":"arts_13827785","meta":{"index":"posts_1591205157","site":"arts","id":"13827785","score":null,"sort":[1521810020000]},"guestAuthors":[],"slug":"oakland-artists-still-worried-despite-new-housing-protections","title":"Oakland Artists Still Worried, Despite New Housing Protections","publishDate":1521810020,"format":"audio","headTitle":"Oakland Artists Still Worried, Despite New Housing Protections | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Oakland’s city council passed an ordinance this week that bars marijuana companies from getting permits to operate at a facility if they are evicting tenants to do so.\u003c/p>\n\u003cp>“There was broad support for this,” says Kelley Kahn, the City of Oakland’s policy director for arts and development.\u003c/p>\n\u003cp>The measure was inspired in part by tenants in Oakland’s live-work warehouses. One example is The Cannery, an industrial building that’s home to around 30 artists.\u003c/p>\n\u003cp>A Colorado pot company, Green Sage, recently purchased the building and threatened the tenants with eviction.\u003c/p>\n\u003cp>Longtime Cannery resident Alistair Monroe welcomes the city’s support.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It is a step in the right direction to be heard,” Monroe says.\u003c/p>\n\u003cp>But Monroe says the new law doesn’t prevent Green Sage from selling the building to a partner company. That company could then potentially use state law (e.g. the Ellis Act) to get residents out.\u003c/p>\n\u003cp>“So we’re not fully protected,” Monroe says.\u003c/p>\n\u003cp>Kahn says although the city cannot prevent a landlord from using the Ellis Act to evict tenants, the amendments to the city’s cannabis ordinance have been put in place to make doing so an unappealing commercial prospect.\u003c/p>\n\u003cp>“If another operation bought a building, they would not be able to pull a cannabis permit for a space that has live-work residents,” Kahn says. “What we’ve done is taken away the economic incentive to do that.”\u003c/p>\n\u003cp>Monroe says he hopes to know more about The Cannery’s fate within the next two weeks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" 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":"A new city ordinance aimed at keeping cannabis operations from displacing warehouse residents leaves some advocates still concerned. \r\n","status":"publish","parent":0,"modified":1705028208,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":279},"headData":{"title":"Oakland Artists Still Worried, Despite New Housing Protections | KQED","description":"A new city ordinance aimed at keeping cannabis operations from displacing warehouse residents leaves some advocates still concerned. \r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Oakland Artists Still Worried, Despite New Housing Protections","datePublished":"2018-03-23T13:00:20.000Z","dateModified":"2024-01-12T02:56:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2018/03/VeltmanOaklandPotEvict.mp3","sticky":false,"path":"/arts/13827785/oakland-artists-still-worried-despite-new-housing-protections","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s city council passed an ordinance this week that bars marijuana companies from getting permits to operate at a facility if they are evicting tenants to do so.\u003c/p>\n\u003cp>“There was broad support for this,” says Kelley Kahn, the City of Oakland’s policy director for arts and development.\u003c/p>\n\u003cp>The measure was inspired in part by tenants in Oakland’s live-work warehouses. One example is The Cannery, an industrial building that’s home to around 30 artists.\u003c/p>\n\u003cp>A Colorado pot company, Green Sage, recently purchased the building and threatened the tenants with eviction.\u003c/p>\n\u003cp>Longtime Cannery resident Alistair Monroe welcomes the city’s support.\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>“It is a step in the right direction to be heard,” Monroe says.\u003c/p>\n\u003cp>But Monroe says the new law doesn’t prevent Green Sage from selling the building to a partner company. That company could then potentially use state law (e.g. the Ellis Act) to get residents out.\u003c/p>\n\u003cp>“So we’re not fully protected,” Monroe says.\u003c/p>\n\u003cp>Kahn says although the city cannot prevent a landlord from using the Ellis Act to evict tenants, the amendments to the city’s cannabis ordinance have been put in place to make doing so an unappealing commercial prospect.\u003c/p>\n\u003cp>“If another operation bought a building, they would not be able to pull a cannabis permit for a space that has live-work residents,” Kahn says. “What we’ve done is taken away the economic incentive to do that.”\u003c/p>\n\u003cp>Monroe says he hopes to know more about The Cannery’s fate within the next two weeks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" 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/13827785/oakland-artists-still-worried-despite-new-housing-protections","authors":["8608"],"categories":["arts_835","arts_235"],"tags":["arts_1037","arts_3077","arts_1118","arts_3078","arts_596","arts_1143"],"featImg":"arts_13826458","label":"arts"},"arts_13825251":{"type":"posts","id":"arts_13825251","meta":{"index":"posts_1591205157","site":"arts","id":"13825251","score":null,"sort":[1519401636000]},"guestAuthors":[],"slug":"reading-ginsbergs-howl-in-the-wake-of-the-florida-school-shooting","title":"Reading Ginsberg's 'Howl' in the Wake of the Florida School Shooting","publishDate":1519401636,"format":"audio","headTitle":"Reading Ginsberg’s ‘Howl’ in the Wake of the Florida School Shooting | KQED","labelTerm":{"term":4414,"site":"arts"},"content":"\u003cp>For years, poet Tenaya Nasser-Frederick avoided “\u003ca href=\"https://www.poetryfoundation.org/poems/49303/howl\">Howl\u003c/a>.”\u003c/p>\n\u003cp>“I just stayed away from poets like Allen Ginsberg, because they were too popular,” Nasser-Frederick says. “I didn’t need to read them. Everyone else read them.”\u003c/p>\n\u003cp>But right now, the 24-year-old California native finds the work arresting.\u003c/p>\n\u003cfigure id=\"attachment_13825302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825302\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-800x491.jpg\" alt=\"San Francisco-born Poet Tenaya Nasser-Frederick was turned on to 'Howl' recently.\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-768x471.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-1020x625.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-1180x724.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-960x589.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-520x319.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551.jpg 1745w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-born Poet Tenaya Nasser-Frederick was turned on to ‘Howl’ recently. \u003ccite>(Photo: Jackson Meazle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the \u003ca href=\"https://ww2.kqed.org/forum/2018/02/14/shooting-at-high-school-in-broward-county-florida-leaves-at-least-seventeen-dead/\" target=\"_blank\" rel=\"noopener\">recent school shooting\u003c/a> in Florida, he’s especially floored by Ginsberg’s looming image of the murderous Biblical god Moloch in the poem’s second section.\u003c/p>\n\u003cp>“The fact that you have this metaphor for the military-industrial complex being a god of child sacrifice,” Nasser-Frederick says. “It just hits you over the head with how pertinent that is this past week.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Friday sees the re-release by \u003ca href=\"http://www.concordmusicgroup.com/labels/craft-recordings/\">Craft Recordings\u003c/a> of Ginsberg reciting the work in a \u003ca href=\"https://ww2.kqed.org/arts/2018/02/20/railing-against-fascism-and-compacency-howl-relevant-as-ever/\" target=\"_blank\" rel=\"noopener\">deluxe vinyl box set\u003c/a> with new liner notes, a replica of the original Pocket Poets’ edition of “Howl,” and other ephemera.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='Allen Ginsberg reads \"Howl,\" (Big Table Chicago Reading, 1959)' width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/WkNp56UZax4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>By the time the poem was recorded in 1959, “Howl” had chalked a win for free speech when a California Superior Court judge ruled in favor of the violent, sexually-charged poem in a highly-publicized obscenity trial.\u003c/p>\n\u003cp>“It was a groundbreaking case that led the way for other kinds of literature and, to a certain extent, recordings being acceptable on the marketplace because they were products of censorship,” says Bill Belmont, who produced the original recording for Berkeley’s Fantasy Records. (The label would later issue several LPs by comedian Lenny Bruce.)\u003c/p>\n\u003cfigure id=\"attachment_13825257\" class=\"wp-caption alignright\" style=\"max-width: 506px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13825257\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive.jpg\" alt=\"The 'Howl' obscenity trial.\" width=\"506\" height=\"381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive.jpg 506w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive-375x282.jpg 375w\" sizes=\"(max-width: 506px) 100vw, 506px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Howl’ obscenity trial. \u003ccite>(Photo: Courtesy of City Lights)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The written work, published in the collection \u003cem>Howl and Other Poems\u003c/em> by San Francisco’s City Lights, has sold more than 1.2 million copies since its release in 1956. “It’s been a consistent seller for us,” says Garrett Caples, an editor at City Lights.\u003c/p>\n\u003cp>And it continues to speak to the younger generation in this moment, six decades on.\u003c/p>\n\u003cp>Unlike Nasser-Frederick, 31-year-old poetry teacher Sam Sax has long been a “Howl” groupie. Having mentored many Bay Area youth poets, Sax now lives in New York.\u003c/p>\n\u003cfigure id=\"attachment_13825262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825262 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-800x560.jpg\" alt=\"Poetry teacher Sam Sax who's long been a fan of "Howl".\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-1920x1343.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-1180x825.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-960x671.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471.jpg 1976w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poetry teacher Sam Sax, a longtime fan of ‘Howl.’ \u003ccite>(Photo: Hollis Rafkin-Sax)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘Howl’ was extremely formative to me in my early writing life,” Sax says. “It was the first time I heard a queer poet reading queer poems.”\u003c/p>\n\u003cp>Sax says “Howl” hasn’t entirely stood the test of time. He points to Ginsberg’s famous opening lines:\u003c/p>\n\u003cp>\u003cem>I saw the best minds of my generation destroyed by madness, starving hysterical naked,\u003cbr>\n\u003c/em>\u003cem>dragging themselves through the negro streets at dawn looking for an angry fix.\u003c/em>\u003c/p>\n\u003cp>“The ‘negro streets’ feels very much a product of the 1950s,” Sax says. “And now when we read it, it feels super out of place and racist.”\u003c/p>\n\u003cfigure id=\"attachment_13824750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-800x472.jpg\" alt=\"Allen Ginsberg at his typewriter, date unknown.\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-1020x602.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-1920x1133.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Ginsberg at his typewriter, date unknown. \u003ccite>(Courtesy Allen Ginsberg Estate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at a time when the far right has tried to co-opt the free speech movement, Sax admires the ways “Howl” continues to resonate today, as people across the political spectrum feel like their first amendment rights are under fire.\u003c/p>\n\u003cp>“There’s never been a time in my life where I’ve seen poetry as potentially challenging to current politics and current modes methods of violence,” Sax says. “So I think speech at this moment, and particularly a poem, can be more dangerous now than it has ever been.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" 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":"'You have this metaphor for the military-industrial complex being a god of child sacrifice... It just hits you over the head.\"","status":"publish","parent":0,"modified":1705028426,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":630},"headData":{"title":"Reading Ginsberg's 'Howl' in the Wake of the Florida School Shooting | KQED","description":"'You have this metaphor for the military-industrial complex being a god of child sacrifice... It just hits you over the head."","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Reading Ginsberg's 'Howl' in the Wake of the Florida School Shooting","datePublished":"2018-02-23T16:00:36.000Z","dateModified":"2024-01-12T03:00:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/tcr/2018/02/HowlTodayVeltmanTCRAM180223.mp3","sticky":false,"path":"/arts/13825251/reading-ginsbergs-howl-in-the-wake-of-the-florida-school-shooting","audioDuration":170000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For years, poet Tenaya Nasser-Frederick avoided “\u003ca href=\"https://www.poetryfoundation.org/poems/49303/howl\">Howl\u003c/a>.”\u003c/p>\n\u003cp>“I just stayed away from poets like Allen Ginsberg, because they were too popular,” Nasser-Frederick says. “I didn’t need to read them. Everyone else read them.”\u003c/p>\n\u003cp>But right now, the 24-year-old California native finds the work arresting.\u003c/p>\n\u003cfigure id=\"attachment_13825302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825302\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-800x491.jpg\" alt=\"San Francisco-born Poet Tenaya Nasser-Frederick was turned on to 'Howl' recently.\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-768x471.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-1020x625.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-1180x724.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-960x589.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551-520x319.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Tenaya-Nasser-Frederick-e1519314616551.jpg 1745w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-born Poet Tenaya Nasser-Frederick was turned on to ‘Howl’ recently. \u003ccite>(Photo: Jackson Meazle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the \u003ca href=\"https://ww2.kqed.org/forum/2018/02/14/shooting-at-high-school-in-broward-county-florida-leaves-at-least-seventeen-dead/\" target=\"_blank\" rel=\"noopener\">recent school shooting\u003c/a> in Florida, he’s especially floored by Ginsberg’s looming image of the murderous Biblical god Moloch in the poem’s second section.\u003c/p>\n\u003cp>“The fact that you have this metaphor for the military-industrial complex being a god of child sacrifice,” Nasser-Frederick says. “It just hits you over the head with how pertinent that is this past week.”\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>Friday sees the re-release by \u003ca href=\"http://www.concordmusicgroup.com/labels/craft-recordings/\">Craft Recordings\u003c/a> of Ginsberg reciting the work in a \u003ca href=\"https://ww2.kqed.org/arts/2018/02/20/railing-against-fascism-and-compacency-howl-relevant-as-ever/\" target=\"_blank\" rel=\"noopener\">deluxe vinyl box set\u003c/a> with new liner notes, a replica of the original Pocket Poets’ edition of “Howl,” and other ephemera.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='Allen Ginsberg reads \"Howl,\" (Big Table Chicago Reading, 1959)' width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/WkNp56UZax4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>By the time the poem was recorded in 1959, “Howl” had chalked a win for free speech when a California Superior Court judge ruled in favor of the violent, sexually-charged poem in a highly-publicized obscenity trial.\u003c/p>\n\u003cp>“It was a groundbreaking case that led the way for other kinds of literature and, to a certain extent, recordings being acceptable on the marketplace because they were products of censorship,” says Bill Belmont, who produced the original recording for Berkeley’s Fantasy Records. (The label would later issue several LPs by comedian Lenny Bruce.)\u003c/p>\n\u003cfigure id=\"attachment_13825257\" class=\"wp-caption alignright\" style=\"max-width: 506px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13825257\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive.jpg\" alt=\"The 'Howl' obscenity trial.\" width=\"506\" height=\"381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive.jpg 506w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/the-howl-trial-photo-credit-city-lighta-archive-375x282.jpg 375w\" sizes=\"(max-width: 506px) 100vw, 506px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Howl’ obscenity trial. \u003ccite>(Photo: Courtesy of City Lights)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The written work, published in the collection \u003cem>Howl and Other Poems\u003c/em> by San Francisco’s City Lights, has sold more than 1.2 million copies since its release in 1956. “It’s been a consistent seller for us,” says Garrett Caples, an editor at City Lights.\u003c/p>\n\u003cp>And it continues to speak to the younger generation in this moment, six decades on.\u003c/p>\n\u003cp>Unlike Nasser-Frederick, 31-year-old poetry teacher Sam Sax has long been a “Howl” groupie. Having mentored many Bay Area youth poets, Sax now lives in New York.\u003c/p>\n\u003cfigure id=\"attachment_13825262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825262 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-800x560.jpg\" alt=\"Poetry teacher Sam Sax who's long been a fan of "Howl".\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-1920x1343.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-1180x825.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-960x671.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/IMG_5259-e1519273369471.jpg 1976w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poetry teacher Sam Sax, a longtime fan of ‘Howl.’ \u003ccite>(Photo: Hollis Rafkin-Sax)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘Howl’ was extremely formative to me in my early writing life,” Sax says. “It was the first time I heard a queer poet reading queer poems.”\u003c/p>\n\u003cp>Sax says “Howl” hasn’t entirely stood the test of time. He points to Ginsberg’s famous opening lines:\u003c/p>\n\u003cp>\u003cem>I saw the best minds of my generation destroyed by madness, starving hysterical naked,\u003cbr>\n\u003c/em>\u003cem>dragging themselves through the negro streets at dawn looking for an angry fix.\u003c/em>\u003c/p>\n\u003cp>“The ‘negro streets’ feels very much a product of the 1950s,” Sax says. “And now when we read it, it feels super out of place and racist.”\u003c/p>\n\u003cfigure id=\"attachment_13824750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-800x472.jpg\" alt=\"Allen Ginsberg at his typewriter, date unknown.\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-1020x602.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-1920x1133.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Courtesy-Allen-Ginsberg-Estate-e1518737068556.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Ginsberg at his typewriter, date unknown. \u003ccite>(Courtesy Allen Ginsberg Estate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at a time when the far right has tried to co-opt the free speech movement, Sax admires the ways “Howl” continues to resonate today, as people across the political spectrum feel like their first amendment rights are under fire.\u003c/p>\n\u003cp>“There’s never been a time in my life where I’ve seen poetry as potentially challenging to current politics and current modes methods of violence,” Sax says. “So I think speech at this moment, and particularly a poem, can be more dangerous now than it has ever been.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" 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/13825251/reading-ginsbergs-howl-in-the-wake-of-the-florida-school-shooting","authors":["8608"],"series":["arts_4414"],"categories":["arts_73","arts_235"],"tags":["arts_1037","arts_1119","arts_1118","arts_596","arts_1496","arts_4358"],"featImg":"arts_13825309","label":"arts_4414"},"arts_13818873":{"type":"posts","id":"arts_13818873","meta":{"index":"posts_1591205157","site":"arts","id":"13818873","score":null,"sort":[1515718944000]},"guestAuthors":[],"slug":"how-johnny-cashs-friendship-with-a-folsom-inmate-tested-his-beliefs","title":"The Story of Johnny Cash's Unlikely Collaboration with a Folsom Inmate","publishDate":1515718944,"format":"audio","headTitle":"The Story of Johnny Cash’s Unlikely Collaboration with a Folsom Inmate | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The night before Johnny Cash’s legendary Jan. 13, 1968 appearance at Folsom Prison, a prison minister handed him a recording of inmate Glen Sherley’s song inspired by the penitentiary’s imposing granite chapel.\u003c/p>\n\u003cp>“John says, ‘Well, anybody got a tape recorder?’ So I raised my hand,” recalls Gene Beley, then a young reporter for the Ventura Star Free Press, who was there at the time. “And we put this little demo tape on there and it was ‘Greystone Chapel’ by Glen Sherley. And he says, ‘I want to record it.'”\u003c/p>\n\u003cfigure id=\"attachment_13818895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818895\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-800x450.jpg\" alt=\"Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley's song of the same title.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley’s song of the same title. \u003ccite>(Photo: Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beley says Cash copied down the lyrics in his hotel room and started working on the song. The reporter later caught the rehearsal on tape. (If you listen to the audio at the top of this story, you can hear Cash and his band practice the new song. This tape has never been heard before by the public.)\u003c/p>\n\u003cp>The next morning — 50 years ago this week — Cash and his entourage headed out to record what would become one of the most influential albums of the twentieth century, \u003cem>Johnny Cash at Folsom Prison\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13818897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818897\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-800x600.jpg\" alt=\"Gene Beley, formerly a reporter with the Ventura Star Free Press, poses with his copy of Cash's seminal 1968 album. Beley traveled alongside Cash for the gig and recorded the rehearsal the night before and the concert.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gene Beley, formerly a reporter with the Ventura Star Free Press, poses with his copy of Cash’s seminal 1968 album. Beley traveled alongside Cash for the gig and recorded the rehearsal the night before the concert. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beley says Cash received a rapturous welcome at the penitentiary, located northeast of Sacramento. “All the guys screaming and hollering and hootin’ and whistlin,” Beley says. “I had never been to another show that had those kind of reactions.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Glen Sherley had a front-row seat in the prison’s drab cafeteria for\u003cbr>\nthe show. The convict was doing time for armed robbery. He had no idea that Cash had gotten hold of his song when Cash announced, “This song was written by our friend Glen Sherley. I hope we do your song justice, Glen.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='\"Greystone Chapel\" -- Glen Sherley' width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/HEsSOFwPbws?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Starting in 1957, Cash performed many prison concerts over the years, including four dates at Folsom.\u003c/p>\n\u003cp>But the 1968 gig helped to relaunch the singer’s career, which was floundering at the time in large part due to his dependence on prescription pills.\u003c/p>\n\u003cp>It also boosted Cash’s ongoing campaign for prison reform. That’s an issue his daughter Tara Cash Schwoebel says her father had long held dear. “It really spoke to his rebellious side,” Schwoebel says. “He had a passion for just standing up for these people who were locked up and treated so poorly.”\u003c/p>\n\u003cfigure id=\"attachment_13818896\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel.jpg\" alt=\"Johnny Cash with his daughter Tara.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Cash with his daughter Tara. \u003ccite>(Photo: Courtesy Tara Cash Schwoebel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cash and Sherley hit it off. A life‐long Christian who believed strongly in redemption, Cash did a lot to get his new friend on the right path. In 1971, he lobbied successfully to get the handsome inmate paroled, and gave him a job as a performer with his band. He even helped Sherley cut his own album.\u003c/p>\n\u003cp>Sherley did his best to adjust to his new life on the outside. He joined Cash’s crusade for prison reform, even testifying alongside his mentor at a U.S. Senate subcommittee hearing on the issue in 1972.\u003c/p>\n\u003cp>He also got married, and adopted a son. Keith Sherley remembers his dad fondly. “My dad had a great laugh and a great smile,” he says. “We did a lot of things together and he was fun.”\u003c/p>\n\u003cfigure id=\"attachment_13818898\" class=\"wp-caption alignright\" style=\"max-width: 582px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818898\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963-.png\" alt='Johnny Cash and the Tennessee Three. WS \"Fluke\" Holland on drums' width=\"582\" height=\"324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963-.png 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--240x134.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--375x209.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--520x289.png 520w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Cash and the Tennessee Three. WS “Fluke” Holland on drums. \u003ccite>(Photo: Courtesy WS \"Fluke\" Holland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Cash’s drummer, WS “Fluke” Holland, says Sherley was a real gentleman on the road. “I don’t know of anybody I’ve ever been around who was nicer than Glen Sherley,” Holland says.\u003c/p>\n\u003cp>But Sherley found it hard to cope with being thrust under the spotlight after years in prison. Keith Sherley says his dad was battling drug addiction and wasn’t easy to live with. “There was a lot of domestic trouble between he and my mom,” Keith Sherley says. “There was a lot of problems with being consistent; with being reliable.”\u003c/p>\n\u003cp>The issues bled into his professional life.\u003cstrong> \u003c/strong>Schwoebel says the parolee’s behavior became increasingly threatening and erratic. “And so my father realized that it was time to kind of break ties with him,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13818903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818903\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/IMG_0559-800x533.jpg\" alt=\"Folsom Prison's imposing gatehouse.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Folsom Prison’s imposing gatehouse. \u003ccite>(Photo: Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eventually, Cash kicked Sherley out of the band. His marriage ended and his life spiraled out of control. He wound up living with his brother in California and worked on a feedlot near Salinas. In 1978, he killed himself. He was 42.\u003c/p>\n\u003cp>Schwoebel says her father was devastated. “It was a wakeup call that he realized he couldn’t save everybody,” she says.\u003c/p>\n\u003cp>On the day Cash heard the tragic news, the singer drew a picture in his journal of a bird flying away from a prison cell window. Keith Sherley says he was shown the journal page by a Cash scholar.\u003c/p>\n\u003cp>“And beneath it, he wrote the caption, ‘The Lord has set my soul free,'” Keith Sherley says, recalling that these are words from “Greystone Chapel,” the song that first brought the two men together. “I think John understood that released his soul, and that he was finally free from whatever demons that he had been dealing with.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" 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\u003cp>\u003c/p>\n\u003cp>\u003cem>With thanks to Gene Beley and Sony for providing access to and permission to use a few seconds of footage from Cash’s as-yet-unreleased Jan 12, 1968 rehearsal tape. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"This bittersweet story of redemption-gone-wrong features unreleased audio from the night before the Man in Black performed his legendary session at Folsom on Jan. 13, 1968.","status":"publish","parent":0,"modified":1705028782,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1013},"headData":{"title":"The Story of Johnny Cash's Unlikely Collaboration with a Folsom Inmate | KQED","description":"This bittersweet story of redemption-gone-wrong features unreleased audio from the night before the Man in Black performed his legendary session at Folsom on Jan. 13, 1968.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Story of Johnny Cash's Unlikely Collaboration with a Folsom Inmate","datePublished":"2018-01-12T01:02:24.000Z","dateModified":"2024-01-12T03:06:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/tcr/2018/01/Folsom50thVeltman180112.mp3","sticky":false,"audioTrackLength":275,"templateType":"standard","featuredImageType":"standard","path":"/arts/13818873/how-johnny-cashs-friendship-with-a-folsom-inmate-tested-his-beliefs","audioDuration":260000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The night before Johnny Cash’s legendary Jan. 13, 1968 appearance at Folsom Prison, a prison minister handed him a recording of inmate Glen Sherley’s song inspired by the penitentiary’s imposing granite chapel.\u003c/p>\n\u003cp>“John says, ‘Well, anybody got a tape recorder?’ So I raised my hand,” recalls Gene Beley, then a young reporter for the Ventura Star Free Press, who was there at the time. “And we put this little demo tape on there and it was ‘Greystone Chapel’ by Glen Sherley. And he says, ‘I want to record it.'”\u003c/p>\n\u003cfigure id=\"attachment_13818895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818895\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-800x450.jpg\" alt=\"Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley's song of the same title.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley’s song of the same title. \u003ccite>(Photo: Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beley says Cash copied down the lyrics in his hotel room and started working on the song. The reporter later caught the rehearsal on tape. (If you listen to the audio at the top of this story, you can hear Cash and his band practice the new song. This tape has never been heard before by the public.)\u003c/p>\n\u003cp>The next morning — 50 years ago this week — Cash and his entourage headed out to record what would become one of the most influential albums of the twentieth century, \u003cem>Johnny Cash at Folsom Prison\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13818897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818897\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-800x600.jpg\" alt=\"Gene Beley, formerly a reporter with the Ventura Star Free Press, poses with his copy of Cash's seminal 1968 album. Beley traveled alongside Cash for the gig and recorded the rehearsal the night before and the concert.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gene Beley, formerly a reporter with the Ventura Star Free Press, poses with his copy of Cash’s seminal 1968 album. Beley traveled alongside Cash for the gig and recorded the rehearsal the night before the concert. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beley says Cash received a rapturous welcome at the penitentiary, located northeast of Sacramento. “All the guys screaming and hollering and hootin’ and whistlin,” Beley says. “I had never been to another show that had those kind of reactions.”\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>Glen Sherley had a front-row seat in the prison’s drab cafeteria for\u003cbr>\nthe show. The convict was doing time for armed robbery. He had no idea that Cash had gotten hold of his song when Cash announced, “This song was written by our friend Glen Sherley. I hope we do your song justice, Glen.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='\"Greystone Chapel\" -- Glen Sherley' width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/HEsSOFwPbws?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Starting in 1957, Cash performed many prison concerts over the years, including four dates at Folsom.\u003c/p>\n\u003cp>But the 1968 gig helped to relaunch the singer’s career, which was floundering at the time in large part due to his dependence on prescription pills.\u003c/p>\n\u003cp>It also boosted Cash’s ongoing campaign for prison reform. That’s an issue his daughter Tara Cash Schwoebel says her father had long held dear. “It really spoke to his rebellious side,” Schwoebel says. “He had a passion for just standing up for these people who were locked up and treated so poorly.”\u003c/p>\n\u003cfigure id=\"attachment_13818896\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel.jpg\" alt=\"Johnny Cash with his daughter Tara.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Cash with his daughter Tara. \u003ccite>(Photo: Courtesy Tara Cash Schwoebel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cash and Sherley hit it off. A life‐long Christian who believed strongly in redemption, Cash did a lot to get his new friend on the right path. In 1971, he lobbied successfully to get the handsome inmate paroled, and gave him a job as a performer with his band. He even helped Sherley cut his own album.\u003c/p>\n\u003cp>Sherley did his best to adjust to his new life on the outside. He joined Cash’s crusade for prison reform, even testifying alongside his mentor at a U.S. Senate subcommittee hearing on the issue in 1972.\u003c/p>\n\u003cp>He also got married, and adopted a son. Keith Sherley remembers his dad fondly. “My dad had a great laugh and a great smile,” he says. “We did a lot of things together and he was fun.”\u003c/p>\n\u003cfigure id=\"attachment_13818898\" class=\"wp-caption alignright\" style=\"max-width: 582px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818898\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963-.png\" alt='Johnny Cash and the Tennessee Three. WS \"Fluke\" Holland on drums' width=\"582\" height=\"324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963-.png 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--240x134.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--375x209.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--520x289.png 520w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Cash and the Tennessee Three. WS “Fluke” Holland on drums. \u003ccite>(Photo: Courtesy WS \"Fluke\" Holland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Cash’s drummer, WS “Fluke” Holland, says Sherley was a real gentleman on the road. “I don’t know of anybody I’ve ever been around who was nicer than Glen Sherley,” Holland says.\u003c/p>\n\u003cp>But Sherley found it hard to cope with being thrust under the spotlight after years in prison. Keith Sherley says his dad was battling drug addiction and wasn’t easy to live with. “There was a lot of domestic trouble between he and my mom,” Keith Sherley says. “There was a lot of problems with being consistent; with being reliable.”\u003c/p>\n\u003cp>The issues bled into his professional life.\u003cstrong> \u003c/strong>Schwoebel says the parolee’s behavior became increasingly threatening and erratic. “And so my father realized that it was time to kind of break ties with him,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13818903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818903\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/IMG_0559-800x533.jpg\" alt=\"Folsom Prison's imposing gatehouse.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Folsom Prison’s imposing gatehouse. \u003ccite>(Photo: Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eventually, Cash kicked Sherley out of the band. His marriage ended and his life spiraled out of control. He wound up living with his brother in California and worked on a feedlot near Salinas. In 1978, he killed himself. He was 42.\u003c/p>\n\u003cp>Schwoebel says her father was devastated. “It was a wakeup call that he realized he couldn’t save everybody,” she says.\u003c/p>\n\u003cp>On the day Cash heard the tragic news, the singer drew a picture in his journal of a bird flying away from a prison cell window. Keith Sherley says he was shown the journal page by a Cash scholar.\u003c/p>\n\u003cp>“And beneath it, he wrote the caption, ‘The Lord has set my soul free,'” Keith Sherley says, recalling that these are words from “Greystone Chapel,” the song that first brought the two men together. “I think John understood that released his soul, and that he was finally free from whatever demons that he had been dealing with.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" 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\u003cp>\u003c/p>\n\u003cp>\u003cem>With thanks to Gene Beley and Sony for providing access to and permission to use a few seconds of footage from Cash’s as-yet-unreleased Jan 12, 1968 rehearsal tape. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13818873/how-johnny-cashs-friendship-with-a-folsom-inmate-tested-his-beliefs","authors":["8608"],"categories":["arts_69","arts_235"],"tags":["arts_1037","arts_7534","arts_7535","arts_1119","arts_1118","arts_596","arts_1526"],"featImg":"arts_13818875","label":"arts"},"arts_13818320":{"type":"posts","id":"arts_13818320","meta":{"index":"posts_1591205157","site":"arts","id":"13818320","score":null,"sort":[1514593393000]},"guestAuthors":[],"slug":"moviepass-a-mixed-blessing-for-bay-area-theaters","title":"MoviePass a Mixed Blessing for Bay Area Theaters","publishDate":1514593393,"format":"audio","headTitle":"MoviePass a Mixed Blessing for Bay Area Theaters | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The \u003ca href=\"http://www.roxie.com/\" target=\"_blank\" rel=\"noopener\">Roxie Theatre\u003c/a> in San Francisco has had a good year. Elizabeth O’Malley, executive director of the Mission District-based indie theater, says that it sold 15,000 more tickets in the past financial year than it did in the previous one.\u003c/p>\n\u003cp>One reason for the surge might be \u003ca href=\"https://www.moviepass.com/\" target=\"_blank\" rel=\"noopener\">MoviePass\u003c/a>, a dirt-cheap subscription service which lets customers see a movie a day for $9.95 a month. It pays theaters the entire ticket price for each ticket sold via its app. That’s $12 for every regular ticket sold at the Roxie.\u003c/p>\n\u003cp>“Anecdotally, our box office managers have said that they’ve seen an increase in these MoviePass subscribers coming through our doors,” O’Malley says.\u003c/p>\n\u003cp>O’Malley doesn’t credit MoviePass entirely for the increased business, though she says the service has brought some people out who might otherwise have waited to stream the movie at home.\u003c/p>\n\u003cp>“We are seeing it as a positive in terms of pushing back on video-on-demand as a threat to movie theaters,” O’Malley says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Launched in 2011 and run since June 2016 by Netflix co-founder Mitch Lowe, MoviePass introduced its cut-rate pricing last August after largely failing to appeal to a wide audience with more expensive subscription plans.\u003c/p>\n\u003cfigure id=\"attachment_13818328\" class=\"wp-caption aligncenter\" style=\"max-width: 665px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13818328 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg\" alt=\"MoviePass CEO Mitch Lowe.\" width=\"665\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg 665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-520x353.jpg 520w\" sizes=\"(max-width: 665px) 100vw, 665px\">\u003cfigcaption class=\"wp-caption-text\">MoviePass CEO Mitch Lowe. \u003ccite>(Photo: Courtesy of MoviePass)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A MoviePass spokesman says the service can be used at more than 90 percent of theaters around the country. The spokesperson says the Bay Area is now MoviePass’s third largest market in the U.S. after Los Angeles and New York.\u003c/p>\n\u003cp>Besides the Roxie, the company’s website lists a variety of local theaters as honoring MoviePass subscriptions, from indie houses such as 4-Star and Vogue to big chains like AMC Van Ness 14 and Century 20 Daly City.\u003c/p>\n\u003cp>But the service has drawn criticism from small and big players alike.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/12/27/business/media/moviepass-theaters-tickets.html\" target=\"_blank\" rel=\"noopener\">A recent article in The New York Times\u003c/a> reports that major theaters and studio owners are denouncing MoviePass’ business model as being unsustainable because the monthly subscription fee is so low.\u003c/p>\n\u003cp>“They say that will cause MoviePass to either raise prices or go out of business, disappointing audiences and ultimately hurting the fragile multiplex business,” writes reporter Brooks Barnes.\u003c/p>\n\u003cp>“We are constantly looking for new ways to improve and expand service,” Lowe says. “Right now, in addition to the subscription model, we are also building out additional revenue streams related to the movie-going experience.” Lowe adds his company has no plans to increase subscription prices in 2018.\u003c/p>\n\u003cp>Meanwhile, O’Malley is unhappy with the lack of a sense of partnership between her theater and MoviePass.\u003c/p>\n\u003cp>“We’ve appreciated the uptick in business because of MoviePass, but would really love to be a more collaborative member of the MoviePass community.”\u003c/p>\n\u003cp>O’Malley says there’s no way to contact MoviePass directly if a customer issue arises. Also, she says MoviePass isn’t set up to deviate from the standard $12-a-ticket compensation structure when the Roxie wants to do special programming (e.g. asking customers to pay $15 for a double feature).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“So when MoviePass subscribers come through the door, they have to pay the extra out of pocket,” O’Malley says. “That three dollar difference is just a confusing experience for our customers.”\u003c/p>\n\n","blocks":[],"excerpt":"The dirt-cheap subscription service is bringing more customers out to see movies. But theaters have some reservations about the service.","status":"publish","parent":0,"modified":1705028840,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":586},"headData":{"title":"MoviePass a Mixed Blessing for Bay Area Theaters | KQED","description":"The dirt-cheap subscription service is bringing more customers out to see movies. But theaters have some reservations about the service.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"MoviePass a Mixed Blessing for Bay Area Theaters","datePublished":"2017-12-30T00:23:13.000Z","dateModified":"2024-01-12T03:07:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2017/12/VeltmanMoviePassforweb.mp3","sticky":false,"path":"/arts/13818320/moviepass-a-mixed-blessing-for-bay-area-theaters","audioDuration":66000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.roxie.com/\" target=\"_blank\" rel=\"noopener\">Roxie Theatre\u003c/a> in San Francisco has had a good year. Elizabeth O’Malley, executive director of the Mission District-based indie theater, says that it sold 15,000 more tickets in the past financial year than it did in the previous one.\u003c/p>\n\u003cp>One reason for the surge might be \u003ca href=\"https://www.moviepass.com/\" target=\"_blank\" rel=\"noopener\">MoviePass\u003c/a>, a dirt-cheap subscription service which lets customers see a movie a day for $9.95 a month. It pays theaters the entire ticket price for each ticket sold via its app. That’s $12 for every regular ticket sold at the Roxie.\u003c/p>\n\u003cp>“Anecdotally, our box office managers have said that they’ve seen an increase in these MoviePass subscribers coming through our doors,” O’Malley says.\u003c/p>\n\u003cp>O’Malley doesn’t credit MoviePass entirely for the increased business, though she says the service has brought some people out who might otherwise have waited to stream the movie at home.\u003c/p>\n\u003cp>“We are seeing it as a positive in terms of pushing back on video-on-demand as a threat to movie theaters,” O’Malley says.\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>Launched in 2011 and run since June 2016 by Netflix co-founder Mitch Lowe, MoviePass introduced its cut-rate pricing last August after largely failing to appeal to a wide audience with more expensive subscription plans.\u003c/p>\n\u003cfigure id=\"attachment_13818328\" class=\"wp-caption aligncenter\" style=\"max-width: 665px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13818328 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg\" alt=\"MoviePass CEO Mitch Lowe.\" width=\"665\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg 665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-520x353.jpg 520w\" sizes=\"(max-width: 665px) 100vw, 665px\">\u003cfigcaption class=\"wp-caption-text\">MoviePass CEO Mitch Lowe. \u003ccite>(Photo: Courtesy of MoviePass)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A MoviePass spokesman says the service can be used at more than 90 percent of theaters around the country. The spokesperson says the Bay Area is now MoviePass’s third largest market in the U.S. after Los Angeles and New York.\u003c/p>\n\u003cp>Besides the Roxie, the company’s website lists a variety of local theaters as honoring MoviePass subscriptions, from indie houses such as 4-Star and Vogue to big chains like AMC Van Ness 14 and Century 20 Daly City.\u003c/p>\n\u003cp>But the service has drawn criticism from small and big players alike.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/12/27/business/media/moviepass-theaters-tickets.html\" target=\"_blank\" rel=\"noopener\">A recent article in The New York Times\u003c/a> reports that major theaters and studio owners are denouncing MoviePass’ business model as being unsustainable because the monthly subscription fee is so low.\u003c/p>\n\u003cp>“They say that will cause MoviePass to either raise prices or go out of business, disappointing audiences and ultimately hurting the fragile multiplex business,” writes reporter Brooks Barnes.\u003c/p>\n\u003cp>“We are constantly looking for new ways to improve and expand service,” Lowe says. “Right now, in addition to the subscription model, we are also building out additional revenue streams related to the movie-going experience.” Lowe adds his company has no plans to increase subscription prices in 2018.\u003c/p>\n\u003cp>Meanwhile, O’Malley is unhappy with the lack of a sense of partnership between her theater and MoviePass.\u003c/p>\n\u003cp>“We’ve appreciated the uptick in business because of MoviePass, but would really love to be a more collaborative member of the MoviePass community.”\u003c/p>\n\u003cp>O’Malley says there’s no way to contact MoviePass directly if a customer issue arises. Also, she says MoviePass isn’t set up to deviate from the standard $12-a-ticket compensation structure when the Roxie wants to do special programming (e.g. asking customers to pay $15 for a double feature).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“So when MoviePass subscribers come through the door, they have to pay the extra out of pocket,” O’Malley says. “That three dollar difference is just a confusing experience for our customers.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13818320/moviepass-a-mixed-blessing-for-bay-area-theaters","authors":["8608"],"categories":["arts_74","arts_235"],"tags":["arts_1037","arts_1118","arts_977","arts_596"],"featImg":"arts_13818321","label":"arts"},"arts_13817732":{"type":"posts","id":"arts_13817732","meta":{"index":"posts_1591205157","site":"arts","id":"13817732","score":null,"sort":[1513647660000]},"guestAuthors":[],"slug":"sf-arts-commission-to-vote-for-three-initial-treasure-island-art-projects","title":"SF Arts Commission to Vote for Three Initial Treasure Island Art Projects","publishDate":1513647660,"format":"standard","headTitle":"SF Arts Commission to Vote for Three Initial Treasure Island Art Projects | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The City of San Francisco is moving closer to finalizing plans for the installation of up to $50 million worth of public art on Treasure Island.\u003c/p>\n\u003cp>On Wednesday, the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a> will review a short list of artists competing to undertake major projects on three sites as part of the city’s renovation of Treasure Island.\u003c/p>\n\u003cp>Selected from 495 submissions, the list includes art world heavy-hitters like Chinese artist \u003ca href=\"http://aiweiwei.com/\" target=\"_blank\" rel=\"noopener\">Ai Weiwei\u003c/a>, the force behind a highly-trafficked installation on Alcatraz, and Britain’s \u003ca href=\"http://www.artnet.com/artists/andy-goldsworthy/\" target=\"_blank\" rel=\"noopener\">Andy Goldsworthy\u003c/a>, who has several works in the Presidio as well as a piece outside the de Young Museum.\u003c/p>\n\u003cp>“Some of the things that excited the committee were the range of expressions that the artists have,” says \u003ca href=\"http://sftreasureisland.org/\" target=\"_blank\" rel=\"noopener\">Treasure Island Development Authority\u003c/a> director Robert Beck. “They could develop something unique that’s responsive to the site, its history and its environment. They also have a track record of having delivered pieces that are of the scale anticipated for the sites.”\u003c/p>\n\u003cp>Among the finalists is just one Bay Area artist, sculptor \u003ca href=\"http://nedkahn.com/\" target=\"_blank\" rel=\"noopener\">Ned Kahn\u003c/a>, who is listed as an “alternate.”\u003c/p>\n\u003cfigure id=\"attachment_13817748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/rain-oc1.2-800x532.jpg\" alt=\"'Rain Oculus', an environmental art work located in Sigapore by Bay Area artist Ned Kahn.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-1920x1276.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Rain Oculus’, an environmental art work located in Singapore by Bay Area artist Ned Kahn. \u003ccite>(Photo: Courtesy of Ned Kahn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If one of the other artists doesn’t want to do it, or is too busy, they call me,” explains Kahn, who has created around 100 public art projects around the world over the past 30 years, including major local commissions for the San Francisco Transbay Terminal and the San Francisco Utilities Commission. “It’s kind of like losing the last game of your season or not qualifying for the playoffs.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As an artist who has undertaken many projects in foreign cities where his work was prioritized over that of locals, Kahn isn’t too put out about being selected as an alternate at home. He also points out that the city plans to install dozens more art installations beyond the initial three.\u003c/p>\n\u003cp>“This is just chapter one,” Kahn says. “I hope as the project develops that there will be other opportunities that will lend themselves more to local people. So it might be that the feathers get unruffled down the road.”\u003c/p>\n\u003cp>The Treasure Island Development Authority reflects Kahn’s viewpoint. “This will ultimately be a fairly extensive art program,” Beck says. “There has been a desire expressed by the Arts Commission and the Arts Steering Committee to pursue both a range of local, national and international artists.”\u003c/p>\n\u003cp>The Arts Steering Committee comprises members of the San Francisco Arts Commission, the Treasure Island Development Authority, and the real estate developer. Kahn says this committee will have the final say on the selection of artists and placement of their work on the island.\u003c/p>\n\u003cfigure id=\"attachment_13428268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13428268\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-800x450.jpg\" alt=\"The plaza outside the administrative building, a proposed site for one of the initial three Treasure Island art commissions. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The plaza outside the Navy administration building, a proposed site for one of the initial three Treasure Island art commissions. \u003ccite>(Photo: Courtesy of Treasure Island Development Authority)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Wednesday’s review, the shortlist will go the Arts Steering Committee, which will then vote on the Arts Commission’s recommendations and authorize the artists to proceed with developing their proposals for the sites.\u003c/p>\n\u003cp>The three initial commissions are expected to have budgets in the range of $1–$2 million. The locations for these projects are:\u003c/p>\n\u003cul>\n\u003cli>The plaza in front of the old Navy administration building, known as Plaza 1.\u003c/li>\n\u003cli>Waterfront Plaza, on the shore facing San Francisco.\u003c/li>\n\u003cli>Yerba Buena Hilltop Park, a new area to be constructed.\u003c/li>\n\u003c/ul>\n\u003cp>Beck says the selected artists’ proposals should be ready for public comment by spring 2018. The plans will be put on display at a location to be determined, most likely at the Veterans Building in San Francisco or on Treasure Island.\u003c/p>\n\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=\"\" 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":"Selected from 495 submissions, the short list includes art world heavy-hitters like Chinese artist Ai Weiwei and Britain’s Andy Goldsworthy.","status":"publish","parent":0,"modified":1705028885,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":650},"headData":{"title":"SF Arts Commission to Vote for Three Initial Treasure Island Art Projects | KQED","description":"Selected from 495 submissions, the short list includes art world heavy-hitters like Chinese artist Ai Weiwei and Britain’s Andy Goldsworthy.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF Arts Commission to Vote for Three Initial Treasure Island Art Projects","datePublished":"2017-12-19T01:41:00.000Z","dateModified":"2024-01-12T03:08:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13817732/sf-arts-commission-to-vote-for-three-initial-treasure-island-art-projects","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The City of San Francisco is moving closer to finalizing plans for the installation of up to $50 million worth of public art on Treasure Island.\u003c/p>\n\u003cp>On Wednesday, the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a> will review a short list of artists competing to undertake major projects on three sites as part of the city’s renovation of Treasure Island.\u003c/p>\n\u003cp>Selected from 495 submissions, the list includes art world heavy-hitters like Chinese artist \u003ca href=\"http://aiweiwei.com/\" target=\"_blank\" rel=\"noopener\">Ai Weiwei\u003c/a>, the force behind a highly-trafficked installation on Alcatraz, and Britain’s \u003ca href=\"http://www.artnet.com/artists/andy-goldsworthy/\" target=\"_blank\" rel=\"noopener\">Andy Goldsworthy\u003c/a>, who has several works in the Presidio as well as a piece outside the de Young Museum.\u003c/p>\n\u003cp>“Some of the things that excited the committee were the range of expressions that the artists have,” says \u003ca href=\"http://sftreasureisland.org/\" target=\"_blank\" rel=\"noopener\">Treasure Island Development Authority\u003c/a> director Robert Beck. “They could develop something unique that’s responsive to the site, its history and its environment. They also have a track record of having delivered pieces that are of the scale anticipated for the sites.”\u003c/p>\n\u003cp>Among the finalists is just one Bay Area artist, sculptor \u003ca href=\"http://nedkahn.com/\" target=\"_blank\" rel=\"noopener\">Ned Kahn\u003c/a>, who is listed as an “alternate.”\u003c/p>\n\u003cfigure id=\"attachment_13817748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/rain-oc1.2-800x532.jpg\" alt=\"'Rain Oculus', an environmental art work located in Sigapore by Bay Area artist Ned Kahn.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-1920x1276.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Rain Oculus’, an environmental art work located in Singapore by Bay Area artist Ned Kahn. \u003ccite>(Photo: Courtesy of Ned Kahn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If one of the other artists doesn’t want to do it, or is too busy, they call me,” explains Kahn, who has created around 100 public art projects around the world over the past 30 years, including major local commissions for the San Francisco Transbay Terminal and the San Francisco Utilities Commission. “It’s kind of like losing the last game of your season or not qualifying for the playoffs.”\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 an artist who has undertaken many projects in foreign cities where his work was prioritized over that of locals, Kahn isn’t too put out about being selected as an alternate at home. He also points out that the city plans to install dozens more art installations beyond the initial three.\u003c/p>\n\u003cp>“This is just chapter one,” Kahn says. “I hope as the project develops that there will be other opportunities that will lend themselves more to local people. So it might be that the feathers get unruffled down the road.”\u003c/p>\n\u003cp>The Treasure Island Development Authority reflects Kahn’s viewpoint. “This will ultimately be a fairly extensive art program,” Beck says. “There has been a desire expressed by the Arts Commission and the Arts Steering Committee to pursue both a range of local, national and international artists.”\u003c/p>\n\u003cp>The Arts Steering Committee comprises members of the San Francisco Arts Commission, the Treasure Island Development Authority, and the real estate developer. Kahn says this committee will have the final say on the selection of artists and placement of their work on the island.\u003c/p>\n\u003cfigure id=\"attachment_13428268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13428268\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-800x450.jpg\" alt=\"The plaza outside the administrative building, a proposed site for one of the initial three Treasure Island art commissions. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The plaza outside the Navy administration building, a proposed site for one of the initial three Treasure Island art commissions. \u003ccite>(Photo: Courtesy of Treasure Island Development Authority)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Wednesday’s review, the shortlist will go the Arts Steering Committee, which will then vote on the Arts Commission’s recommendations and authorize the artists to proceed with developing their proposals for the sites.\u003c/p>\n\u003cp>The three initial commissions are expected to have budgets in the range of $1–$2 million. The locations for these projects are:\u003c/p>\n\u003cul>\n\u003cli>The plaza in front of the old Navy administration building, known as Plaza 1.\u003c/li>\n\u003cli>Waterfront Plaza, on the shore facing San Francisco.\u003c/li>\n\u003cli>Yerba Buena Hilltop Park, a new area to be constructed.\u003c/li>\n\u003c/ul>\n\u003cp>Beck says the selected artists’ proposals should be ready for public comment by spring 2018. The plans will be put on display at a location to be determined, most likely at the Veterans Building in San Francisco or on Treasure Island.\u003c/p>\n\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=\"\" 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/13817732/sf-arts-commission-to-vote-for-three-initial-treasure-island-art-projects","authors":["8608"],"categories":["arts_235","arts_70"],"tags":["arts_1037","arts_1119","arts_1118","arts_746","arts_596","arts_1925","arts_901"],"featImg":"arts_10826953","label":"arts"}},"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? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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