Podcasts about market st

The Briscoe Western Art Museum is happy to welcome all residents of San Antonio and Bexar County to come and experience the culture and art of the West for free on Monday, June 2, from 10 a.m. to 5 p.m. Visitors of all ages can participate in the monthly “Full STEAM Ahead” educational series from 1-3 p.m., as well as a scavenger hunt across the museum's campus. The free day of art and culture is offered on the first Sunday of each month from 10 a.m. to 5 p.m. The Briscoe is located at 210 W. Market St., in San...Article Link

Access Louisville is a weekly podcast from Louisville Business First. Follow us on popular podcast services to never miss an episode.A look at the latest happenings in NuLu, a little pickleball, a little golf and even a small restaurant recap.All of the above are topics in a loaded edition of the Access Louisville podcast. LBF Reporter Michael L. Jones is on the show to discuss how Gravely Brewing Co. shook the local brewery scene by announcing that it would be moving its taproom from Phoenix Hill to 905 E. Main St. in NuLu. Gravely Brewing opened at 514 Baxter Ave., near Hull Street, in 2017. The taproom has been a community staple ever since. Yours truly will also talk about my initial observations after I visited Fifth Third Bank's new office in NuLu for a sneak peek. The 10,000-square foot space is on the fourth floor of the NuLu Yard development, a $115 million project being overseen by Weyland Ventures.Zak Owens, our digital editor, is also on hand to discuss how the Jefferson County Sheriff's Office has signed a lease to move into 47,000 square feet of space at 515 W. Market St., a building owned by the University of Louisville Foundation, as reported by Senior Reporter Joel Stinnett.Owens will also talk about how Louisville Mayor Craig Greenberg recently pulled the plug on a $65 million project for a large pickleball facility in Joe Creason Park in response to an outpouring of public outcry.Staying on the sports theme, I will talk about PGA Tour Commissioner Jay Monahan visiting town earlier this month for the Kentucky Derby. He and another member of the PGA Tour leadership team were Derby guests of Jimmy Kirchdorfer, the CEO/chairman of ISCO Industries who is also a co-owner of Valhalla Golf Club. I spoke with Monahan and Kircdorfer before they teed off for a round at Valhalla. The main topic of conversation was how the PGA Tour is fully committed to having the ISCO Championship in Kentucky, which will take place in July. It will be at Hurstbourne Country Club for the next three years, with options to move the tournament to other courses in Kentucky. Monahan also said that he thought it was “when not if” Louisville will be able to host another major golf tournament after last year's PGA Championship took place at Valhalla. Keep in mind that the ultimate decision is made by the PGA of America, not the PGA Tour.I will also talk about how the ISCO Championship has already sold out of its 18th green hospitality suites with the event still two months away.And finally, we will top the podcast off with Jones talking about two of his recent headlines. The first is the future opening of Gaucho Urban Brazilian Steakhouse at 2013 S. Hurstbourne Parkway. Jones will also share the latest on Tavern To-Go, located at 111 E. Hill St.

This April, we recognize National Reentry Month by spotlighting the work of the Philadelphia Office of Reentry Partnerships and Executive Director Assata Thomas. We discuss the city's commitment to supporting justice-impacted individuals, along with several key events happening throughout the month—from job fairs to expungement clinics.

Looking for something fun to do this weekend? You're in the right place! WISH-TV Events manager, Allan Haw, has a calendar full of things for you to do! Here's what's happening for the weekend of Friday, April 18 through Easter Sunday, April 20, 2025. This week: Easter events and more from the WISH-TV Community Calendar! Let's make it a great weekend and find out what's going on “IN the Community”! Events mentioned in this episode:Indy Library Store Book SaleApril 18 - April 22Library Services Center2450 N Meridian St Indianapolis, IN FUN Fest & Culture FairFriday, April 18, 6:00pm-8:00pmNoblesville Community Center1775 Field Dr, IN 46060-1744Noblesville, IN Brick Fest LiveApril 19 – April 20Indiana Convention Center100 S Capitol AveIndianapolis, IN Carmel Marathon WeekendSaturday, April 19, 8:00amCarter Green10 Carter GreenCarmel, IN 2026 Men's Final Four Fan Jam @ Carmel MarathonSaturday, April 19, 7:00am-12:00pmThe Center for the Performing ArtsOne Center GreenCarmel, IN Purdue Rube Goldberg Machine PresentationSaturday, April 19, 1:00pm-2:00pmThorntown Public Library124 N. Market St.Thorntown, IN WISH-TV Community Calendar If you have a suggestion for the show you can reach me at: Allan.Haw@wishtv.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

West Texas (WT) A&M University alumni in the greater San Antonio area are invited to gather Friday, April 11, for an evening of networking at one of the city's most iconic locations. The WT Alumni Association will host alumni for a tour of the iconic San Antonio River Walk from 6:30-8 p.m. Pick up and drop off will be at Marriott River Walk Hotel, 889 E. Market St. Admission is free, but space is limited. To RSVP, call the WT Alumni Association at 806-651- 2311 or visit wtamuuw.az1.qualtrics.com/jfe/form/SV_4Mb9XlKoZzsjFAi.Article Link

Looking for something fun to do this weekend? You're in the right place! WISH-TV Events manager, Allan Haw, has a calendar full of things for you to do! Here's what's happening for the weekend of Friday, February 28 through Sunday, March 2, 2025. This week: An Exclusive Evening of Art and Elegance and more from the WISH-TV Community Calendar! Let's make it a great weekend and find out what's going on “IN the Community”! Events mentioned in this episode:Easel By PenrodMarch 07 – March 08, 5:30pmThe Stutz1060 N Capitol AveIndianapolis, IN 2025 TIAA Big Ten Women's Basketball TournamentMarch 05 - 09Gainbridge Fieldhouse125 N. Pennsylvania St.Indianapolis, IN Heartland Film Festival: Best of Fest 2025March 07 – March 08The Historic Artcraft Theater57 N MainFranklin, IN Night of Hope at Garment Factory EventsFriday, March 07, 6:00pm-11:45pmGarment Factory101 Wayne StFranklin, IN 2025 Great North Run & Fitness FairSaturday, March 08, 8:00am-11:00amNorth Central High School1801 East 86th StreetIndianapolis, IN First Philippine Food FestivalSaturday, March 08, 11:00am-6:00pmINDUSTRY545 Kentucky AveIndianapolis, IN Adult Spelling BeeSaturday, March 08, 4:30pm-6:30pmThorntown Public Library124 N. Market St.Thorntown, IN Monster Energy AMA Supercross ChampionshipSaturday, March 08, 6:30pmLucas Oil Stadium500 South Capitol AvenueIndianapolis, IN Hogeye Navvy at the Indy Folk SeriesSaturday, March 08, 7:00pm-9:00pmIndy Folk Series615 W 43rd St.Indianapolis, IN Greenwood Paint Your Pet EventSunday, March 09, 2:00pm-5:00pmMashCraft Greenwood1140 State Road 135Greenwood, IN WISH-TV Community Calendar If you have a suggestion for the show you can reach me at: Allan.Haw@wishtv.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Spring into the West at the Briscoe Western Art Museum with extended days and hours. Normally closed on Tuesday and Wednesday, the Briscoe will be open from 10 a.m. to 5 p.m. each day March 6-17, along with extended hours until 8 p.m. on Thursday, March 13. The museum, located at 210 W. Market St. in San Antonio, hopes this will give everyone the opportunity to lasso some Western fun this spring. With the museum's location in the heart of the River Walk, it's a great stop for families exploring downtown and anyone enjoying the St. Patrick's Day parades and...Article Link

The Market, a high-end grocery store inside the former X headquarters in San Francisco's Mid-Market, announced it planned to close this week after more than a decade in business.The upscale grocery store, at 1355 Market St., will shutter on Friday. The market opened in 2015 on the ground floor of what was then the Twitter building, alongside a food hall that later expanded. The food hall portion will stay open with around a half-dozen vendors, said owner Chris Foley.

Brent Burdge is the guy who learned why Delmarva customers saw such dramatic increases in the natural gas distribution fees and explained it better than anyone else. Brent explains why Republicans really need to get out and vote for him in the Feb 15 special election. Early voting begins Feb 5 at • Claymont Community Center, 3301 Green St., Claymont, DE 19703 • Police Athletic League of Wilmington (Wilmington PAL), 3707 N. Market St., Wilmington, DE 19802

Join other art enthusiasts at the Briscoe Western Art Museum, 210 W. Market St. in San Antonio, as award-winning artist Billy Schenck shares how he weaves together the story of his artistic process from film stills to paintings and creating new narratives. The discussion will be moderated by Curator of Night of Artists and Special Exhibitions Tim Newton. Schenck will also discuss his Native pottery collection and new book, and will sign his new book for guests, as well. This event is included with regular adult museum admission of and is free for members. Children 12 and under are...Article Link

Rissa Miller is an editor, author, herbalist, seer, and storyteller. Her storytelling expertise stems from extensive research into the area of esoteric history, including ghosts, witchcraft, cryptids, and folklore. Rissa believes the most enduring stories teach us not only about humanity's past but also give us a reason to reflect on our own present beliefs and realities. Her approach to the paranormal involves in-depth historical research layered with first-hand accounts. Inspired by her first ghost experience in York, England at age 8 (it happened after a tour!), Rissa Miller became a history guide when she was 15. Her first gig was with at the Colonial Complex, still operated by the York County History Center. She went on to study at New York University's Tisch School and was an award-winning editor at the Baltimore Sun early in her career. Rissa is also a member of the Phantoms & Monsters Fortean Research team. On Wednesday, July 10, 2024, Rissa Miller & Lon Strickler conducted an on-site investigation at the recently renovated Yorktowne Hotel (Hilton Hotels) at 48 E. Market St. in York, PA. Welcome to Phantoms & Monsters Radio - Real cryptid and unexplained reports directly from the archives of Phantoms & Monsters, and the Phantoms & Monsters Fortean Research team. Join us in the chat, discuss, and ask my guest and me questions about the investigation. Hi. My name is Lon Strickler. I hope that you enjoy listening to Phantoms & Monsters Personal Reports. I have a question for you. Have you ever had an unexplained sighting or encounter? Do you have photographic and/or video evidence of your experience? Would you like to share your unique story with our readers and listeners? Please feel free to forward your account to me, either through my email lonstrickler@phantomsandmonsters.com or call me at 410-241-5974. You can also visit my website at https://www.phantomsandmonsters.com and use the contact link on the homepage. Your personal information will be kept confidential if requested. I have been a paranormal and anomalies researcher & investigator for over 45 years. My reports & findings have been featured in hundreds of online media sources. Several of these published reports have been presented on various television segments, including The History Channel's 'Ancient Aliens,' Syfy's 'Paranormal Witness', 'Fact or Faked: Paranormal Files,' Destination America's 'Monsters and Mysteries in America,' and, more recently, 'Unsolved Mysteries' on Netflix. I have been interviewed on hundreds of radio & online broadcasts, including multiple guest appearances on 'Coast to Coast AM.' One of my encounters was featured on Destination America's 'Monsters and Mysteries in America' television show for 'The Sykesville Monster' episode. I am a published author of 9 books on various cryptid & supernatural subjects. In addition, I am an intuitive who has worked with hundreds of clients who sought help with their personal hauntings and unexplained activities. I never charge for my services. If you feel that I can help answer your questions, please feel free to contact me. Thanks for your consideration. Do you have a report or encounter that you would like to be read on 'Personal Reports' & featured on the Phantoms & Monsters blog? Contact me at lonstrickler@phantomsandmonsters.com Would you like to help us out? https://www.buymeacoffee.com/lonstrickl0 Phantoms & Monsters Homepage & Blog - https://www.phantomsandmonsters.com Books by Lon Strickler - https://www.amazon.com/~/e/B009JURSD4 You can also support us by using PayPal at https://bit.ly/4bXQgP8 Credits: All content licensed and/or used with permission. --- Support this podcast: https://podcasters.spotify.com/pod/show/lon-strickler/support

We've got a classic restaurant news update on this week's Access Louisville podcast.Reporter Michael L. Jones is on the show to tell us about Byrdie's. James Beard-nominated Chef Jenner Tomaska and his wife and business partner Katrina Bravo opened Byrdie's, a new French-inspired bistro, in Louisville's NuLu neighborhood on Thursday, Dec. 12.Byrdie's is on the first floor of the Hotel Genevieve, located at 7300 E. Market St., which itself was just recognized by the Michelin Guide for its French-inspired architecture. The nearly 3,000-square-foot restaurant replaces Rosette's, an all-day restaurant that closed in August.We also chat about a new French bistro and boutique that's scheduled to open in the Clifton neighborhood in the spring. Ça et Là, which means “Here and There” in French, will be located at 1832 Frankfort Ave., near the American Printing House for the Blind. The new business will blend café culture, artisan imports, and affordable Southern French street foods, petits plats, and wines.Later in the show we chat about a possible revival for Chi-Chi's Mexican Restaurant as well as the relatively new Take Thai restaurant on Factory Lane. We also get into some retail news with updates on a new location for ALDI and Fresh Market. And we note that Carhartt is opening a retail location in Louisville. Finally, we wrap up the show with news that Givaudan is opening a new facility in Reading, Ohio, near Cincinnati. That's after an explosion at the company's Louisville plant killed two people, injured about a dozen and damaged property around the Clifton neighborhood. Access Louisville is a weekly podcast from Louisville Business First. It's available on popular podcast services, including Apple Podcasts and Spotify.

Celebrate American Indian Heritage Month at the Briscoe on Thursday, Nov. 21 by attending Painting with DiZurito. Artist Gio DiZurito will lead students through a creative journey to create their own masterpieces. This event is for guests 21 years of age and older. Complimentary beer, wine, and light bites will be served. Tickets are for members and for non-members and include all materials; 11 x 14 canvas, acrylic paints, and brushes. Doors open at 6 p.m. with painting from 6:30-8:30 p.m. Space is limited. The Briscoe Western Art Museum is located at 210 W. Market St. in San...Article Link

The County Line Community Band invites all to help celebrate Hispanic Heritage Month on Sunday, Oct. 13, 3 p.m., in St. Andrew Catholic Church in Pleasanton. The group will present “Latin Fire!” Admission is free. St. Andrew Catholic Church is located at 626 Market St. in Pleasanton. For more information, follow County Line Community Band on Facebook.Article Link

In this spooky episode of The Halloween Podcast, we're heading into Missouri, a state rich with ghostly encounters, tragic stories, and haunted sites. From iconic mansions to eerie prisons and mysterious roads, we dive into the history and hauntings of some of Missouri's most haunted locations. Whether you're a ghost hunter or just love a good scare, Missouri has plenty to offer. Featured Locations: The Lemp Mansion Address: 3322 Demenil Place, St. Louis, MO 63118 Built in the 1860s, the Lemp Mansion was home to one of St. Louis's wealthiest families. The mansion's haunted reputation stems from the tragic suicides of several family members within its walls, leaving behind lingering spirits that visitors still encounter today. Missouri State Penitentiary Address: 115 Lafayette Street, Jefferson City, MO 65101 Known as “the bloodiest 47 acres in America,” this penitentiary housed some of the country's most dangerous criminals. With a dark history of executions and prison riots, the prison is now a hub of paranormal activity, with ghost sightings and strange sounds reported regularly. The Pythian Castle Address: 1451 E Pythian St, Springfield, MO 65802 Originally built as a home for orphans and elderly members of the Knights of Pythias, this castle later served as a military hospital during WWII. Today, visitors report seeing shadowy figures and hearing unexplained noises, especially in the basement where POWs were once held. Zombie Road (Lawler Ford Road) Location: Wildwood, MO 63021 Once a railroad path, Zombie Road is now notorious for ghost sightings and eerie happenings. People have reported seeing shadowy figures along the road and hearing footsteps following them in the dark, adding to the road's mysterious and chilling reputation. The Elms Hotel & Spa Address: 401 Regent St, Excelsior Springs, MO 64024 First built in 1888, this hotel has seen its share of history and ghosts. The spirits of a maid who perished in a fire and a man in a dark suit from the Prohibition era are said to still roam the halls of this luxurious hotel. Union Station Address: 1820 Market St, St. Louis, MO 63103 Once a bustling train station, Union Station has become a hotspot for ghost sightings. Visitors often report seeing a woman in white waiting for a train, hearing phantom whistles, and witnessing shadowy figures moving through the station. The Jesse James Farm Address: 21216 Jesse James Farm Rd, Kearney, MO 64060 The childhood home of notorious outlaw Jesse James, this farm is steeped in history and paranormal activity. Guests often report hearing Jesse's voice and seeing his apparition near the barn, where many of his stolen goods were hidden. The Beattie Mansion Address: 1120 Main St, St. Joseph, MO 64501 Built in 1854, this mansion is known for its ghostly residents, including its original owners, Armstrong and Eliza Beattie. Visitors report seeing their apparitions and hearing voices echoing through the halls of this historic home. The Screaming House Location: Union, MO Gaining fame in the early 2000s, this suburban house became notorious for violent paranormal activity, including disembodied screams and poltergeist attacks. Though privately owned today, its chilling history continues to fascinate paranormal enthusiasts. The Vaile Mansion Address: 1500 N Liberty St, Independence, MO 64050 Built in 1881, this mansion has a dark history tied to the tragic death of Sophia Vaile. Visitors often encounter her ghost, dressed in black, roaming the grand staircase and hallways, making this historic home a prime spot for ghostly sightings. Like Our Facebook page for more Halloween fun: www.Facebook.com/TheHalloweenPodcast ORDER PODCAST MERCH! Website: www.TheHalloweenPodcast.com Email: TheHalloweenPodcast@gmail.com X: @TheHalloweenPod Support the Show: www.patreon.com/TheHalloweenPod Get bonus Halloween content and more! Just for Patreon supporters! Check out my other show! Find it on iTunes - Amazing Advertising http://amazingadvertising.podomatic.com/ Keywords: Haunted Missouri, Lemp Mansion, Missouri State Penitentiary, Pythian Castle, Zombie Road, Elms Hotel, Union Station, Jesse James Farm, Beattie Mansion, Screaming House, Vaile Mansion, Haunted America Series, Halloween Podcast Tags: Haunted Locations, Ghost Stories, Missouri Hauntings, Paranormal Missouri, Halloween Podcast, Missouri Ghosts, Haunted America Series

The Briscoe Western Art Museum, 210 W. Market St. in San Antonio, continues its free Locals Day on the first Sunday of each month. The next Locals Day will be Sunday, Oct. 6, from 10 a.m. to 5 p.m. Free Locals Day events include: •Free admission — The museum welcomes all residents of San Antonio and Bexar County to experience the culture and art of the West with free general admission. •Scout the Briscoe —Visitors of all ages can learn about the American West with a scavenger hunt. Embark on a delightful adventure navigating the museum's campus and 14 permanent...Article Link

The I Love CVille Show headlines: 303 Alderman Rd: 6-Unit Townhouse Application 303 Alderman: $835K Sold On 6/12/24, $1M Ask How Will Lewis Mtn Neighborhood Respond? How Much Will Each Townhome Sell For? Reaction: City's 4.7% Storefront Vacancy Rate Do Storefront Tennants Matter For Local Vitality? Market St v. Court Square Parks: Worst One? Austin, TX Slams Brakes On All-Electric Bus Fleet Read Viewer & Listener Comments Live On-Air The I Love CVille Show airs live Monday – Friday from 12:30 pm – 1:30 pm on The I Love CVille Network. Watch and listen to The I Love CVille Show on Facebook, Instagram, Twitter, LinkedIn, iTunes, Apple Podcast, YouTube, Spotify, Fountain, Amazon Music, Audible, Rumble and iLoveCVille.com.

Cowgirl up and celebrate the legacy of the women of the West, and the cowboys and vaqueros who wrangle the West with them, at the Briscoe Western Art Museum's National Day of the Cowboy celebration Saturday, July 27, from 10 a.m. to 4 p.m. at the museum, 210 W. Market St., in San Antonio. The free community event includes free admission to the museum and its exhibitions, as well as indoor and outdoor activities. Pre-registration is recommended to enjoy the free Western fun. This year's event tips its hat to the role cowgirls play in the West while showcasing cowboy...Article Link

TICKETS ON SALE NOW Howdy, y'all! This week's episode is coming to you late due to my preparations for Fringe Fest in Portland. Don't miss my show at Three of Strong Spirits at 9:00 on June 27th, a humble Thursday. Tickets are $15 and $5 if extra if you'd like to compete. If you've been on the show before, that last fee is waived due to my gratitude and desperate need for contestants. Discussed this week: Stoner Storytime at Free St bar with the Women's Cannabiz gang, You Are An Invitation To Kiss, I'm Not Happy Baby, Lincolin's Speakeasy on Market St, Happy Birthday, A List of Thing I Do When I Get Lonely, I'm Heart Beating Myself Up, and more! This episode was made possible thanks to the lovely: Jennifer Whetzel, Theresa Nguyen, and my good pal Kassie. Bless you all for recording. Free St Bar also gets a kudos, as does Kristi Shaw show was cool enough to sponsor the sesh' at Stoner Storytime with a blessed joint from Northeastern Growing Company. --- Send in a voice message: https://podcasters.spotify.com/pod/show/potluckypodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/potluckypodcast/support

The Briscoe Western Art Museum is happy to welcome all residents of San Antonio and Bexar County to come and experience the culture and art of the West for free on Sunday, June 2, from 10 a.m. to 5 p.m. “Full STEAM Ahead” programming is now a part of Locals Day. Families and visitors are invited to learn about the American West with hands-on activities and workshops all ages will enjoy. The Briscoe is located at 210 W. Market St., in San Antonio. For information, call 210-299-4499 or visit briscoemuseum.org/.Article Link

Once celebrated as the West Coast's radiant gem, the city of San Francisco is now seemingly on the verge of an unfortunate descent. Yet, astonishingly, it appears few are heeding the urgent distress signals. The most striking impact has been seen in the housing market, where in the space of a year, property values have sharply declined and residents have been departing in large numbers. The CEO of JPMorgan Chase, Jamie Dimon, drew a parallel between the dire situations of San Francisco and New York City, expressing that the condition of the Bay Area is considerably worse. During his interview on Fox Business, he succinctly outlined what creates a desirable city. Parks, arts, security, productive employment, and accessible housing all play crucial roles. A city that fails to adequately provide these essentials is likely to experience a population decline. Regrettably, San Francisco is faltering on all these parameters. Consequently, the property market is experiencing a silent yet significant crash. Luxury properties, once the emblem of opulence, are now being discounted heavily to lure potential buyers. As an instance, a penthouse at the San Francisco Four Seasons Residential, which was initially listed for $9.9 million in November 2020, has reluctantly lowered its asking price to a mere $3.75 million, a staggering 62% drop. The property, having no takers, is still on the market. A sense of urgency looms among homeowners, who, in their eagerness to avoid a sinking situation, are selling their properties at a loss. In some cases, homeowners have seen their investments contract by several hundred thousand dollars within months. A property on Fourth Ave., boasting five bedrooms, was sold for $1.1 million recently, after it was purchased for $1.6 million less than a year ago. A two-bedroom condominium overlooking a ballpark on King St., which was purchased for $1.12 million in 2014, recently changed hands last month for $1.08 million. Another condo on Market St. was sold for $1.25 million in 2019, but was recently bought for just $675,000 after a price reduction. The overall pattern, as per recent analysis from Redfin, is quite clear: about one in five homeowners in San Francisco are selling their homes at a loss. A distinct example includes a picturesque home with direct views of the Golden Gate Bridge and the Pacific Ocean. The property, ostensibly a rare find, was listed for the first time in almost 35 years last March, carrying a price tag of $12.8 million. However, following multiple price slashes over the year, it traded hands for only $7.85 million. Nor is the commercial real estate scene faring any better. Post-pandemic, there has been a surge in the number of vacant office spaces. And the desperation is becoming increasingly visible. A property on Market Street was recently sold at a staggering 90% discount in a public auction. This building at 995 Market St. was acquired for a lean $6.5 million, a far cry from the $62 million it was purchased for in 2018. Retail industry giants have also begun to withdraw from the city. Early this year, Macy's announced its intention to close its enormous flagship store located in San Francisco's Union Square. The preceding year had seen Nordstrom announcing the shutdown of two of their stores citing the worsening conditions in the vicinity. Craig Ackerman, a seasoned real estate veteran, having witnessed the dynamics of San Francisco over three decades, expressed his dismay over the wasted potential caused by ineffective leadership. He anticipates several more years of regression if substantial changes aren't made promptly. Yet, with the current city administration's inclination towards symbolic gestures over pragmatic solutions, the future continues to look decidedly bleak. According to Ackerman, he believes the city may face another five to eight years of misguided governance. He sadly notes that the situation is disarrayed and there's no requirement for such a mess. He firmly believes that with a swoop of policy reformations, these prevailing issues could easily be mitigated. Ackerman believes the city's leadership is resistant to such evolutions, choosing to maintain the current state of affairs. 'It's simply preposterous, but they choose to let it continue,' Ackerman told The Post. His assertion is that the officials are content to champion ideological symbols and search for an utopic state that remains elusive in reality. He added, 'I don't foresee change coming anytime soon. They seem elated with their ideologically charged banners, aiming for an ideal world that doesn't exist. It's a quest that could prove costly if left unchecked.' San Francisco's future hangs in a delicate balance, much like many other cities challenged by economic downturns, shifting social dynamics, and a rapidly changing world. It remains to be seen whether its leadership will heed the lessons of its past, adapt, and find creative, effective solutions for the city's many issues. Real News Now Website Connect with Real News Now on Social Media Facebook: https://www.facebook.com/RealNewsNowApp/ X Twitter: https://twitter.com/realnewsapp Instagram: https://www.instagram.com/realnews/ TikTok: https://www.tiktok.com/@realnewsnowapp Threads: https://www.threads.net/@realnews/ Tumblr: https://www.tumblr.com/realnewsnow Truth Social: https://truthsocial.com/@RealNews YouTube:https://www.youtube.com/@realnewsnowapp End Wokeness: https://endthewokeness.com #realnewsnowSee omnystudio.com/listener for privacy information.

Welcome to Paranormal Spectrum, where we illuminate the enigmatic corners of the supernatural world. I'm your host, Barnaby Jones, and today we have a very special guest joining us: the esteemed Aaron G Thompson. Co-star of Netflix's "28 Days Haunted," and raised in the mysterious Quad Cities on the Illinois-Iowa border, Aaron's lifelong fascination with the paranormal has led him on an extraordinary journey of discovery.Since 1999, Aaron has been tirelessly researching and collecting data on phenomena that transcend the realms of our understanding. His passion for ghost hunting and his unwavering dedication to unraveling the mysteries of the afterlife have earned him respect and admiration within the paranormal community.But Aaron's expertise doesn't end there. With his innate gift for public speaking, he has become a beacon of knowledge, sharing his insights and experiences with fellow enthusiasts and communities fascinated by the supernatural.Join us as we delve deep into the paranormal spectrum with Aaron G Thompson. From his early encounters to his latest discoveries, we'll explore the uncharted territories of the unknown and uncover the secrets that lie beyond. So sit back, open your mind, and prepare to embark on a journey like no other with Aaron G Thompson, right here on Paranormal Spectrum.aarongthompson.comAaron will be appearing and speaking at 2nd Annual Appalachian ParaCon: in the beautiful Haunted Blennerhassett Hotel, located at 320 Market St, Parkersburg, WV 26101, USA on April 19th-21st!!Click that play button, and let's unravel the mysteries of the UNTOLD! Remember to like, share, and subscribe to our channel to stay updated on all the latest discoveries and adventures. See you there!Join Barnaby Jones on the Paranormal Spectrum every Thursday on the Untold Radio Network Live at 10am Central – 8am Pacific and 11am Eastern. Come and Join the live discussion next week. Please subscribe.We have twelve different Professional Podcasts on all the things you like. New favorite shows drop each day only on the UNTOLD RADIO NETWORK.To find out more about Barnaby Jones and his team, (Cryptids, Anomalies, and the Paranormal Society) visit their website www.WisconsinCAPS.comMake sure you share and Subscribe to the CAPS YouTube Channel as wellhttps://www.youtube.com/channel/UCs7ifB9Ur7x2C3VqTzVmjNQ

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Host Miko Lee speaks with Asian American creatives and Pulitzer prize finalists performance artist Kristina Wong and playwright Lloyd Suh. They reflect on how the covid lock down impacted their work and ruminated on how built communities can arise in times of hardship. One is creating work that explores the times we live in and the other is delving into the past. Each share their creative process and why art matters to them.   Show Note Links Kristina Wong's Website Kristina Wong, Sweatshop Overlord, at A.C.T.'s Strand Theater (1127 Market St., San Francisco) March 30 – May 5, 2024. Kristina's Radical Cram School  Lloyd Suh's bio The Far Country BY LLOYD SUH at Berkeley Rep. March 8 – April 14, 2024   Show Transcript Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   Miko Lee: [00:00:28] Good evening and welcome to Apex Express. I'm your host, Miko Lee and tonight we get to hear from two Asian American creatives. Both are Pulitzer prize finalists who have had their work presented around the country. They reflect on how the COVID lockdown impacted their work and they ruminate on how built communities can arise in times of hardship. One is creating work that explores the times we live in and the other is delving into the past to lift up stories that might be missing in history. Each share their creative process and why art matters to them. Tonight, join me as I talk story with performance artist Kristina Wong, whose show Sweatshop Overlord opens at ACT's Strand Theater on March 30th and with playwright Lloyd Suh whose show The Far Country runs at Berkeley Rep until April 14th. First up is my chat with Kristina Wong. Welcome Kristina Wong to Apex Express.   Kristina Wong: [00:01:24] I'm so happy to be here. Thank you.   Miko Lee: [00:01:27] We are so happy to have you as the performance artist, writer, creator of Kristina Wong's Sweatshop Overlord, which will run at ACT from March 30th through May 5th. Yay!   Kristina Wong: [00:01:36] Yes, that's eight shows a week, one body. Just me, everybody. Just me.   Miko Lee: [00:01:43] One woman show. Excellent.   Kristina Wong: [00:01:44] No understudy. I've been looking for an understudy. But apparently the theater doesn't think it works as well if someone else goes around saying they're Kristina Wong. So, I gotta stay healthy. For you!   Miko Lee: [00:01:54] That would be interesting, though. I would actually love to see a multi-people Kristina Wong version. That'd be really interesting.   Kristina Wong: [00:02:02] Yeah. There are enough Kristina Wongs on this planet to do that, but can they do what I do? I don't know.   Miko Lee: [00:02:07] I don't think many people can do what you do. [Kristina laughs] Okay, so I want to start with the question I ask many many people, and this is a big one: who are your people and where do you come from?   Kristina Wong: [00:02:21] My people, so many questions. Well, the people that I was born into, I'm third generation Chinese American, Toisan on my father's side and Cantonese on my mother's side. And we were a San Francisco family. Both my parents were born in San Francisco, went to San Francisco high schools. I went to San Francisco. Now I live in Koreatown, Los Angeles, my alternate Asian universe. I will say that those are the people I was born into. When I was growing up in middle school and high school I was somewhere between a theater kid who also liked making prank calls and was constantly trying to figure out who my people were and what my clique was cause I don't even know if I would totally fit in with the theater kids. And then when I got to college, I discovered radical solo performance work and activism and finally could put, like, words around things that I had been told, “We don't talk about it. You just get really good grades and then just become successful and that's how you deal with that,” you know? But was introduced to interdisciplinary art and naked performers and people putting all their trauma out there in beautiful theater ways. Now as an adult, as I tie it back into the show, Kristina Wong Sweatshop Overlord, my people are the aunties. This community of aunties that I found myself leading for 504 days during the pandemic. I somehow found myself, as many artists did, non essential and running a mask sewing group and needing people to help me sew masks. And a lot of those happened to be aunties, a lot of them were Asian women who had mothers and grandmothers who were garment workers. And we had learned how to sew as survival skills that were passed down to us. And those of late have become my people. And that's the story of the show.   Miko Lee: [00:04:16] Kristina, can you step back for a moment and just tell how that got started? How did Auntie Sewing Squad in the very, very beginning, how did it get started?   Kristina Wong: [00:04:24] March 12th, I was doing what I thought was my last show on earth. For some reason, there was a community college in Sacramento, American River Community College that had not canceled its classes, that had not taken its classes online and I had one last show on the books at 12 in the afternoon. I was doing a show called Kristina Wong for Public Office. I actually ran and served in local office in Koreatown, Los Angeles, where I live and was doing a big campaign rally show about what it meant to run for local office. And the idea was the show was going to tour all of 2020 as we led up to the November 2020 elections. And I sew my set pieces and my props. So you imagine all this American flag bunting made out of felt that I've sewn on a Hello Kitty sewing machine. And so this really ridiculous, like an American flag threw up on the set. Like that was my set. And the show is not going well, the students are very distracted. As it turns out, they are receiving a text in the middle of my show saying we're going online until further notice. So I suddenly have no income. No tour. I'm back in LA. I'm hiding inside my apartment as we all are. Going, “Why did I choose to do this with my life? Why was I so compelled to become an artist? What is my purpose in all this? Why, why did I choose this unessential work?” But then I couldn't feel sorry for myself because there were people who are risking their lives to deliver mail, to work at the grocery store, to go to work every single day at the hospital. And I see this article that I'm tagged in on Facebook saying that hospitals have no masks and are looking for home sewn masks. And the whole culture of mask wearing was so, you know, unheard of at this point and I looked at my Hello Kitty sewing machine and I was like, well I've never sewn medical equipment before. I've sewn my sets. I've sewn a giant vagina costume. I think I can make medical equipment. And I was just sort of called like Joan of Arc to sew. And I made this very naive offer to the internet where I said, if you're immunocompromised or don't have access to masks, I'll get you a mask. I didn't have the materials to do this, but I just offered this because it felt like that's what you were supposed to do in this moment. We were all connected and as strong as our weakest link.   March 20th is when I sewed my first mask. March 24th, I was like, okay, I need help because there's no way. One day when I was sewing nonstop all night, I made about 30 masks. That's not enough to fulfill the list that was exponentially building in my inbox. So I thought, okay, I'll make a Facebook group, and sort of offload some of this work to other people who might be sewing who could help me. And I make the group in a rush. I call it Auntie Sewing Squad. I don't realize our acronym is ASS. I start to add my mother into the group, her friends into the group, all sorts of folks are in the Facebook group. And as it turns out, you can't just start a Facebook group and expect people to just sew, so I, [laughs] so I find myself having to figure out how do we get the materials? How do we teach people how to sew these masks that none of us have sewn before? How do we teach people how their sewing machines work? Because some of them haven't touched their sewing machines in decades. And how do we vet these requests for masks, because a lot of people are panicking in our inbox, and we kind of have to create a system where just because someone's going, “Please send as many as you can,” as many as you can might mean 10 masks, it might mean 300. And are they just panicking right now and they think they need that many masks, or, you know, like, so we just had to make a lot of decisions and it felt like in those first days we were playing God, trying to figure out well, If we've only made a finite number of 15 masks today, who gets them, right? And obviously you're going to look at who's at most risk. So, so this was supposed to just be a two week thing, right? This was supposed to be a thing until the government got the masks off those cargo ships and got them to everybody. This was before masks became a bipartisan thing and a politically polarizing thing. And the group just kept going because we found beyond hospitals there were a lot of very vulnerable communities that could not even afford the cheap masks that were showing up on the market. And we're talking about farm workers, folks seeking asylum at the border, indigenous reservations. We sent a lot to the Navajo Nation and to the Lakota tribe in North and South Dakota. So this ended up going on for over 500 days. It became a community of over 800 volunteer aunties, all sewing remotely, all working remotely. We developed this whole system in which we could respond to the high COVID rates that we were witnessing and to communities that were being adversely impacted, either because they had no access to healthcare or no access to clean water.   Miko Lee: [00:09:03] That's an important one.   Kristina Wong: [00:09:05] Yeah.   Miko Lee: [00:09:06] How many masks did you end up creating?   Kristina Wong: [00:09:08] We ended up sewing in total, what we recorded was 350,000 masks were sewn and distributed. We also rerouted hundreds and thousands of dollars worth of medical equipment to a lot of those places. The thing is, like, in a crisis, and I have to remind us, even though it was four years ago, because we forget so many of the details, if you saw an article that farm workers were getting hit by COVID, you don't, you're not going to just send a bunch of masks to some address you find online, right? Because not everyone's checking their mail, not everyone might be at that office address, you're not clear who might distribute those masks once they arrive. So we had to do a lot of work in terms of calling and working with other mutual aid organizers and these communities and figuring out like, well, what is the actual impact? How are you getting these masks around and how many can we send you at least to hold you over for a week or two, right? Like, yes, there are you know, hundreds of thousands of farm workers, but we're not sitting on a ton of masks that we just, you know, that come out of our butt and that we just have like we actually like sit down at our sewing machines and cut and sew these things. So—   Miko Lee: [00:10:13] And you had to research and make the connections—   Kristina Wong: [00:10:16] Make the connections. Yeah. And some of those requests shifted into full on other kinds of aid. So the Navajo reservation had volunteer sewing groups, but they didn't have access to sewing supplies. I'm in Los Angeles where we have a garment district and we were looking at a map going, well, in theory, someone could drive round trip across a very long day, you know, to, to lessen the risk of exposure. And so our first truck over wasn't, you know, just a van filled with masks, but a van filled with the supplies that they could use to sew masks. And then we learned that only 30 percent of that reservation has running water. That when multigenerational families were getting COVID, there was nowhere to quarantine, so they requested things like tents to quarantine and buckets to make homemade hand washing stations. First it was sewing supplies, but we did about eight runs back and forth to the reservation during the pandemic to get supplies to those mutual aid organizers who could get it to people. I helped secure like a big soap donation from Dr. Bronner's. It was like, we just thought it was just the masks, but we basically stepped in all of structural racism and systemic you know poverty and all the ways the system was broken and it had already left behind a lot of indigenous communities and people of color who are getting hit like super hard by this pandemic. So ASS, our unintentional acronym, Anti Sewing Squad, that's sort of what we fell into was going from, okay, we're going to make a few masks to full on shadow FEMA.   Miko Lee: [00:11:51] Yeah, not even just sewing squad, but sort of a superhero squad. Let us come in where the government has failed and help where we can. It's incredibly powerful. Thank you for doing that.   Kristina Wong: [00:12:02] Yeah, I don't know if I would have done it again, honestly, even though out of it came this incredible show, but if you told me at the top of this, this is actually going to go on for 500 days, I don't know that I would have done it. Like, it was so exhausting, and that's also sort of a joke in the show, is people kept going, “Oh, you aunties, you're heroes, you're heroes!” and I'm like, oh my god, like, heroes are what you call the people who do the work no one wants to pay for apparently, because [laughs] this is, this is, this is, this sucks. This sucks. Like, we don't want to be heroes. We want our systems that, like, we, we just saw how everything failed us in this moment. Capitalism failed us. The medical system failed us. Just all these things that we're supposed to step in, in these moments of crisis didn't work. What I witnessed and why I made a show about this, is I've witnessed how community steps up and I witnessed how these aunties showed me this generosity I've never witnessed in my life. Like most of the friendships I have in Los Angeles are because someone does something for a living and that, serves me and my job in a certain way, right? They're very transactional relationships. And I witnessed people who I had no idea who they were before this moment, willing to come to my house, brave this very unknown pandemic, to pick up a roll of elastic, to sew for a total stranger, risk their life going to the post office to mail these things, right? And so to me, that's, what's worth celebrating is this opportunity that I think that we all had as humanity to witness that this was our moment to all come together, I would say we lost that opportunity and we've just become resentful and whatever, but I, I feel like Auntie Sewing Squad showed me a glimmer of the generosity that was possible. And for me, that's worth celebrating. And the only reason why I feel like it's worth reliving the pandemic. In a 90 minute show.   Miko Lee: [00:13:54] Every night for multiple nights.   Kristina Wong: [00:13:56] Yes, eight nights a week. What am I doing? The show is so, you know, people are like 90 minutes. So long. It's like, it's because the pandemic was so long. I would have loved to cap this at 45 minutes, but this kept going. It kept going.   Miko Lee: [00:14:09] How many members are there in the Auntie Sewing Squad?   Kristina Wong: [00:14:12] I would say. We had and they were all involved in different capacities. I mean, like some of them may have been involved for all of a week before, they got pulled away by their families or job obligations. But we had about 800 different aunties coming in and out of the group. Not all of them were sewing, some of them were organizing spreadsheets, making phone calls, some of them were driving aunties. We had a huge system of care aunties, led by our Auntie Gail and basically, people who couldn't sew who felt really guilty would [be] like, “Can I send you all a pizza?” Which was really necessary because a lot of these aunties were operating on survivor's guilt, right? Of feeling like, well I have this privilege of being able to stay at home while my mailman risks his life to get, you know, get me the mail. Because it's really hard to go to sleep when you know that you at your sewing machine an hour longer could possibly save someone's life. But we also needed to encourage these aunties to stop and rest. You can't just tell people, okay, sew a bunch of masks and expect them to stay motivated to do it. We had aunties who lost family members to COVID. We had aunties who are falling into their own depression and getting isolated. So much of this group wasn't just about like, while we joke it's a sweatshop, a lot of it was this entire community that supported each other, cared for each other. We'd have zoom stitch n bitches where we'd, you know, the aunties would, I was working out this show on Zoom, never thinking that it was going to premiere off Broadway, to basically just entertain the aunties while they were at their sewing machines. Like we were this whole system this became this weird ad hoc family that supported each other through this very strange time. And that was sort of the staying power of why people stayed involved is because they'd never experienced community like this either, which was just all pure generosity. I feel like I'm describing a cult, and I sort of am, but whatever. It's a cult called ASS, so it's fine.   Miko Lee: [00:15:59] Well, a unique community that came together to address the harm that was happening. It's beautiful. Can you go back in time, roll us back in time, to how you first got politicized? I heard you say that about college, but is there a moment that happened for you?   Kristina Wong: [00:16:16] I think I was always a little politicized. I just never really had the language and education around it. When I was 12 years old in our middle school, there was a science lesson plan contest and we basically prepared a science lesson plan and taught it to another class. And my partner and I, we did something about saving the planet and just doing a deep dive. This is the nineties, right? Like how much we were screwing with our planet. And I think I still don't know that we all know the lesson, but I was like a little Greta Thunberg, you know. I just didn't know how to be an activist. It was like, do I collect cans that are thrown on the street? Like, how do I, how do I do this? Like, how does this equate to actual change? And I think that's, I think we have some more of those tools and we're also cognizant about how frustrating those tools are to implement and see happen. But that's, I think the first time I realized I was an activist and it wasn't until I got to college and was introduced to, I didn't know what Asian American Studies was I was like, what? Why would you study that? Like, what is that? I had no idea that Asian Americans have had a whole political history that has worked alongside the civil rights movement and, I had no idea I could put words to the microaggressions I'd expressed my whole life and that I could actually challenge them as not being okay. I went to UCLA. I feel like that's where a lot of people figure out that they're Asian American. That's also where I began to understand the political power of art. What I had understood of activism before that point was marching in rallies, screaming at people, berating people to recycle. But, you know, it's not sustainable. It's exhausting. It makes people want to avoid you. And it's an emotionally depleting. And so being introduced to artists, just sort of sharing their lives and their lives as having political power to put forward and to put meaning to was really incredible to experience like performers. I think some of the first performers I saw just like put themselves forward and all their flawed ways was actually kind of profound and incredible. That's where I was drawn to making art as my sort of form of protest and activism.   Miko Lee: [00:18:26] Is this where the roots of the Radical Cram School came about?   Kristina Wong: [00:18:29] Oh, yeah. Yeah. So Radical Cram School is my web series for children. You can find it on YouTube. And where that started was one of our producers, Teddy Chow, his daughter Liberty had come home and they, at that point they were living in Ohio where they were one of the few Chinese families there. And the daughter said, “I wish I wasn't Chinese.” And Teddy was like, “Can you go talk to her and her friends and make her proud?” And I was like, “You know what? I said that too when I was a kid.” And so somehow this blew up into us like, well, let's create a web series for kids, specifically for Asian kids, because I feel like Asian Americans and kids don't really. We just sort of, the tools we are offered politically don't really have our face in them. Like, we don't really understand where we fit in a political movement, and how to be an ally to black and brown movements. And I was like, let's do a web series where we gather Asian American kids and it to me was a little tongue in cheek. And I feel like a lot of me being in a bubble of other progressives in Los Angeles feels like I can lovingly poke at this idea of a cram school where we're trying to quickly teach Asian kids about the entire world of what's overwhelming and oppression in the setting. And so that became Radical Cram School which went on for two seasons and was completely decried by right wingers like Alex Jones. So I would say that's a success.   Miko Lee: [00:19:53] I think it is so delightful and funny. It's a little mix of like drunk history with Sesame Street.   Kristina Wong: [00:20:00] Yes. Yes. That's exactly what we were going for and I feel like I'm very lucky at some point in my lifetime. Yes, it didn't happen until college and like post college was introduced to all these incredible Asian American activists, many of us who are still with us right now. And this history and I feel like it's worth sharing.   Miko Lee: [00:20:21] The child that inspired the whole series. Was she actually in it?   Kristina Wong: [00:20:26] Liberty. Yes, she was in it. She's in it. She's both in the first and second season.   Miko Lee: [00:20:29] Was it mission accomplished in terms of having a sense of pride of being Asian American?   Kristina Wong: [00:20:35] I think so. It's always ongoing, right? Like I think pride, you don't, you don't get it once and it stays forever. It's something that we like, as we constantly learn to like love ourselves and appreciate what we have. And we're also part of growing a community too, right? Like, it's not just like, Oh, I'm proud. I found my pride at 13 and it stayed. Like, we always feel like kicked to the curb constantly and challenged. And I think, like for me, this pandemic was a really challenging time for Asian Americans. As we witnessed like the backlash, the hate, like how backwards it was that people would equate. Do you remember early on when people were like, can you get COVID from Chinese food? Like, it was just so like, what happened?   Miko Lee: [00:21:13] I mean, the whole Kung flu virus.   Kristina Wong: [00:21:15] The Kung flu, China virus, like all these these just sort of racist associations with it are like, are constantly challenging to our sense of pride. So hopefully having that web series out there will be these touchstones to remind Asian American kids that we exist. We're here. There's a basis. We're not building this from scratch and we may be recording it from scratch or constantly trying to remember this history into existence. But, to me it's a verb, right? The verb of finding pride is always active.   Miko Lee: [00:21:44] I wanted to switch gears a little bit and talk about how you, you often in your work play with gender expectations around Asian women from, you know, like you mentioned before sewing on your Hello Kitty sewing machine, which I have a Hello Kitty sewing machine too.   Kristina Wong: [00:21:59] Yes. It's a good machine. I don't know if it's a Janome.   Miko Lee: [00:22:02] It's actually incredibly practical. It doesn't have the bells and whistles, but it works. Yeah but I remember your big vagina MC for Mr. Hyphen America. I can't believe you sewed that on one of those tiny machines. And then, you have this web series about taking down how white men can date Asian women. And then the other thing is your fake porn site. Can you tell us about that?   Kristina Wong: [00:22:23] Oh, that's like That's 20 years of projects you've just named. Well, my very first project out of college, year 2000, still had dial up internet, my friends, was called BigBadChineseMama.com. You can still look it up. And this is before there were search engines, SEOs. And if you look for Mail Order Bride on Yahoo, because Yahoo was the search engine of choice at the time, it showed up in the top 10 search results for Mail Order Bride. Now, you know, if you look for porn, clearly outnumbered, yeah. So that was like my first project. And a lot of that came out of like me being kind of a depressed college kid and trying to use this thing called the internet to research stuff for my Asian American women class. And all I was finding was pornography and was like, Oh my God, [laughs] we have to like intercept this somehow. And like always feeling like I was not good at being a girl, right? Like the standards for being a good Asian girl, were the extremes. It was like Miss Chinatown, Connie Chung, and then these porn stars that would show up, you know, on these Google, on these searches and that was, that's it, right? So a lot of my projects have been about like being awkward out loud and being uncomfortable out loud and leaning into publicly embarrassing myself, but saying that it's my work.   Miko Lee: [00:23:45] And how has your family responded to your work? You grew up in San Francisco.   Kristina Wong: [00:23:49] Yeah. Oh, they didn't like it at first, but they love it now because I'm a Pulitzer Prize finalist, my friends.   Miko Lee: [00:23:54] Oh, how did that feel to get?   Kristina Wong: [00:23:56] So crazy! You know, I entered, anyone can become a Pulitzer Prize contender. Like you just need 75 dollars and then you mail your entry in and the committee reads it. And so six years before I was a Pulitzer finalist, my friend Brian Feldman and I, we entered our respective plays. Mine was The Wong Street Journal, his was a very experimental piece called Dishwasher. His entry was like two pages long and we were up against Hamilton, which ended up winning. And my mother was so excited because she'd only seen my play, you know, like that was the only play she'd ever seen that year. And she was like, “You're going to win. You're totally going to win.” Which was great that I had her confidence, but I was like, probably going to go to Hamilton. And I actually got a press pass, and I went to Columbia College, where they announced the winner just for press in person, and I happened to just be in New York at that time, and I had prepared three speeches. One, if I won, a speech if I was a finalist, and then the speech if I lost. And I read all three speeches outside after Hamilton was declared the winner of the Pulitzer. So that day when they were announcing it, my, that same friend Brian was like, “Good luck today.” And I was like, “What are you talking about?” And he's like, “They're announcing the Pulitzers.” And then they were announcing it online because you know, it's 2022. And I was like, they're not going to give it to me. I do solo work. I'm an Asian woman. They've never given an Asian woman anything in the drama category and my phone just started exploding at lunch when I was in Chinatown having lunch with some friends and I couldn't believe it. I was just like freaking out and it just feels so dignified, right? And I'm not exactly a dignified person. So I'm like, [laughs] you know, I was like, “Oh my God, this is going to look so good on Tinder. Holy crap, this is crazy.” So it's, I'm still shocked when I look at that by my name. I'm like, this is so weird. But it's just funny because yeah, I entered as a joke six years before, and then I was on the committee the following year reading the applicants. So crazy things happen, folks. Crazy things can happen.   Miko Lee: [00:26:06] I have one more question, which is, you started ASS, Auntie Sewing Squad, in the very beginning when you were making this piece about running for public office. Even though that was created in 2020, you know, we're basically having the same election again.   Kristina Wong: [00:26:19] Yeah, I know. It's a sequel. Why are we in the sequel? I hate sequels.   Miko Lee: [00:26:24] So are you reviving that piece as well?   Kristina Wong: [00:26:27] I did, I have done it a little earlier this year. There have been some requests to maybe do it before November. We will always have elections, so it's a little bit evergreen. I actually had a reality television pilot that didn't get picked up by Trutv. And it was a very self satirizing version of myself that I was going to be playing in this pilot, which was basically satirizing myself as an activist. And it did not make sense once Trump took office to satirize myself, because as it turns out, most of the world have very two dimensional visions of what an Asian American is like and would think that that's who I really was and not get that it was a loving poke at myself. And I think looking at Radical Cram School and how I play myself there can give you a sense of, this won't make sense to everybody. Right. And so I was an out of work reality TV star, and what do you do when you're an out of work reality TV star? You run for public office. So there's a lot of that humor around that era. Just, I think we've just gotten so exhausted with, right? [Laughs]. Like, why, why are these two people still here? Oh my god. This is the best we could do? But there's still a lot of public offices to run for. It doesn't start and end with the presidency or the Senate. The story of the show is like what can happen locally? There are so many local offices that would surprise you. You could literally just go to the meeting and go take the vacated seat and go around saying you're an elected official. For better or for worse, whatever that means. So, but yeah, it did get recorded for Center Theatre Group, but it's not available for streaming anymore. So they did stream it right before the election during the pandemic. And maybe it will have a few more runs right before the election this year, but I'm not sure.   Miko Lee: [00:28:07] Okay, well, keep us posted so that we know. Is there anything else you'd like our audience to know about your upcoming play at ACT, Kristina Wong's Sweatshop Overlord?   Kristina Wong: [00:28:19] I just want to say it's such a special show and I feel very lucky I feel like there's not a lot of this. There's literally pushback in the publishing world and the network TV world where they're like, we do not want you to pitch anything about the pandemic. We are sick of the pandemic. So I feel like this record of this time came under the wire. I'm told it is not annoying as many things about the pandemic are [laughs]. And to me, it's really I find a lot of humor, not at the expense of like how tragic that time was, but in that a group of aunties came together and formed this ad hoc sewing army to protect the country. And, and so this really plays out like a war movie on stage and I think really kind of gives us something to reflect on and appreciate of each other in that moment. And so that's really what I hope brings people out is this need to feel that there's something sort of comforting that we can take from this moment, because I don't know that we got that. I think we just sort of ran from that so fast that we never really reflected. I hope to see everybody at ACT, The Strand Theater on Market, March 30th to May 5th, I believe is when I close. I do shows eight days a week. I do them on weekdays. I do them on weekends. I am living in that theater, folks, and I am living there for you. So please come out. I'll see you. It's Kristina Wong, Sweatshop Overlord. Finalist for the 2022 Pulitzer Prize in Drama.   Miko Lee: [00:29:44] Kristina Wong, thank you so much for sharing your time with us. And we look forward to seeing the show and learning more about the Auntie Sewing Squad. Thank you so much.   Kristina Wong: [00:29:54] Thanks Miko.   Miko Lee: [00:29:54] This is Apex Express and you are listening to 94.1 KPFA and 89.3 KPFB in Berkeley, 88.1 KFCF in Fresno, 97.5 K248BR in Santa Cruz, 94.3 K232FZ in Monterey, and online worldwide at kpfa.org. Next up, listen to the Radical Cram School where kids learn about the story of Detroit activist and American revolutionary Grace Lee Boggs. This is the project that Kristina Wong was talking about creating to help young Asian Americans have a sense of pride and an understanding of their history. Take a listen to the Radical Cram School.   Radical Cram School: [00:30:43]   Miko Lee: [00:35:24] That was Kristina Wong's Radical Cram School. You can check out more of that on YouTube, which is linked in our show notes. Next up, take a listen to my interview with playwright, Lloyd Suh. Welcome award winning playwright Lloyd Suh to Apex Express.   Lloyd Suh: [00:35:41] Hello.   Miko Lee: [00:35:43] Your new show, The Far Country, is premiering at Berkeley Rep through April 14th and we're so happy to have you here.   Lloyd Suh: [00:35:52] Thanks for having me.   Miko Lee: [00:35:53] Okay I'm going to start with a big question, which is who are your people and where do you come from?   Lloyd Suh: [00:35:58] My family immigrated to the United States, from South Korea in the early 1970s. I was born in Detroit, Michigan and grew up mostly in the South suburbs of Indianapolis, Indiana but I've lived in the New York City area for the past like 25 years.   Miko Lee: [00:36:17] Thank you so much for that. I noticed that many of your plays are based around the Chinese American experience and less on your Korean American background. Can you talk a little bit more about what has inspired your artistic play choices?   Lloyd Suh: [00:36:30] Yeah. In the past, like, almost decade, really, I've been writing about these kind of forgotten or underexplored moments in Asian American history. It's kind of very accidental and almost involuntary. I was doing research on one play and it would lead me down a rabbit hole into reading about a story that I just couldn't shake, that I needed to, you know, get in a room with peers and explore. And so one play would just kind of lead to the next, I was writing a play under commission for the National Asian American Theater Company in New York called Charles Francis Chan Jr. That play kind of accidentally became about the history of the stereotypes that kind of permeate around Asian America to this day, and where those stereotypes came from. And in researching that history, there's just so much more scholarship around now, around Asian American history than there was when I was in school. There was just so much to read, and so much that was new to me. And in the process of researching that play, I came across the story of Afong Moy, regarded as the first Chinese woman to set foot in the United States. And there was something about her story that just haunted me, that I just couldn't shake and I knew I needed to get in a room with peers and like really wrestle with it. So in the process of that play, I was researching the exclusion era and it's unavoidable, right? The way in which the Chinese Exclusion Act and the experience of people on Angel Island really serves as kind of a fulcrum for so much of what Asian America is now, right? It created geographical restrictions, legislative, economic, not to mention cultural and stereotypical. Like, it's just the foundation for so much of what we've had to navigate as this obviously, socially constructed, very important sort of attempt at solidarity that we call Asian America. What that led to was just feeling like I'm just following, you know, I'm just following this impulse. I was doing it kind of subconsciously at first, but once I became aware that I was writing this history, it became really clear that what I was looking for, in total was trying to place myself on this continuum, trying to understand, where have we come from and where are we going and where are we now. The Far Country and another one of my history plays, The Heart Sellers, which is kind of a bookend to The Far Country in a lot of ways. were written largely during the pandemic.   Miko Lee: [00:38:57] Oh, that's so interesting. And so you've sort of been on this pathway, a timeline through Asian American history.   Lloyd Suh: [00:39:05] Yeah. It felt different during the pandemic, like, right. Like, before it was kind of impulsive and it felt very organic and I wasn't always very self aware of that, about how one play connected to the other. But once you know, we were in this moment of deep self reflection just based on what was going on in the world at that time too—a pretty intense reckoning in this country over American history, over, you know, who we build monuments to, over our accounting of what it is to be an American and a contemplation about like who we've forgotten. And so it became just more purposeful in that way. It became just clearer, especially as I started to think about the ways in which, you know, I have aging parents and I have growing children and wanting to understand how do I talk about one to the other? How do I place myself and my parents and my children on this continuum of this long arc of history? That doesn't just go backwards, but, you know, it goes forward as well. That in each of these plays, there's a gesture towards the future, and then thinking about the future and when, you know, when characters talk about the future in these plays, I like to think that for actors who are, who are playing those roles, that they can feel really palpably and recognize that when these characters are talking about the future, they're talking about them. And then when audiences hear them talk about the future, they also could feel the ways in which they mean them.   Miko Lee: [00:40:24] So you're both, as Helen Zia says, lifting up these missing in history moments, trying to tell these stories that haven't been told. Also, I hear you're reflecting a lot during that time of COVID during the lockdown time on how do we rise up our stories? I'm wondering if you could talk a little bit more about the pandemic time and the impact on you as an artist and if the rise in anti-asian hate that really started happening around that time impacted your storytelling.   Lloyd Suh: [00:40:53] Absolutely. Yeah, I mean that whole period was, it was such a bizarre time to be a playwright. I mean, it was a bizarre time to be anything, right? But the idea of writing a play was pretty absurd because there were no theaters, right? And it's like, there's no sense of, hey, when will there be theater again? Right? It just seemed—   Miko Lee: [00:41:15] An unknown, an unknown field, right?   Lloyd Suh: [00:41:17] Yeah, so it was a little silly, right? You're like, oh, your play is due. And you're like, no, it's not [laughs] nobody's going to do anything. Like, why am I writing plays, right? And I think everybody in that time was thinking about, like, why do I do the things that I do? Why do I spend the time on the things that I spend time on? And, you know, our relationship with time was just very different. So very early in the pandemic, I was like, yeah, why am I, why would I write a play? There's no, it just doesn't make any sense right now. But then as I sat with the things that I knew I needed to wrestle with, and just knowing the way I wrestle with things is to write about them, that it felt like, okay, I'm gonna, I'm gonna do this anyway, even though there's no sense that theater will come back anytime soon. I'm going to do this anyway. And it became an aspirational thing. Like to write a play became aspirational in the sense that it's like, I believe that theater will come back, that we're not all gonna die, that civilization will continue, and that this will matter, right? That what I'm exploring right now, will be meaningful to myself, to my peers and to strangers, in whatever the world looks like then. And so to write aspirationally is pretty, pretty cool. It's different, you know. To be able to write with that aspiration was really valuable. And I think it's part of why and how these plays came to be the kind of plays they are.   Miko Lee: [00:42:40] I appreciate the hopeful side that you are infusing into your plays, given the time that we were in was when many people felt so hopeless. I'm wondering if because you're writing about the immigration station and Angel Island and also the Exclusion Act were, what was happening in the country around, you know, Trump saying Kung flu virus and all the stories about the elders that were getting beat up in Chinatown and, all over the country, the slurs that people were getting. Did that impact or help to inform how you're writing about the Exclusion Act?   Lloyd Suh: [00:43:14] Yeah. I think that reading the news during that time, it's very similar to reading the history, right? You can see where that comes from. I remember during that time, in a lot of news media, tended to make it seem or insinuate that this was new, that this was surprising somehow. Having been immersed in this history, it was frustrating to see the ways in which people, sometimes very smart people [laughs] not recognizing, hey, this is not new. This is ancient. This was there from the beginning. Yeah, of course, that absolutely informs everything. It feels like, yes, I'm writing history, but I'm trying to write out of time. One of the things about writing aspirationally at a time when there is no theater, is you also can't write to a specific time, you know, in the pandemic moment, writing in the pandemic moment you cannot write to the pandemic moment, right? Because you know, oh, this will not be, this is not when these plays will be seen. So you're writing for a kind of a future, right? You're writing for a time that you hope is different, in good ways, but you also acknowledge may be different in, in unpleasant ways.   Miko Lee: [00:44:15] Right.   Lloyd Suh: [00:44:16] But it's also like all of this is out of time, you know, the phenomenon of violence against Asian Americans or against anybody or against a culture is so pervasive throughout history. Right. So, it's not hard to make that or to let that exist out of time. Right.   Miko Lee: [00:44:35] I mean, the violence against the culture is deeply American.   Lloyd Suh: [00:44:38] Yeah. And feeling like it's not something you have to force. It's just something that you have to acknowledge and reckon with on its own terms, which is to say, it's not about 2020. It's not about a particular moment. It's about a long arc of history where these things come from, how they've brewed, how they've festered, how they've lingered, how they've been ignored and forgotten and buried over, and how they might be transformed. How they might be diagnosed, you know, like I think of them as wounds. In a few of these plays, characters refer to, like a sense of historical trauma as a wound, a wound that you can't recognize if you don't know where it comes from. You can't diagnose it and you can't heal it if you can't diagnose it. So part of it is like saying, “Hey, there is a wound.” When I think for a very long time a lot of cultural tradition has been to say, “Push it away, push it away. Move on.”   Miko Lee: [00:45:31] “Keep working. Don't, don't think about it. Just keep working.”   Lloyd Suh: [00:45:33] Yes. Yes. Bury it. And even generation to generation, you don't want to hear those stories.   Miko Lee: [00:45:38] That's right.   Lloyd Suh: [00:45:39] If I have a thesis in any of this, [laughs] it's that, no, we need, you need to know. You know, I think that these characters, this is too early for them to have a name for the concept of epigenetics, but I see it. I see it in tradition, this idea that it does pass down.   Miko Lee: [00:45:54] The trauma through the bloodline.   Lloyd Suh: [00:45:56] Yeah. And so like, if you're going to feel the pain, you got to know where it comes from. If you know where it comes from and if you can deal with it with people, right, with a community on a deep level, then it can be healed. And if you don't, then it never will be.   Miko Lee: [00:46:10] So do you look at most of your plays as a healing modality? Is that what you want from your audiences?   Lloyd Suh: [00:46:15] That's a great question. I mean, I think about that for myself, I would say on a certain level. I mean, I think about it as many things, but that is part of it. Yeah. Like I think about it as I need to understand this. Like, you know, like just thinking about the exclusion era. I felt like, okay, I know I need to write about this because I know we need to make sense of it for myself. I need to understand how it manifests in my life, how it manifests in what is possible for my children, how it manifests in America. So that's part of it for sure for me and for my peers, the people in the room. For audiences, I would say, especially as I've gotten older, I've started to redefine my relationship with audiences in that, like, I had a playwriting teacher once talk about how a playwright's job is to unify an audience. That no matter where an audience comes from, like whatever happened to them that day, they're all coming from different places when they gather in the theater. But through the course of the play, a playwright wants them to become one organism and have the same discoveries in the same moment.   Miko Lee: [00:47:13] Oh, that's interesting. Do you agree with that?   Lloyd Suh: [00:47:16] For a long time I did, but then I had this moment when I was writing a play for young audiences, when I found this really useful tension between like the adults who, you know, thought that the fart jokes were juvenile [laughs] and the young people who would just not understand these references that are there for the adults. And it was kind of cool because you'd feel pockets, different people reacting in different ways. And especially as I was doing some of these early history plays, I found this useful tension between people based on socio location. That Asian American audiences were just naturally responding to different things in a way that was kind of interesting. And so what I realized is if I manipulate an audience so that they're operating as one organism, they're not responding as themselves. They're not responding in as deeply personal of a way, right? So what I want is for people to bring something of themselves to it. Like, no matter what happened to them that day, no matter what happened in the news, no matter what happened in their personal life, that through the experience of watching a play, they can relate something of themselves to what they're watching, and they can bring that into the theater with them. and so, like very purposefully in these plays, I try not to unify an audience, right? Which is to say, I'm not trying to divide them, but I'm also trying to make them respond as individuals.   Miko Lee: [00:48:37] Right, because the first one actually feels like you're trying to get a cult together. Everybody should think the same way and feel the same way, as opposed to individually responding about where each of us are at and how we take in that information of the play.   Lloyd Suh: [00:48:52] Yeah, yeah. And I just find that so much more satisfying because I like to leave a lot of room in my plays, for actors, for directors and designers to personalize.   Miko Lee: [00:49:02] All the other creatives to be able to have their input to put it into their voice.   Lloyd Suh: [00:49:07] Yeah, and just even to make choices like there are moments where you could go many directions like if somebody were to ask me, “Hey, what does this line mean?” I would say, “Well, you know, like, what does it mean to you?” Right? Like it's make it yours. Every character can have secrets that I don't need to know.   Miko Lee: [00:49:22] Oh, you're doing therapy speak with the actors [laughs]. What do you think it means?   Lloyd Suh: [00:49:26] Yeah, I mean, I think it is. It's like making choices, making big choices that allow for any production to be an amalgamation of many people's real personality, their history. Like if I were to go into a rehearsal room and just spend it making everybody do what I already know, I want them to do. Then watching the play is just watching something where I already know what's going to happen.   Miko Lee: [00:49:47] Right. What's the fun in that? [Laughs]. Um, so let's come back and talk about The Far Country, which is at Berkeley Rep right now. Tell us about this play. I heard you saying that each of your plays, the rabbit hole of the journey that one discovered the other, but can you tell us very specifically about The Far Country?   Lloyd Suh: [00:50:07] Yeah, The Far Country is a play that takes place during the exclusion era, about a very unlikely family that spans across a couple of decades navigating the paper son system, and the experience of a young man on Angel Island Detention Center. The journey leading up to that and the journey leading away from it as this very unlikely family tries to build something lasting in America, despite the extraordinary legislative restrictions that were in place at the time.   Miko Lee: [00:50:36] Lloyd, can you speak a little bit more for audience members that may not know what the Exclusion Act was?   Lloyd Suh: [00:50:42] Yes, totally. The Chinese Exclusion Act was legislation passed in 1882, that restricted all Chinese laborers from entering the United States. And this was a period of time when China was, specifically Toisan was ravaged by natural disaster, war, economic disenfranchisement, horribly one sided trade agreements with the West. There was an extraordinary wave of Chinese laborers who were immigrating to the United States in the years preceding. Partially through the gold rush, partially through the opportunity to work on the transcontinental railroad. In the United States, it was a period of such xenophobia and such anger and hatred towards these incoming Chinese laborers that these extraordinarily restrictive laws were passed, the Page Act, prior to the Chinese Exclusion Act. But what also happened is the great earthquake of 1906 in San Francisco destroyed all the government records pertaining to birth records and who was there. So it created this really odd opportunity for Chinese currently residing in the United States to claim birthright citizenship, to claim to have been born in the United States because there was no documentation to prove otherwise. And if somebody was able to obtain birthright US citizenship through that process, they could then bring their children to the United States. And so what it did was it created this system whereby people who had obtained birthright US citizenship could then pretend to have a son or a daughter that they would sell that slot to so that somebody could enter the United States. And so it created these really kind of patchwork unlikely families of people connected only by paper, only by false documentation. And the navigation of that system, ultimately created this very weird community.   Miko Lee: [00:52:32] Expand on that. What do you mean by weird community?   Lloyd Suh: [00:52:36] People who were not able to be themselves, who changed their names, who at least on paper were pretending to be somebody else. Families that were not connected by blood, but pretending to be connected by blood. A community that was almost entirely male, a community that was in the United States, but not really permitted to travel outside of a particular geographical area. This was a community that was constructed in reaction to legislation, in reaction to imprisonment on Angel Island. And in reaction to the horrible conditions of that time. What's remarkable to me is the ways in which they built a community anyway, they built families anyway, they built opportunity anyway, and the resilience of that, the bravery of that, the sacrifice of that, is something that I am simultaneously in awe of, but also feel a responsibility and an obligation to build on to honor, to try and illuminate in some way to try to share with others. But also just to recognize the incredible pain of it, that they gave up everything, like really everything. They gave up their name, they gave up their family, they gave up their identity, in order to pretend to be somebody who belongs. That's the only way to build any kind of future. These were pioneers who did things that it's hard for me to imagine. But I know that they did it for us. Not just us, but for the future, for future generations, for you know, those who come after, and that is very powerful to me.   Miko Lee: [00:54:03] I appreciate that as a fifth generation Chinese American, whose family comes from Toisan, whose grandmother was on angel island under a different name because her husband, my grandfather had bought papers from her great grandfather so that they could not actually be married because on paper they would be brother and sister. So even though she had a legal right to actually be in the U. S., she had to take a whole new name and a different identity on Angel Island. So we all have these complicated stories that are part of our history. Thank you for rising that up and bringing that to the world. I'm wondering what you want the walk away message for folks coming to see The Far Country.   Lloyd Suh: [00:54:49] Yeah. I mean, that's a great question. The only way I can answer it is to go back to what I said before about wanting people to respond personally. Like I think everybody has a history, everybody has a family history, and everybody's is different, but I hope that anybody who watches this play has moments where they can think about their ancestry. About the things they know and the things that they don't know and just change their relationship to that somehow, just really reflect on it and reflect on not just their personal history, but how it relates to their definition of what it is to be an America. To add this really huge, but underexplored moment in American history and add it to their accounting of what it is to be a citizen, what it is to be an American. Cause one of the things about this history, as I'm describing the paper son process, depending on a person's particular relationship with the concept of immigration and depending on a person's political leanings, you know, some might hear my description of that and say, “Well, these are criminals. These are people who abused the system.” And I think that is a part of this history. One of the reasons it's buried. One of the reasons it's not talked about is because there is a sense of shame, societal shame, cultural shame, that these things were necessary, right? Shame is part of it. I don't want to pretend it's not, but I also want to acknowledge that in addition to whatever that sense of shame is, is a sense of pride. A sense of bravery, a sense of dignity, a sense of aspiration, what people were willing to do in order to build something for the future, for us, for their families. So a part of that is like just knowing that many of those stories still are untold, and wanting to uplift and honor, and, acknowledge, the beauty in these pockets that have historically felt painful.   Miko Lee: [00:56:48] Thank you Lloyd Suh for joining us on Apex Express.   Lloyd Suh: [00:56:51] Thanks so much. Appreciate it.   Miko Lee: [00:56:52] Please check out our website, kpfa.org to find out more about our show tonight. We think all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important. APEX Express is created by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, Aisa Villarosa, Estella Owoimaha-Church, Gabriel Tangloao, Cheryl Truong and Ayame Keane-Lee.   The post APEX Express – 3.21.24 Community in Time of Hardship appeared first on KPFA.

Segment 1: Tom Gimbel, founder and CEO of LaSalle Network, joins John to talk about their 2024 Talent Index that showed only 39% respondents were satisfied or very satisfied with their current job. Tom gives us the details behind these numbers. Segment 2: Philippe Weiss, President, Seyfarth at Work, joins John to examine if there are any “magic words” […]

The I Love CVille Show headlines: For Sale: Common House Building (Market St) $$$ Deals: Nearly 50% Of Homes Above $850K College Campuses: What's Fair Free Speech? Should Students/Teachers Face Punishment? New Regional Transportation System Needed What Would New Transpo System Look Like? How Good Is Virginia Men's Basketball Team Syracuse at Virginia, 12 PM, Saturday, ESPN2 Read Viewer & Listener Comments Live On-Air Jerry Miller was live on The I Love CVille Show! The I Love CVille Show airs live Monday – Friday from 12:30 pm – 1:30 pm on The I Love CVille Network. Watch and listen to The I Love CVille Show on Facebook, Instagram, Twitter, LinkedIn, iTunes, Apple Podcast, YouTube, Spotify, Fountain, Amazon Music, Audible and iLoveCVille.com.

York Tec Centro brindará educación básica para adultos, capacitación lingüística y de habilidades laborales y asesoramiento profesional a personas históricamente desatendidas en la comunidad de York.  SACA se ha asociado con York Community Resource Center, una organización sin fines de lucro que administrará los programas de desarrollo de la fuerza laboral que se ofrecerán en Tec Centro York. El nuevo Tec Centro está ubicado en la antigua sucursal bancaria de M&T en 800 E. Market St. 17403 en York. --- Send in a voice message: https://podcasters.spotify.com/pod/show/radiocentro/message

Cruise is recalling all its self-driving vehicles nationwide following an accident in San Francisco last month. It started when a hit-and-run driver struck a woman who was walking south of Market St., throwing her into the path of the Cruise vehicle. Instead of coming to a stop, the vehicle did as programmed and pulled over, dragging the woman with it. KCBS Radio news anchor Patti Reising spoke with KCBS insider Phil Matier for more.

Be bald, and be free! That's the slogan for one of the supposed holidays for October 14, and I hesitate to even mention it at all except to say I represent. I've always thought of pawns as bald, and this is National Chess Day as well. Supposedly it's also National I Love You Day, but rest assured that Charlottesville Community Engagement has that sentiment every day with a sunrise and a sunset. I'm Sean Tubbs. In this edition:* A Charlottesville man was killed by gunfire early this morning in the 200 block of East Market Street* Charlottesville has announced that the opening of an overnight shelter on October 21 will coincide with a restoration of closing times in Market St. Park * A public hearing date has been set for University of Virginia Foundation's request to rezone part of the North Fork Discovery Park to include up to 1,400 residential units* Snippets from two candidate forums for the Albemarle County Board of Supervisors This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit communityengagement.substack.com/subscribe

The 502 R&B Show in Louisville, KY !!!!!! The "502 R&B Show”, hosted by: DJ Mr. Yeah @iamdjmryeah (IG), Mr. Desire himself Musick Harris @MusickHarris (IG), newly added Danny Phantom @oneChillAssDude are back for Season 4, held every Wednesday night from 10:00 pm to 12 Midnight, based out of Louisville, KY aired on 101 The Vibe FM Radio, syndicating on K102 Digital Radio, both a Midway Multimedia, Inc stations, 87 FM - Atlanta and newly added DalSoul Radio - Charlotte, NC. Live Broadcast from: Gerties Sports Bar - 823 E. Market St, Louisville, KY (Nulu Area) This show's primary aim or reason is to bring back and keep the good music that “we” the community all know and fall in love with. Bringing the light back on the artists and music that set the mood and got you in the groove through the radio again (specifically 101 The Vibe FM | WVBE-DB) in Louisville, KY, our sister station K102 Digital Radio in Elizabethtown, KY, 87 FM in Atlanta, GA and newly added DalSoul Radio - Charlotte, NC. Also, there will be live feeds on social media (i.e. Facebook, Instagram, and Twitter), YouTube, and Mainstream podcast platforms such as iHeartRadio, Spotify, Apple Podcast, and iHeartRadio to name a few. Follow Us on IG/Twitter: @IamDJMrYeah @MusickHarris @101TheVibeFM @K102Digital @BeatBreakRadio --- Send in a voice message: https://podcasters.spotify.com/pod/show/the502rnbshow/message

The final Friday of September is upon us and there are 344 days until there is another one. Perhaps the best thing to do is to think about today while also thinking about all of the times that are still waiting in the future. It's the mission of each edition of Charlottesville Community Engagement to provide a little context of where this community has been, where it is, and where it might go in the future. All while staying, right here. I'm Sean Tubbs. On today's program:* Albemarle County has three new questionnaires about draft language in their ongoing Comprehensive Plan update* An on-demand microtransit pilot in Albemarle County on October 30 and Albemarle Supervisors got the details earlier this month* Charlottesville Police Chief Michael Kochis addresses the allegation of police brutality in Market St. Park that led to the recent lifting of the park's closing times  This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit communityengagement.substack.com/subscribe

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Saks Off 5th at 901 Market St. in downtown San Francisco is slated to permanently close later this fall, a spokesperson for the discount luxury clothing retailer confirmed to SFGATE on Monday afternoon. “Through the regular course of business we continually evaluate store performance and other factors, and, from time to time, may determine it necessary to close a store,” the spokesperson said in an email. “We expect this store to remain open to the public until the fall of 2023 and look forward to continuing to serve the community.”Following the closure, customers can continue to shop at other Saks Off 5th locations in the Bay Area, including stores in Petaluma, Livermore and Milpitas, the spokesperson said. Saks Off 5th has been in operation in San Francisco since March 2015.Support the show

Sadly, another longtime retailer will depart from Union Square.Anthropologie will close the doors of its 880 Market St. store on May 13. As first reported by SF Gate, the closure leaves the lifestyle retailer without an outlet in the city. Its website points shoppers to its Berkeley and Corte Madera locations. The departure is another blow to the city's famed shopping district, which has lost a total of 17 retailers in the past three years, according to an analysis by The Standard. Companies that cited a reason for closing a Union Square location attributed the move to a reevaluation of real estate portfolios or a shift in business priorities.Support the showSign Up For Exclusive Episodes At: https://reasonabletv.com/LIKE & SUBSCRIBE for new videos every day. https://www.youtube.com/c/NewsForReasonablePeople

San Francisco's Union Square will soon have another empty storefront.Anthropologie, a retailer chain that specializes in women's clothing and accessories, is closing its location at 880 Market St. on May 13, according to the Anthropologie website. The 880 Market St. location has been a staple of the Union Square retail space, and originally opened there more than two decades ago. Spokespeople for Anthropologie and its parent company, URBN, did not respond to repeated requests for comment from SFGATE.Anthropologie joins a long list of retailers that have left Union Square and downtown San Francisco in recent years. That list includes luxury goods stores like CB2 and the RealReal, as well as chains like Gap, Uniqlo and DSW. In March, Whole Foods announced that it, too, was closing its downtown San Francisco location, which a spokesperson blamed on safety issues for employees. (The spokesperson did not elaborate on those concerns when contacted for more information by SFGATE.)Support the showSign Up For Exclusive Episodes At: https://reasonabletv.com/LIKE & SUBSCRIBE for new videos every day. https://www.youtube.com/c/NewsForReasonablePeople

Emergency responders were called to a recently shuttered Downtown Whole Foods at least once a week on average during the first six months it was open, according to data from the San Francisco Fire Department.Data obtained by The Standard shows that a Downtown Whole Foods that opened in March 2022 and abruptly closed this week was the site of several overdoses, psychiatric episodes and other emergencies during its first six months of operations. The fire department was dispatched 35 times to the Whole Foods at 1185 Market St. between the time it opened in March of last year and October 2022, according to the most recent data immediately available. Those calls were a mix of overdoses, medical emergencies and other disturbances such as reports of assaults and people bleeding at the high-end grocer. Support the showSign Up For Exclusive Episodes At: https://reasonabletv.com/LIKE & SUBSCRIBE for new videos every day. https://www.youtube.com/c/NewsForReasonablePeople

The developer behind a stalled effort to build a 40-story housing high-rise in Downtown San Francisco has given the property up to its lender in a sign of growing distress in the city's real estate market. Developer Build Inc. has filed a deed in lieu of foreclosure for its One Oak development at 1500 Market St. on the corner of Market and Oak streets, according to city property records. Property owners may sometimes choose to give up their properties through this process as an alternative to foreclosure when they default on their mortgages. The news about One Oak was first reported by the San Francisco Business Times. According to city records, Build Inc. owed more than $44 million in debt to lender Washington Capital Management Inc. and gave up the property for a nominal $100 fee. Build Inc. and Washington Capital Management did not respond to a request for comment. Support the showSign Up For Exclusive Episodes At: https://reasonabletv.com/LIKE & SUBSCRIBE for new videos every day. https://www.youtube.com/c/NewsForReasonablePeople

Urgent information for IKEA before they open their Market St., San Francisco location in the dystopian district where Whole Foods just had to close because of irrational vagrancy! Take my advice and win. --- Send in a voice message: https://podcasters.spotify.com/pod/show/sanfranciscodamn/message Support this podcast: https://podcasters.spotify.com/pod/show/sanfranciscodamn/support

This episode's food selection is from Crystal Cafe Located at 402 Market St. in Parkersburg, WV. Here's what we ordered: West Virginia style hot dog, Turkey Reuben, Ranch Roast Beef, Cajun burger, broccoli salad, Homemade corned beef hash, cinnamon rolls, cookies In this episode, we ate at a local institution of Parkersburg - a lunch counter that has served downtown since 1948. We found it while attending the first ever Appalachian Paracon convention at the Blennerhasset Hotel. Kelsey gives us a continuation of her coverage of the Colorado Springs killings of the 70s. The Creeps get sassy and each get their own cookie.

Brad Young is At Your Service! In the first hour of tonight's show, Brad lets you in on a little secret on how to have the best experience on Opening Day next week….come to KMOX's Kegs and Eggs before the game! Join the VIP party on 7th Street, between Market St. and Walnut, across from Ballpark Village Parking Lot, from 10:00A- 2:00P if you have a VIP ticket and 11:00A - 2:00P if you have a GA ticket on Opening Day, March 30th. Brad is then joined by Emily Taylor, Houston based attorney with Walker & Taylor, to discuss President Biden's executive order aimed to reduce the amount of gun-related deaths. Brad also takes your calls on Kim Gardner and Biden's order.

Today on the show — a special presentation of a live conversation between Saket Soni and Rebecca Solnit on Saket Soni's new book, The Great Escape: A True Story of Forced Labor and Immigrant Dreams in America.   The Great Escape is the harrowing story of how 500 disaster relief workers from India were trafficked to the United States under false pretenses and exposed to inhumane conditions while rebuilding New Orleans in the aftermath of Hurricane Katrina.   Rebecca Solnit has described the book as being “paced like a thriller, written like a poem, and full of vivid characters who'd enliven any novel, but it's the true story of one of the largest modern-day trafficking incidents in recent history and how Saket Soni and his crew went after the powerful perpetrators. A story as important as it is riveting to read.”   Saket Soni is the co-founder and executive director of Resilience Force, the national voice of the resilience workforce — whose labor helps us prepare for, and repair after, climate disaster. He will be in conversation with renowned author Rebecca Solnit, who wrote, A Paradise Built in Hell: The Extraordinary Communities That Arise in Disaster — a book that inspired the creation of this show and which we've talked about many times in past episodes.   This conversation is a recording of a live event co-organized with The Green Arcade in San Francisco on March 3rd. The Green Arcade is a bookshop featuring socially conscious nonfiction, plus select literature & kids' titles, located on Market St. Episode credits: Live recording and editing by Robert Raymond Executive production and hosting by Tom Llewellyn Theme Music: “Meet you on the other side” by Cultivate Beats Make sure to follow The Response on Twitter and Instagram for updates, memes, and more. Our entire catalog of documentaries and interviews can be found at theresponsepodcast.org or wherever you get your podcasts. Please rate and review us on Apple Podcasts and Spotify. The Response is a podcast series from Shareable.net.  

Los Angeles Graffiti Superstar, SUFER MTA CA ICP gives a roll call of some of the most well know graffiti artists in San Francisco at that time. He also recalls hitting his fist roof top and getting feedback from other writers. ------------------------------------------------------------------------------------------------------------------------------- MTA' CA' ICP'

A Downtown San Francisco Whole Foods Market slashed its operating hours due to “high theft” and hostile people, according to one of the store's managers.As of Oct. 24, the store—located at 1185 Market St.—is now opening an hour later and closing two hours earlier: from 9 a.m. to 7 p.m.“It's to better serve our customers, and it's more or less because of the area and security issues,” said the store's manager, who asked to remain anonymous. “There's just high theft and people being hostile.”Support the showSign Up For Exclusive Episodes At: https://reasonabletv.com/LIKE & SUBSCRIBE for new videos every day. https://www.youtube.com/c/NewsForReasonablePeople

In this episode, Gina G. gives you a first-hand account of the day the Warriors celebrated up Market St. in San Francisco for arguably the best parade ever. After defeating the Boston Celtics and winning the NBA Championship in Game 6 at the TD Garden, the Dubs silenced all the talking heads and critics, while Draymond expounds on his rant against the haters, rightfully so. But can the Dubs run it back with the same group as Free Agency begins? Meanwhile, the 49ers drop their State of the Franchise after seeing Deebo Samuel participate in Mandatory OTAs. Could this mean he is dedicated to returning with the team? And college sports is always discussed on Reppin Da NorCal Sports, so don't miss this episode! Twitter of Host: @GinaReppinDaBay Twitter of Show: @ReppnDaNorCalIE

Steph Curry is not the only goat who made an appearance on Market St. yesterday  See omnystudio.com/listener for privacy information.

In episode four of Are you listening?, co-curators Margaret Tedesco & Leila Weefur discuss the history of the Sculpture Department and its cast of characters.They discuss the department's long history reaching far and wide from the Bay Area and beyond. Featured in this episode are the voices from alumni and faculty, María Elena González, Carrie Hott, Mildred Howard, Michael Arcega, Catherine Fairbanks, Kija Lucas, John Roloff, Lucas Murgida, and Brett Reichman on John DeFazio.The music throughout this podcast is by two alumni: Tommy Becker (Interdisciplinary, 1999), and Jonathan Holland (Painting, 2001) from the band Tussle. Becker's track is titled "Newfound Freedom" from the soundtrack of "Tape Number One" recorded on a four track recorder in a walk-in closet on Market St in 2001. The track from Tussle is titled "Don't Stop" from Don't Stop, EP (Troubleman Unlimited, 2004).Our beautifully rendered portraits by Amanda Kirkhuff (Painting, 2006).

Bonny was born and raised in "The County" the most northern county in Maine, a 7-hour drive to leave the state (besides Canada of course). After a couple of moves out of state and raising triplets, Bonny decided to move back to her home state of Maine and become a business owner. Today, Bonny is the owner of Rytualist Aesthetics Bar located in the Old Port in Portland, Maine.On this week's episode, Bonny shares what it is like to move back to your home state after 30 years, her reason behind her new business, and what advice she would give herself if she could go back! We compare some of what it is like to be a woman and mother today and what it was like 20+ years ago and we also chat a little about the stigma behind botox and fillers. We loved recording this episode and could feel the energy and passion she has for her new business! Follow Rytualist on IG:: https://www.instagram.com/rytualist/Follow Rytualist on Facebook:: https://www.facebook.com/rytualistRytualist Website:: https://rytualist.com/Rytualist is located at, 75 Market St. Suite 103 in Portland, Maine

For the third time in 3 years, The Realest Podcast in existence gets POLITICAL!! Today we are joined by our favorite constituents State Rep. Morgan Cephas (192nd Legislative District of PA) and Councilman Curtis Jones, Jr. aka Mr. 4th District. Live from the district council office at 5907 Market St, the Fantastic 4 gather to cover a myriad of topics ranging from education, innovation, entrepreneurship, the upcoming Overbrook Night Market starring TRPE and what's holding Philly back from becoming a truly great city. Over 2 hours of real talk and amazing content from some of the most prominent politicians in Southeast Pennsylvania. As always for more exclusive content and resources subscribe to us on Patreon and follow us on social media. Click the links below: •Patreon: https://patreon.com/officialtrpe •Grab Your Tour Tickets Here: https://officialtrpe.com (click the tour tab) •YouTube: https://youtube.com/TheRealestPodcastEver •Twitter: https://twitter.com/officialtrpe •Insta: https://instagram.com/officialtrpe •FB: https://facebook.com/TheRealestPodcastEver •Merch: https://www.teepublic.com/user/trpe?ref_id=12031  

The Green Book in Galveston | Rosenberg Avenue between Market St. & Post Office St.The Green book was created by a man named Victor Hugo Green, an African-American postal carrier from Harlem. The original Green book was published in 1936.During the era of racial segregation the green book was a valuable publication offering resources, contacts, and addresses, providing African-American travelers safe passage across the country.The guide contained a list of businesses in cities across the US that catered to African-American customers. Galveston was among the Texas cities which listed hotels, restaurants, gas stations, entertainment venues, and other safe spaces for African-American travelers.In this location there were three businesses the imperial Barber shop Mitchell's restaurant in the Oleander hotel, all of them listed in the Green Book. Galveston had at least 12 locations listed in the Green Book. All of them scattered around the greater east end of the island others includes Gus Allen's Hotel (2710 Church)Miss G.H. Freeman's Tourist Home (1414 29th)*Mrs. J. Pope's Tourist Home (2824 M)Gulf View Tavern (28th & Seawall)Beach Service Station (2901 R)Manhattan Club (2802 R ½ )Little Shamrock Motel (1207 31st)*Ilma's Beauty Parlor (4106 N)Sunset Auto Garage (3928 H/Ball)*original building still standingOf those just listed only a handful of buildings are still standing but they stand strong is a reminder of Victor Hugo Green and the goal to keep African-American travelers safe, not just in Galveston but throughout the United States.Interested in information covered in this episode? Reference links below:Green Book in GalvestonThe Negro Motorist Green Book | History Victor Hugo GreenAfrican American Travel Guide Survey Project

Filled to the brim with scandal, murder, and historic characters ranging from Queen Victoria to Thomas Edison to Wyatt Earp, the history behind the Golden Gate Villa is nothing to scoff at.  In 1907 Santa Cruz was served a salacious historic scandal resulting in a horrific tragedy...leaving the house rumored to be haunted in its wake. Buy some merch and support the podcast! https://www.crimesandwitchdemeanors.com/shop  Follow the Podcast on Instagram: https://www.instagram.com/crimesandwitchdemeanors Submit your feedback or personal stories to contact@crimesandwitchdemeanors.com  Like The Podcast on Facebook: https://www.facebook.com/crimesandwitchdemeanors  Visit the website: https://www.crimesandwitchdemeanors.com  Episode Transcript: Available below the sources in the show notes   SOURCES:   7 Dec 1907, Page 1—Santa Cruz Evening News at Newspapers.com. (n.d.). Newspapers.Com. Retrieved September 14, 2021, from http://www.newspapers.com/image/?clipping_id=4203848&fcfToken=eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJmcmVlLXZpZXctaWQiOjU1Mzc5MDMzLCJpYXQiOjE2MzE2MjAzMTAsImV4cCI6MTYzMTcwNjcxMH0.RvcF17nCqc3CPgInOgE9pYOuOODX01oAtIjpmA0sC0A     Clipped From Oroville Daily Register. (1907, November 18). Oroville Daily Register, 1.     Dormanen, S. (n.d.). The Golden Gate Villa. Santa Cruz Public Libraries. Retrieved September 10, 2021, from https://history.santacruzpl.org/omeka/files/original/dac12ae750afce922632b1d9a1f17930.pdf     Frank McLaughlin Kills Daughter and Himself at Santa Cruz: Bullet and Poison Used. (1907, November 17). The San Francisco Call, 17–18.     Golden Gate Villa. (2021). In Wikipedia. https://en.wikipedia.org/w/index.php?title=Golden_Gate_Villa&oldid=1023021509     Metroactive Features | The Haunting of Santa Cruz. (n.d.). Retrieved September 12, 2021, from http://www.metroactive.com/papers/cruz/10.29.03/haunting-0344.html     Poverty Pitiful at the End. (1907, November 19). Santa Cruz Sentinel, 2.     Sweet House Dreams: Golden Gate Villa, 1891 Queen Anne Victorian in Santa Cruz, California. (n.d.). Sweet House Dreams. Retrieved September 10, 2021, from http://sweethousedreams.blogspot.com/2018/06/golden-gate-villa-1891-queen-anne.html     Tom Brezsny. (2012, October 18). Golden Gate Villa—924 Third Street Santa Cruz California—Lavishly ornamented victorian. https://www.youtube.com/watch?v=_jd72cnY_6E   Transcript: Hello, and welcome to Crimes and Witch Demeanors, the paranormal podcast where we go beyond the Wikipedia page and delve into historic sources to find the truth behind your favorite ghostly tales.  I'm your host and loveable librarian – Joshua Spellman.   Today we have a very exciting ghost story filled to the brim with scandal, murder, and historic characters ranging from Thomas Edison to Wyatt Earp the outlaw but even these prominent figure are obscured by today's ghostly tale.  Trust me, it's juicy, and we have all the gossipy progressive-era tabloids to prove it.  And boy, are some of these newspapers gorgeous, so make sure to check them out on the podcast Instagram.    Also thank you to everyone who purchased some merch from the shop!  You are true bibli-ahh-graphers!  If you want to support the podcast please go ahead and grab something for youself, crimesandwitchdemeanors.com link in the description!   So, anyway, you're here for the salacious historic scandal and the modern haunts that resulted from it.  So put on your sunnies, grab a parasol, we're headed to Santa Cruz and learning the legend behind the Golden Gate Villa and the tragedy that transpired there…       Considered one of the most historically significant homes in all of California, Golden Gate villa is perched atop Santa Cruz's historic Beach Hill neighborhood.  It's face is painted a buttery gold with a bright orchid trim; cheerful colors that belie it's dark and twisted past.   Major Frank McLaughlin was born sometime around 1840.  During his early career he served on the police force in Newark, New Jersey and developed a life-long friendship with esteemed inventor Thomas Edison.  He fought with Union forces briefly during the Civil War, but his stint was brief and it's unlikely this is where he earned his military title.  Instead, it is thought he achieved it from his later activity with the California state militia.   McLaughlin became an engineer on the Pacific Railroad, helping to lay tracks across the plains and the Wild West.  In the Wild West he earned quite the reputation, known as “one of the quickest men on the frontier” and was one of only a handful of men to ever challenge Wyatt Earp and live to tell the tale.   In 1877, McLaughlin returned to the East coast where he began to court a New Jersey widow by the name of ­­­­Margaret Loomis.  During this period Thomas Edison was developing the incandescent light bulb but ran into trouble finding a dependable source of platinum to use as filaments.  Without this precious metal, he would not be able to market his invention.   McLaughlin suggested that Edison source from the Feather River in California, as McLaughlin heard that there had been a find there.  Upon this suggestion, Edison commissioned McLaughlin to head out west and prospect for the mineral.  Before he did so, McLaughlin married Margaret Loomis and adopted her young daughter Agnes.   Like with most of his endeavors, McLaughlin went all-in.  It was said that he "never settled for the petite when the mammoth was available" and his exploits in Butte county were no exception.  He soon earned the title “King of Feather” for his domination of the river where his sights quickly turned from platinum to gold.  He soon began to make a fortune, but he was smart never to invest his own money – instead he organized companies he would manage giving himself a hefty salary.   During this time McLaughlin commissioned San Francisco architect Thomas J. Welsh to design a home for Margaret and Agnes to escape the brutal summer heat.  McLaughlin instructed Welsh to "spare no expense in making Golden Gate Villa the showplace of Santa Cruz” – and that he did.  The mansion was named the after Golden Gate Mining Company, which managed the operations back in Feather, and provided all the funds for his lavish home.  Naturally, being friends with Thomas Edison, the home was outfitted with the newest luxury available – electricity.   The home was magnificent and the McLaughlin's hosted many events including costume parties, magic shows, musicals, fireworks displays, and the first moving picture ever shown in Santa Cruz.  Agnes became a figure of note in the local community and was pronounced as “indescribably pretty”, a “petite beauty with rose leaf complexion”, and as the “ideal American girl” by a number of publications.  Perhaps it's no wonder the focal piece of the Golden Gate Villa is a gigantic stained glass portrait of a young woman reaching to pick an apple blossomed branch.  Rumour has it that McLaughlin cut some of Agnes' hair to be mixed in with the color of the glass.  Despite Agnes's earthly beauty and love of parties and extravagance, she regularly attended mass with her dog…who she often sprayed with expensive cologne.  Agnes had never married, though she almost did once.  She was engaged to a man named Sam Rucker, and while the invitations to the ceremony were sent nothing ever came of it.    While the McLaughlin women lived in luxury in Santa Cruz, McLaughlin was busy with various endeavors: From olive orchards to orange groves, to a 9-mile tunnel at Big Bend, a 30-mile flume for the hydraulic mine, and funding development in the area, McLaughlin was quickly amassing a fortune.  However, his biggest endeavor was to divert the water of the Feather so that gold could be mined from the river bed.   Receiving letters of recommendation from Thomas Edison, the governor, and two California state senators, McLaughlin travelled to London to try and secure investors.  He was charming, as usual, and made such an impression that the newspapers declared that “Not since Benjamin Franklin had an American made such an impression on English society”  McLaughlin seemed to have luck in all of his projects and this trip was no different – due to a misunderstanding he came home with $12 million in funds…a great deal more than he planned or ever dare thought to get.   However, the project itself would not see the same luck.  The project took four years to complete the end resulting in a 7,000 foot long canal and a retaining wall twelve feet wide and twenty feet high.  It became one of the greatest mining feats of the era and Thomas Edison, McLaughlin's chum, provided the first electric lights ever to be used on a construction site as the workers labored all hours of the day.   When the water was diverted and the riverbed dry, McLaughlin was the first to take his shovel to the dirt.  While he struck gold in London, much like the river, this project would soon run dry.  McLaughlin was sure that he would make a 100 million return on the initial 12 million invested but the project ended in catastrophe.  Instead of hitting gold, he hit bankruptcy.  All they found were small gold nuggets, old rusty picks, and buckets.   It turns out that McLaughlin was 50 years too late. Half a century earlier, 49ers diverted the same river with a simple wooden flume, exhausting all the gold in the area and walking away with a fortune.  The locals of the area knew this, and knew that McLaughlin's project was doomed from the start but decided to keep it a secret to watch the man go down in flames.   Like his previous project, McLaughlin declined to invest any of his own money, and upon learning this, the English investors were furious.  They found out that McLaughlin had lost no money at all, and was paying himself a generous salary.  Queen Victoria herself launched an investigation and sent Scotland Yard to investigate. However, when the agent arrived, he was scared off by McLaughlin who wasn't afraid to wave his pistol about…he did survive an encounter with Wyatt Earp, a timid Englishman was nothing to him.   McLaughlin soon got into politics, earning quite the reputation as a staunch frontiersman and capitalist though he never held office he became chair of California's Republican State Central Committee during the 1896 presidential campaign and was credited with carrying the whole state for McKinley.  In fact, McLaughlin was offered a seat in McKinley's cabinet though he declined, just as he declined to run for governor despite the pleas of the people.   Mrs. Margaret McLaughlin died in on November 16, 1905, turning Frank into a widower and leaving her daughter Agnes behind.  On that same date in 1907, Agnes attended an early mass in memory of her mother.  After returning home, Agnes retired to her bedroom in the tower to take a nap.  While Agnes slept someone entered her room unnoticed, pressed a 44 caliber pistol to her temple, and fired.   Knowing that his step-daughter was sleeping, Major Frank McLaughlin set their maid out on an errand before going upstairs and murdering his beloved step-daughter.  Shortly after the deed was done, McLaughlin called his banker William Jeter and urged him to come to the home immediately.  Jeter was preoccupied and could not come but McLaughlin insisted shouting "You must come at once. I have just killed my Bob (his pet name for Agnes) and I am going to kill myself.”   And he did.  He ingest a fatal dose of potassium cyanide, dying just as his friend arrived.  To everyone's shock…Agnes had survived…at least for the time being.  While she survived the initial wound at the hands of the Major, she succumbed to her injuries at 6:30 that evening.   Newspapers published salacious headlines for weeks that ran alongside the obituary that McLaughlin had penned himself.  The tragedy was naturally a hit with the media being full of scandal and intrigue as it was.  McLaughlin for the most part was an incredibly popular and well-liked man and the thought of this crime was nearly inconceivable.  Why…how on earth could he do such a thing?   You see, this was not just a random act of violence or a crime of passion.  It was not executed on a whim.  No, the Major had been meticulously planning the did for months which he outlined in the documents he left to Jeter including farewell letters to friends and family, instructions, and an explanation for his crime.   It turns out that McLaughlin was beginning to suffer financially, though he kept it hidden from everyone.  Major McLaughlin feared falling into poverty and being unable to provide for his step-daughter that he loved so dearly.  He wrote in his letter “"To leave my darling child helpless and penniless would be unnatural and so I take her with me to our loved one. She is the very last one who could face this world alone.”   However, at the inquest it was revealed that he could have liquidated his estate and had a large surplus to spare – hardly leaving him or Agnes impoverished.  Some supposed he was simply embarrassed by his failure at Feather River, his reputation shattered by the incident.  However, no rationalization could really explain why he did what he did.   Though whispers around Santa Cruz gave wind to a new theory.  Many thought it strange that after Mrs. McLaughlin's death that Agnes continued to live with the Major since she was not of blood relation to him.  The fact that she had remained unmarried well into her thirties also didn't quite sit right with the local community.  In fact, they could recall that many years prior announcements of Agnes' marriage to Sam Rucker were sent out but that the wedding was cancelled at the last moment…presumably because the Major couldn't bear to see her married to another man.   Then, a man by the name of Christian R. Wolters, a prosperous merchant in the city, stepped forward claiming that the was secretly engaged to Agnes at the time of her murder…making it hard to believe that Major Frank McLaughlin couldn't stand to see his step-daughter fall into poverty when she would be well-provided for by her would-be husband.   Regardless of his motivations, whether the Major was truly in love with his step-daughter or whether he just could not stand the thought of aging alone in the villa without a family he wrote in his letter “I love her so and so I take her with me”  In a letter to the family doctor, F.E. Morgan, McLaughlin wrote  “Please see that we are not cut up, at least that my pure sweet child is not” and on the outside of the envelope he had written “Dear Doc. Please do me one last favor and chloroform our old cat”   And so, the mystery remains.  However, inside the confines of the shining Golden Gate Villa the spirit of the McLaughlin's remain…if only they could divulge their secrets the living…       I got a lot of my information from an article in the November 17, 1907 issue of the San Francisco Daily call titled “Frank McLaughlin Kills Daughter and Himself at Santa Cruz” which had an interesting juxtaposition with another article “Suicide Ends Happy Love Affair of Girl – takes poison when father refuses to consent to wedding.”  Just such similar situations but different ends – albeit both tragic ones.   But the majority of my information, or the source I followed to historic ones was by a life-saver of a librarian or historian from the Santa Cruz Public Libraries local history collection by the name of Susan Dormanen.  There wasn't very much online at all historically speaking and Susan wrote a great piece, and like any great librarian, had an endless supply of footnotes for me to peruse leading me to the primary sources.   I found it interesting that reports of McLaughlin fighting Wyatt Earp were published awhile after his death, no doubt the papers were still riding the coattails of the tragedy.  On the 19 of November two interesting stories came out, and while they came out later it does make sense that they would – they wouldn't have had much reason to publish these prior but I think it gives an interesting look into the Major's personality…at least towards those that weren't his wife or Agnes.  ­­1 Always a Foe of Earp Major McLaughlin was unsparing in his denunciations of the rascality of Wyatt Earp, and it was said up and down Market St. that Earp had vowed to shoot McLaughlin on sight... When the two encountered one another at Johnny Farley's Peerless saloon, Earp and the little Major had a staring match for a thrilling instant in which the petulant pop of the pistol was expected by all. But the Arizona gun man saw that he could not intimidate through many a gun play on the western frontier, and so he said with a tone smacking something of an apology: 'I know, Major McLaughlin, that you would not have made such remarks unless you believed them to be true,' and left the saloon while the man he was supposed to kill on sight took his time over his drink, uttered a few jocular remarks for the benefit of the bystanders, and went his own way with a nerve seemingly shaken not at all.[5]   No Fear of a "Bad Gun" There was never any doubt of his physical courage or his willingness to accept a challenge from any bad gun man. When he was managing the campaign of D.M. Burns for the United States Senate there were many threats that he would be killed, and one day in the corridor of the Golden Eagle Hotel in Sacramento he met Major Goucher of San Diego, who was supposed to have a particular grudge against him. Major McLaughlin calmly spat in Major Goucher's face and pushed him with his left hand. Goucher made no effort to resent the insult and afterwards said: "I was too wise to be taken in by that old frontier trick. He spat in my pistol eye, and pushed me off with his left hand, so that he was free to draw on me with his right."