Category / San Francisco

by Edward Champion

Thirteen Years in New York

A few reflections on living in New York for more than thirteen years.

New York sneaks up on you like a black bear trawling outside your tent at sunrise. As the beast paws through food and ravages the site you staged with immaculate care, you realize that this wily indomitable creature has watched you and known you all along. It is an entity that can never be crushed because another will emerge in its place.

I have now lived in New York longer than any other city. Thirteen years and three months. Which beats my previous record of thirteen years in San Francisco. Not only did the time flit by faster than I ever could have anticipated, but I still very much love this great city and continue to discover so many unanticipated contours and scintillating subcultures. The possibilities and the conversations here remain lively and are rarely dull. There are all sorts of marvelous people stubbornly eking out their dreams and, no matter how many difficulties they face — rats, a rickety traffic grid, a preposterously pompous mayor, gentrification, small-time power grabbers, and assorted human parasites — they can’t be easily crushed. New Yorkers are some of the most resilient people on earth. You have to be tough in order to live here. Nearly everyone is only two paychecks away from sleeping on the streets. And you could be felled by any cosmic force at any time. This may account for why so many marriages are particularly fragile and wildly unstable despite the roseate thump of a New York Times wedding announcement etched in showy affluence and why being single here, much like Minneapolis, is often a steady stream of constantly rotating bodies so that everyone can find a quick fix to survive the natural elements. (Oh well. At least you get to hear a lot of interesting life stories just before you make the morning coffee.) A friend visiting from Europe recently asked me why I still felt some subconscious need to prove myself. I replied, “It’s New York, man. If you aren’t regularly leveling up here, you’re doing it wrong.” (In my friend’s defense, it wasn’t entirely New York. But you see my point.)

I’ll always hold a dear place for the San Francisco that I was lucky enough to live in. I was privileged to live there in the last days of the freaks, when you could actually pay $600 each month to rent your own apartment. I love that city with all my heart. But I’ve been back and it ain’t my town anymore. While it has retained its beauty, San Francisco has become an unaffordable monolithic playground for the rich, more so than even Manhattan. It has chewed up and spat out the weirdness that once made it a remarkable metropolis, surrendering to the lavish obscenity of vanilla techbro millionaires without a sense of history or an intuitive respect for everyday people. Still, I suspect now, with some hindsight, that San Francisco may not have been the right place for me. Or maybe it was a city that didn’t push me as much as I needed it to. If San Francisco helped kick me out of suburban complacency and demanded that I start writing and make radio, it was New York that said, “Buddy, you’d better get moving or I will eat you alive.” I probably needed a city to tell me this much earlier in my life, but, hey, better late than never. This city’s intractable edict, which it whispers into the ear of every New Yorker, helped me to climb out of a very dark and seemingly inescapable abyss and make something of myself. It forced me to find and honor my full and true self. It demanded that I take more chances in my life and my art. It aided me in making my audio drama. New York told me that my existence and ambitions, as crazy as these both were, needed to be pursued. It told me that I needed to look out for others and make sure they were living up. It still demands that I do more — for myself and others — and, of course, I’m constantly learning and I’m regularly humbled.

I’m tremendously grateful to know so many fascinating people, to work with so many talented actors, and to continue to have so many goofy and weird adventures when I’m not toiling long hours on various creative endeavors. It’s possible that I would have stumbled upon this life eventually, but cities often provide those vital murmurs that get you where you need to go. And one should never complain about late timing in life. It’s a churlish pastime that often has one absorbed into some nostalgic ambuscade. Besides, there are always cosmic variables outside your control. Nevertheless, thank you, New York. And thank you to all the kind New Yorkers who kept their faith in me and saw something positive in me and called me on my bullshit and busted my chops. Without them or this city, I wouldn’t be here and I wouldn’t be who I am today.

by Edward Champion

Ben Tarnoff (The Bat Segundo Show #541)

More than a century after his death, Mark Twain is often portrayed as a jolly and avuncular figure. Yet the truth is that Twain was a savage wit and an incendiary figure, and it took this free-spirited iconoclasm to push expression forward. We talk with Ben Tarnoff, author of THE BOHEMIANS, to discuss how California writers (including Twain, Bret Harte, Charles Warren Stoddard, and Ina Coolbrith) defied the East and reinvented American literature during the 1860s.

[MP3, 55 minutes]

[Notes and partial transcript]

Ben Tarnoff is most recently the author of The Bohemians.

Author: Ben Tarnoff

Listen: Play in new window | Download

Subjects Discussed: Why 1860s California was especially well suited to literary movements, draft riots, Thomas Starr King, how Atlantic Monthly editor James Fields interacted with numerous emerging writers, the New England influence vs. the need to rebel, Charles Stoddard, rustic towns vs. cities battling each other in California over poetic merit, Bret Harte’s aesthetic tastes, how Harte transformed from critic to short story pioneer, how Mark Twain used the door-to-door subscription model to popularize The Innocents Abroad, the influence of the railroads upon what people read, Twain’s inability to command literary respect in America during his time, Twain’s popularity in England, the disreputable qualities of Twain’s appearance, Twain’s drawl, William Dean Howells, the Eastern literary establishment’s regressive assessment of Western style, how Twain used the lecture circuit to generate vital income, early standup comics in America, Artemus Ward the first standup comic in America, New York’s emergence as a media capital in the late 19th century, the development of Twain’s iconoclasm, present day interpretations of Twain as a cuddly avuncular type, Twain’s explosive temperament, Twain’s failed attempts at suicide, how original literary movements can spring from a unique location, present day Brooklyn writers who play it safe, how Twain’s lecture persona allowed him to escape becoming a newspaper hack, Twain vs. Ed Koch as meeter-and-greeter in the streets, the Bret Harte/Mark Twain friendship and feud, Bret Harte’s creative decline upon leaving California, Margaret Duckett’s Mark Twain and Bret Harte, the mysterious inciting incident in 1877 that set Twain off on Harte, Twain’s difficulties in getting his early short story collections published, the death of irony throughout American history, disparaging reports of Anna Griswold Harte (and attempts to find positive qualities about her), how much Bret Harte is responsible for Anna’s alleged sullenness, Bret Harte’s arrogance, Harte’s abandonment of his family, Harte’s aristocratic airs, Harte’s insistence upon a cab when arriving on the East Coast, Bret Harte’s hipster-like sideburns, “Ah Sin,” Twain and Harte perpetuating racist Chinese stereotypes, Twain selling out his principles, yellowface and the Cloud Atlas movie, Twain’s unremitting vengeance against Bret Harte, Twain’s obsessive detail in depicting his grudges, Twain’s tremendous rage and his tremendous love, Twain blaming himself for the death of his son Langdon, parallels between Charles Stoddard and Walt Whitman, Stoddard’s need for approval, Stoddard seeking autographs, Stoddard’s retreat to Hawaii, attempts to determine how much transgressive behavior there was in San Francisco during the late 19th century, Bret Harte rebuffing his literary friends when he moved to the East Coast, Ina Coolbrith as the first woman poet laureate in the United States in 1911, Coolbrith’s “When the Grass Shall Cover Me,” the crushing domestic responsibilities faced by Coolbrith (and stalling Coolbrith’s literary career), grueling library hours in the late 19th century, Stoddard’s South-Sea Idyls, Harte’s remarkably swift dissolution, Harte’s inability to take root in the East, Ambrose Bierce, whether Bierce arrived too late on the scene, pulp writers who lived at the Monkey Block in the early 20th century, Fritz Leiber’s Our Lady in Darkness, and whether any literary movement today can recapture the risk-taking feel of the Bohemians.

EXCERPT FROM SHOW:

Correspondent: Mark Twain and Bret Harte seem to be the big stars of this book. But what do you think it was about this particular area at this particular time that created this particular literature?

Tarnoff: Well, San Francisco in the 1860s has a lot of advantages for a writer. It’s peaceful. The Civil War never comes to California. So there’s no fighting on the coast and there’s no draft. Because Lincoln never applies the draft west of Iowa and Kansas.

Correspondent: And no draft riots.

Tarnoff: Right. Exactly. No draft riots. So it’s peaceful. It’s a great place to wait out the war. It’s very rich. Because it’s the industrial, commercial, and financial center of the region. So the massive amount of wealth that’s being generated in the City finances a range of literary papers. And it’s also very urban. It’s got about 100,000 people in the 1860s and that makes it by far the biggest city in the region, really the biggest city west of St. Louis. And that population is pretty cosmopolitan. Because of the legacy of the gold rush, you have people there from China, from South America, from all different countries in Europe. And I think that all of those are important factors behind producing the literary moment.

Correspondent: And for a while, speaking of St. Louis, it had the largest building west of St. Louis with City Hall.

Tarnoff: That’s right.

Correspondent: For a while. Until it got — I can’t remember which building it was that actually uprooted it. But it was a city of great progress and great buildings. I wanted to start off also by getting into the preacher Thomas Starr King. He’s this figure I have wanted to talk about forever. Because I have read, I’m sure as you have, the Kevin Starr books. The wonderful California Dream series. I’m grateful that your book has allowed me a chance to talk about him here. You know, it has always seemed to me that without King, you could not have had the literary culture that emerged. Because he was this really odd figure. He promoted New England writers. So he was kind of an establishment guy. But at the same time, he’s also the guy who introduces Bret Harte to James Fields, the Atlantic editor, in January 1862. Charles Stoddard — this wonderful poet — also held King up in great esteem. So he’s almost this insider/outsider figure who seems to corral the many literary strands of San Francisco that are burgeoning during this time and forming this new kind of movement that you identify as a Bohemian movement. So I’m wondering. What is your take on Thomas Starr King? Do you think that San Francisco would have been San Francisco if it had not been for that? And do you think that when The Overland Monthly appeared, that this was kind of the replacement for Thomas Starr King? Because at that point he had passed away. What of this?

Tarnoff: Well, Thomas Starr King is a fantastic figure. I think he really is a forgotten founding father of California. He’s so foundational politically, culturally, as you point out from the literary scene. He’s a fantastic mentor figure. You mentioned Charles Stoddard. There’s a scene in my book where Stoddard has just published his first poems in a big literary paper. He’s extremely shy and nervous. And Thomas Starr King comes to the bookshop where he works and tells him personally how much he loved his poems. So he’s a guy with a really personal touch and really cultivates these writers and offers them criticism. He’s an important figure from the point of view from the point of view of the Civil War as well, which is I think how he’s better known today. Because he travels throughout the state during the first year or two of the Civil War and preaches the importance of California staying in the Union. Which it probably would have stayed in anyway. But King is certainly a very persuasive champion of the Union and of abolition.

Correspondent: Yeah. But in terms of his literary contributions, I mean, he was again, like I was suggesting with this last question, this guy who was there to rebel against and this guy to garner favor with so you could actually get into some of the outlets. How did that work? Am I perhaps overreaching with my estimation of King as this great mirror that Twain, Harte, and all these other people looked at in order to find their own voices? To find their own particular perch to break into San Francisco journalism, literature, and all that?

Tarnoff: Well, I think he builds a link between the Eastern literary establishment and San Francisco. You mentioned his introduction of Harte to James Fields, the editor of The Atlantic Monthly. He also is friends with Longfellow and Emerson and all these literary lions who are really the most famous writers in the country at that point. And he gives these wonderful lectures on American literature in San Francisco. So he absolutely is a link between the East and the West. But he’s also someone to rebel against. I mean, he’s the father figure. You’re also trying to kill your father. And a lot of these guys — particularly Harte — you see him strain from that New England mold. Thomas Starr King sadly dies in 1864 young and prematurely. And in the coming years, Harte really develops his own style, which I think contrasts pretty sharply with those New England influences.

Correspondent: So what was essentially taken from King and even the New England influence? What made this particular area of the country the natural place to establish new voice, original voice, a rebellious voice, an iconoclastic voice?

Tarnoff: Well, Thomas Starr King has this great phrase in one of his sermons where he tells Californians they need to build Yosemites in the soul. And his point there, I think, is that they’ve been blessed with this majestic epic monumental landscape. This incredible natural beauty. And they need to create a culture and a literature, an intellectual scene, that’s commensurate with that great beauty. And the Bohemian scene really takes that advice seriously. And the West, I think, is such a fertile place for a new type of literature to develop. Which really does deviate from the path that King himself had hoped it would take. I mean, he wants California to follow closely in the footsteps of New England. He has a letter where he says California must be Northernized thoroughly by Atlantic Monthlies, by schools, by lecture halls. But the scene that he mentors after his death really takes things in a different direction, but I think makes good on his command to build Yosemites in the soul.

Correspondent: Well, it’s interesting how we’re talking about the variegated territories of California. Because Bret Harte would edit this poetry anthology and get into serious trouble. Because some of the rustic towns didn’t like the fact that they weren’t included. And he was flummoxed with all sorts of poetry entries for this thing. And he ended up choosing a lot of poems that dealt in the metropolises. So there was this rivalry and Harte was accused of being this florid sellout by some of the rustic towns. You point out in the book that actually the metropolises and the rustic towns and the mining settlements and all that had actually far more in common than they actually realized. So what accounts for this fractiousness and territorial temperament? Fractiousness in literary voices and literary temperament?

Tarnoff: Well, California’s a place where everyone wants to be a writer.

Correspondent: Like Brooklyn today!

Tarnoff: Right. Exactly. It’s like Brooklyn in 2014. But poetry in particular has a real prestige. Poets are pop stars. Poems are read at every public gathering. You need poetry in the public sphere all the time. And so all of these Californians — people who live in the countryside, people who live in the city — all think of themselves as a poet. So when Bret Harte is tasked with putting together a representative anthology of California poetry in 1865, he is overwhelmed with submissions and has a lot of fairly sarcastic, disparaging things to say about the quality of those submissions and ends up producing this fairly small volume with mostly his friends, like Charles Stoddard and Ina Coolbrith. And this ignites a kind of literary war between the city and the country. But as you point out, the distinction between the city and the country is not actually that great. I mean, the California countryside in terms of the mining and the farming operations is itself pretty heavily industrialized. We’ve got big economies of scale, a lot of heavy machinery. Places like Virginia City, in Nevada, where Mark Twain is for a few years, are highly urbanized areas. So the notion that it’s these kind of he-men in the frontier vs. the effete Bohemians in the city, it’s not totally accurate representation.

Correspondent: Well, in this sense, you’re essentially saying that the sphere of influence in both rustic town and big city is essentially homogeneous. That people are perhaps being inspired from the same physical things? I mean, what of literary tastes? What of the way that people express themselves? I mean, isn’t there an argument to be made that maybe these guys were right?

Tarnoff: Well, there’s certainly a distinction in terms of literary taste. I mean, I think both camps are living fairly urban industrialized lives. But they certainly have very different opinions about what constitutes good poetry. And Harte in particular, who is the editor of the volume, shies away from topics that he feels are too pastoral. That have too much of a certain type of California flavor, which he associates with the amateur poets. And he writes a parody of what one of those poems would look like in The Californian, which he edits. But Harte really wants to push California literature in general to a more metropolitan, to a more Bohemian, to a more sophisticated level and is very dismissive of what he feels is the kind of amateurish literary karaoke quality of some of the countryside poets.

Correspondent: Well, what is that sophisticated nature that Harte is demanding? What are we talking about? Are we just talking about endless poems devoted to being in the middle of nowhere? Essentially that’s what he’s railing against? He’s asking California to take itself more seriously, to write about civil, social, political topics? What are we talking about here?

Tarnoff: Well, the problem with Harte in these years — the mid 1860s — is he’s very good at being a critic. He’s very good at lambasting the quality of California literature, at its climate, at its boosters and philistines and capitalists. But he’s not great at producing good literature of his own. And that comes a little bit later in the decade when he starts to write these wonderful short stories. “The Luck of Roaring Camp” being the best known. And it’s not until that moment that I think he really makes good on his earlier promise to redeem California literature.

Correspondent: So he’s essentially quibbling with what he doesn’t like in order to find out what he does like and what he can actually build from the ashes he demonizes, so to speak.

Tarnoff: Exactly. He’s definitely in a more critical phase at that moment.

(Loops for this program provided by Martin Minor and nilooy. Also, Kai Engel’s “Chant of Night Blades” and Kevin MacLeod’s “Ghost Dance” through Free Music Archive.)

The Bat Segundo Show #541: Ben Tarnoff(Download MP3)

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by Edward Champion

Wayne Shannon: A Video Tribute

A twenty-one video salute to the late broadcaster Wayne Shannon, featuring his muckraking days in Detroit, his acerbic KRON commentaries in San Francisco, and his investigative journalism.

A few days ago, I reported the death of Wayne Shannon, whose legacy as a broadcasting innovator and precursor to Jon Stewart, Stephen Colbert, and and Michael Moore had been needlessly overlooked in recent years. Wayne was also a friend. And last night, the cause of Wayne’s death was revealed to be a suicide. Wayne’s body had been found by two hunters in Northern Idaho. His body had been there for many months.

As of Friday morning, the San Francisco TV station (KRON) where Wayne worked for many years, has not acknowledged Wayne Shannon’s death in any way. Last night, I contacted KRON by telephone. I spoke with Bonnie Hitch, who was kind and who offered me a few minutes of her time. Ms. Hitch told me that KRON still hadn’t decided on whether or not it would recognize Wayne Shannon, but that they had learned of his death. KRON had not been aware of Wayne’s suicide.

I also asked Ms. Hitch about how well the KRON news archives were preserved. What was the state of Wayne’s numerous commentaries? His segments in the field? His body of work? She informed me that there wasn’t even an archivist employed at KRON these days. “It’s a very different news station,” said Ms. Hitch. KRON culture had changed. Ms. Hitch wasn’t even sure that the airchecks had been preserved. She told me that she would put me in touch with the person in charge of the news archives, and it is my hope to contact someone at KRON who is even remotely interested in preserving KRON’s long legacy as a major news station.

In his final years, Wayne had assembled a disc containing a small handful of his work. Was this all he had? Unfortunately it was. This disc was all that remained of his considerable work. “It took me months to pile through boxes and boxes of old tapes,” Wayne had written to me. “You got the best of what was available…and some of that — as you have doubtless noticed — is well below par.”

Shortly after talking with Ms. Hitch, I went through my files and located Wayne’s disc. It contained this note:

Yo Ed:

A few weeks before Noel Coward died he held an intimate soiree at his home during which, by all accounts, he performed for the very last time.

Those in attendance, if memory serves, were Lunt and Fontanne, Oliver and Leigh, Oscar Wilde, Jascha Heifitz, the Raymond Masseys and the Rex Harrisons, the latter naming their first born son after Noel.

We are assured that it was an exquisitely memorable night of much wine and laughter and tears born of same, along with a game that developed whereby participants challenged their memories by trying to match some of the more obscure lines of dialogue from his plays — with the titles of his many Broadway and Piccadilly triumphs.

This was followed by a medley on the piano of Coward’s many hit songs, accompanied by Heifitz, which naturally concluded with his immortal, “Mad Dogs and Englishmen.”

I am, of course, no Noel Coward and, unfortunately, have more years to live than I doubtless deserve. However, I wanted you to know that to me…you are not only to be numbered among the “luminaries” he had about him that evening those many, many decades ago…but, had I been able to do so…you would have been invited to such a gathering — though you may very well have had the good sense not to attend or, perhaps, admit to it later.

However, if you had done so, you too would have seen my final performance — from virtually my first words ever on American TV — to undeniably my last, “Yahoo!”

I cannot accept Wayne’s work falling into obscurity. I cannot accept his self-deprecatory nature refusing to understand, even in this note, that people loved and respected what he did. And I cannot accept his work not getting its proper due.

So I have uploaded nearly all of the video I have so that people can see how Wayne was ahead of his time. The twenty-one segment salute below reveals that Wayne, who won six Emmys for his work, was a wily reporter, a witty commentator, a skilled performer, a gleeful satirist, and a man who was very good at talking with people.

Star Wars: This is one of Wayne’s earliest television appearances, in which he talks with Mark Hamill, Harrison Ford, and Carrie Fisher. He even asks Carrie for a kiss, a move that would be unthinkable in today’s junket climate.

Rocks (1980): This is a great example of the muckraking multipart series Wayne was known for during his days in Detroit. (Indeed, as I learned in a 2008 radio interview I conducted with Wayne, many of Wayne’s pioneering concepts during these days would be stolen by Michael Moore and used in Roger & Me.) Wayne fearlessly took on many of the auto manufacturers and was run out of Detroit for this (despite the fact that his segments greatly improved the evening news ratings). And the “All by Myself” montage where Wayne abandons his “rock” on the freeway and rollerskates away is an unusual break from the hard journalism that local television news was then known for.

Lemons: In Philadelphia, Shannon was known as the “TV 2 Troubleshooter.” His coverage, as we learn here, could be hilariously epic (in this case, the segment above is “part three of his ten part series on lemons,” as Robbie Timmons introduces) — almost as if he was working on one giant documentary film split into neat segments for the evening news. Wayne’s ability to combine consumer advocacy with comedy is in great form here, especially with the concluding Rocky homage.

Hedgehogs: This “TV 2 Troubleshooter” segment sees Wayne fleshing out his satirical journalism. There’s the opening sound gag, along with some folksy banter with a stamp collector (“Ever been took?”).

The Box Top Rebellion: In this segment on coupon clippers (which contains some eerie parallels to post-2008 economic life), we see that Wayne was very keen on highly theatrical introduction sequences. But he was also very good about learning how a system worked, as seen from the fascinating clips inside a coupon clearing house (“where old coupons go for that big redemption in the sky”).

Magic Nails: Not only do we get a quick glimpse of a young Maury Povich, but we see Wayne taking on “Magic Nails” — a dangerous toy manufactured at a Burger King restaurant. Wayne’s journalistic rigor is on display. He talks with pediatrician Alan Freedman and updates the story with some shoe leather reporting.

The Vent People: I don’t know if the success of Wayne’s consumer advocacy had Channel 3 assigning Wayne to more hard reporting. Perhaps they didn’t quite know what to do with him. But this segment also shows that Wayne was a good journalist. He reveals efforts to uncover how the homeless sleep on the steam vents at night, along with the reasons why others aren’t allowed to help the vent people.

Wayne-Bo and Tom: The first part of this clip is rather baffling. It features “Wayne-Bo” entertaining kids and talking with Eagles quarterback Ron Jaworski. Was this a bona-fide children’s show hosted by Wayne which aired in Philadelphia? The second part features a clip of Tom Snyder extolling Wayne at the end for an episode of The Tomorrow Show, which Wayne made an appearance on. (Note to self: A trip to Paley is in order.)

Santa and Thermatron: The Santa bit is from a bizarre 1981 program that Wayne did called Santa and Son. I have no idea if it even aired anywhere. Then there’s a “Thinking Out Loud” segment on the Thermatron, a precursor to the commentaries that Wayne would be known for during his KRON days.

KRON Clips: Wayne, now at Channel 4, talks with Jonathan Winters. There are three additional segments: (1) a Wayne commentary on how laser beams are being used to cut through clogged arteries (and how Wayne has sought “a revisionist nutritionist”), (2) a closing credits monologue of Wayne on the road, and (3) a Wayne commentary on how to celebrate California adventure (with some inside dirt about then Carmel Mayor Clint Eastwood).

The Merv Griffin Show: Merv Griffin, who lived in Monterey, was a Wayne Shannon fan and invited Wayne to appear on his program. Wayne reveals the trouble he got into for suggesting that dumping atomic waste into the ocean might be a possible solution. “I guess you don’t hear that viewpoint that often.” “Why would you advocate that?” asks Merv. “Well,” replies Wayne, “because everybody else isn’t.”

Claim to Fame Promo: Wayne appeared on another locally produced KRON show called Claim to Fame, in which an assembled panel tried to guess who the person was based on their vocation. Wayne was one of the regulars, along with Ann Jones, Charlie Haas, and Sylvia Brown (later with an E). This promo for the show features Wayne prominently. There is also a ten second clip from the show attached.

Claim to Fame: Here’s a longer part of Claim to Fame, which features a more spartan set than the one with the FAME lights. (Budget cuts at KRON?)

Bay Area Minute: This short KRON segment features Wayne rhapsodizing about the Bay Bridge.

Three KRON Commentaries: In these collected clips, Wayne offers a commentary on Tanzanian chimpanzees getting high on leaves, another commentary on pesticides, and a third commentary on Fleet Week.

CNBC: In these clips from his CNBC days (featuring some charmingly retro graphics), Wayne provides a commentary on Norplant, sits patiently at the ACE Awards (for which he is nominated), co-anchors a Real Estate Report, and interviews Ken Hakuta, the inventor of the Wacky Wall Walker (and self-styled “Dr. Fad”), with absurd results.

TV 25 Vancouver: In this TV 25 Vancouver segment, Wayne investigates a post office branch in Vancouver, Washington, discovering how postal workers toil and the impact of a holiday package influx.

TV 49 Portland: In the first clip from Wayne’s TV 49 Portland days, Wayne probes Nick’s Famous Coney Island, talks with owner Frank Nudo, and contends with hot dogs. The second clip features Wayne’s movie reviews of Mad Love, Judge Dredd, and Crimson Tide>

TV 6 Portland: In this clip from TV 6 Portland, Wayne goes out in search of white deer in Redland.

Ask the Weather Guru: This interview with Wayne Shannon (just after his television days) has Wayne coming out as the “Ask the Weather Guru” man at Yahoo. He attempts to explain what an occluded front is. But I can’t help but focus on just how small his apartment is at this time.

The Memorial Wall: Wayne’s last appearance on television, from August 2011. He was in Idaho, visiting the Vietnam Memorial Moving Wall and wanting to know if three people from his hometown of Moses Lake, Washington had been killed during the war. He didn’t see their names. Months later, he would walk into the woods and never come out.

by Edward Champion

Non-Intimidating

The San Francisco government had gone out of its way to declare the police station “non-intimidating,” It all started when a young innovator had suggested sending brochures to nearby residents by mail.

The San Francisco government had gone out of its way to declare the police station “non-intimidating,” It all started when a young innovator had suggested sending brochures to nearby residents by mail. The City, which was still in the early stages of embracing all things digital, thought that this was a pretty good idea. To save a bit of money, it commissioned this conceptual whipper-snapper to write all the copy. When an administrative official two weeks away from a prestigious (read: more lucrative) post in Pennsylvania caught wind of the young man’s purported background in graphic design, the official, hoping to create a mess for the obnoxious new guy to clean up, replied, “Fire up Quark and knock yourself out.” With “public awareness” still a recurring and not easily identified priority, the plan was ridiculously easy to authorize. But when the brochures came in, accompanied by a dubious $2,000 invoice for “special services” from some guy named Randy, the young man was boxed around the ears and let go. The gaudy brochures had come back with the catastrophic header DON’T WORRY! WE WON’T INTIMIDATE YOU! printed in a large and unfriendly font against a sickly yellow and vaguely green background.

Meetings were held. Protocols and terms were fiercely argued. The City, still bracing from Randy’s invoice, contemplated bringing in George Lakoff from across the Bay, before understanding that there was a certain humiliation in relying on Berkeley to solve a San Francisco problem. Remarkably, this wasteful public spending had somehow escaped Matier and Ross’s prying investigative attentions. Randy had been paid promptly to keep things quiet. Yet despite these setbacks, it was agreed that the “non-intimidating” concept had to be conveyed to the public. Bus shelter ads might scare the living bejesus out of the elderly. So the City agreed to a low-key campaign. Use the word “non-intimidating” at press conferences. Mention it in intimidating situations. Have all the earthquake preparedness professionals use it in relation to unanticipated seismic rumbles. But most importantly, describe Park Station as “non-intimidating” on the sfgov website.

Few people remembered that Park Station, once strenuously opposed by the mindful planner John McLaren during its construction, had spent a good century defying public perception. The building, originally flanked by two wings stabling 32 horses, had maintained its stucco facades over the years, but its interior had been replaced by clinical functionalism.

This transformation may have had something to do with Park Station’s successful bombing by bloodthirsty activists, believed to be the Weather Underground. It was thought at the time that the window ledge blasting was related to the Chicago Trial protests. The bombing had killed a police sergeant. Developing technology would later pin part of the crime on members of the Black Liberation Army, but Bill Ayers’s guilt hadn’t been entirely pegged after four decades of investigation. The station had closed, reopened, remodeled, and reinforced itself. Its look decayed and its fortification strengthened with every fresh generation of cops grousing its halls.

Some of the residents living near Golden Gate Park’s southwestern perimeter had traded in their ideals for relentless equity management during boom times, but they came around to believing that Park Station was non-intimidating. It helped that many of these young starving pups had no sense of history. The station was non-intimidating only if you believed that the police would always do their duty. It was non-intimidating only if you believed that the authoritarians wouldn’t confuse the rights of nonviolent protesters with their more intense, pyro-happy counterparts. It was non-intimidating only if you kept your head down and avoided the hassles, the harassment, and the harried interventions of hotheaded cops too eager to crack a few heads.