Spots Unknown

Your Anti-Pigeon Wires are Wonderful…

Anti-Pigeon at BART, San Francisco

...for me to poop on!

(Spotted@ 16th/Mission BART.)

Mayhem on the Streets of San Francisco

PC Games - E3 2011 - Driver San Francisco

I know squonk about video games, but apparently there are expectations that the new San Francisco edition of this languishing franchise will revive its cred:

Driver: San Francisco takes the long-running yet languishing Driver series back to its purest, most French Connection-y roots, and introduces several new game mechanics, hundreds of licensed vehicles and plenty of graphical improvements to bring the game up to speed with other next-gen racing titles.

It sure looks beautiful. I dig the Seventiesploitation soundtrack and, naturally, the locations (don't you miss the old Muni shelters?):

PS3 Games - E3 2011 - Driver San Francisco

The Week on Twitter, 2010-08-20

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Fire Boat

Fire Boat, San Francisco

Parked at the SF Fire Department Museum, Pier 22 1/2. See it in higher-res at the Spots Unknown Flickr Pool.

Need Lettuce for Your Anti-Aircraft Guns?

A. Acaccia & Sons, San Francisco

A. Acaccia & Sons has got all your leafy-wartime needs covered.

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Huge Ships, Tiny Ships, Polar Bears

San Francisco Maritime National Park

On Thursday, I attended the San Francisco Maritime National Park Association's 60th birthday bash. I'm a new member, and so I'm just beginning to learn about this little gem, and the maritime history of SF.

The park includes that bad-ass ship you see at Hyde Street Pier (in the photo at the bottom of this post), a submarine you can go into, and a museum in the art deco building at Aquatic Park with jaw-dropping ship models and other miniaturizations.

San Francisco Maritime National Park
The inside and outside of the Aquatic Park Bathhouse Building are covered with awesome WPA-era murals and mosaics.

Learn all about the association and the park here.

San Francisco Maritime National Park
Beware: Polar Bears often swim in adjacent Aquatic Park, so if you're sensitive to seeing half-naked old guys who like to maximize "shrinkage," look away - ooh, what a pretty ship!

The Week on Twitter, 2010-08-13

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Sweet Vintage Street Sweeper, circa 1950

Vintage Street Sweeper, San Francisco

This beauty of a machine is shown cleaning the street at Dolores Park, which apparently even back then was regularly trashed by hordes of Missionites. (If anyone knows the origins of this photograph please drop it in the comments so I can properly attribute. I found it here.)

You can buy a vintage ad for the Austin-Western "Model 40" on eBay (and, really, why not?):

Vintage Street Sweeper Ad, 1950

Here's the ad copy:

On any street, there are many things the operator of a sweeper has to watch, and with the model "40" he sees them all. Only with this sweeper does he have unobstructed view of everything around him. There are no "blind" spots for the man behind the wheel of a model "40."

Children don't always watch where they're going. Thanks to front steer and rear-mounted hopper, the model "40" operator can do the watching for them, because he sits in the natural place "up front" where he can see what's going on.

And there's another important angle... Not only can he operate Model "40" safely but efficiently as well, because it's the only sweeper with gutter brooms visible at all times.

Yes, for efficiency's sake as well as safety's sake... GET A MODEL "40."

Let the "hipster-proof" jokes commence...

Full Story Behind Cliff House “Lightning” Photograph

Cliff House "Lighting" Photograph, San Francisco

It's one of the most famous San Francisco images, seen on postcards galore. I never realized what an epic story is attached to it and the photographer who is believed to have shot it. (Also, it's not lightning, nor a storm, as is commonly held.)

According to this Cliff House book project site, on the back of the original print is the following inscription (neither dated nor verified):

A Japanese boy, noticing the approach of lightning and thunder storm, took the last car for the Cliff House at 10:30 p.m.

The night was dark. He took up his position with his camera on the beach, and patiently waiting until 2 o'clock a.m., was able by leaving his camera open to obtain this picture, the "flashlight" being Nature's own--the bright strokes of lightning at the moment. The patience of the "Oriental," together with his keen preception of the opportunity, give us this photographic rarity, thunder storms and lightning being a rare occurance in the "glorious climate of California." --Copyrighted.

Cliff House "Lighting" Photo, San Francisco

There's more. The "Alamo Square Neighborhood Association Newsletter" from February 2000 identifies (via his son, "Ted") the Japanese boy as Tsunekichi Imai.

Cliff House "Lighting" Photo, San Franciscod
Scan courtesy of Winston Montgomery

The following story is included in a detailed account of Imai's life:

Tsunekichi Imai was working in his Polk Street studio when the 1906 earthquake struck, and he described to his family how the pictures hanging from his shop walls shook and gyrated wildly, many tumbling to the ground. In the days that followed, the rapidly spreading fire which followed the quake overwhelmed firefighters and threatened to destroy the entire city. To stop the fire by depriving it of fuel, officials decided to create a firebreak by dynamiting a swath of buildings east of Van Ness Avenue. The Imai studio was located in one of these buildings.

The structures to be exploded were evacuated hurriedly and Tsunekichi Imai thought that all his equipment and furniture had been lost. Someone suggested that he go up to Lafayette Park at Washington and Laguna streets, and there he discovered stacks of personal possessions and household furnishings covered by tarpaulins that firemen and other volunteers must have rescued from the doomed buildings. He found most of the things from his shop piled together and even labeled with his name. Ironically many of the photographs and other personal affects that survived the earthquake and fire were lost during the period that the Imai family was interned during W.W. II at Camp Topaz in Utah.

Tsunekichi Imai took a number of photographs in the earthquake’s aftermath, the most notable, according to his son, Ted, showed a man trapped on the upper balcony of a burning building pleading for help as the flames engulfed him. The picture was taken just as soldiers on the ground shot the man with their rifles to put him out of his misery. Ted says his father was fearful of the possible legal implications of taking this photo or even witnessing this event, and eventually destroyed it.

Read the whole thing.

Tons more photos of Cliff House here.

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Tilted and Shifted

Tilted and Shifted, San Francisco

I'm still a big sucker for this effect, when it's well-done. These shots of Union Square were created to promote an iPhone app.

The Week on Twitter, 2010-07-23

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When Montgomery Street was Waterfront Property

When the Water Came Up to Montgomery Street
Yerba Buena settlement in the early 1840s, from the Society of California Pioneers

I'm kind of a big Carl Jung guy. Not so much because I think he was right about stuff in the scientific sense, but more due to an aesthetic attachment. I like that he went up against Freud (although I like that dude, too) and was willing to face ejection from the Vienna Psychoanalytic Society for it. Synchronicity. Archetypes. Individuation. Meyers-Briggs. Maybe I like these things because they're not scientific.

And even though I never really bought into his idea of the collective unconscious, I was nonetheless intrigued by the stated thesis of Charles A Fracchia's new book about San Francisco history, When the Water Came Up to Montgomery Street. He had me invested from the introduction:

I have maintained for some years that San Francisco's history - to our present time - is compounded from the Gold Rush experience, that its distinctive - one might say unique - urban response is situated in what Jung called the collective consciousness... A city that prides itself in its cosmopolitan features, its tolerance, and its penchant for inclusivity, San Francisco continues to operate based on an ethos that was created during the Gold Rush, when the city was composed of a melange of races and nationalities who had simultaneously arrived in the city, producing a melting pot of customs, religious practices, socio-economic and regional differences, and forcing, more or less, a "live-and-let-live" environment.

The difficulties involved in being a resident of San Francisco during the Gold Rush were no less than a birth trauma as Fracchia puts it, an experience that, while not remembered by the matured being, nonetheless is a form of distress as formative as any other in explaining the being's development.

I don't know if Fracchia is familiar with another of Freud's ultimately purged peers, Otto Rank, but his theory of the birth trauma would have been an even better metaphor for explaining "San Francisco values" than Jung's collective unconscious.

In any case, the book doesn't really attempt to use the concretes of the Gold Rush to support the thesis Fracchia clearly states in the introduction. I don't think there is any further mention of the thesis, in fact, and instead his histories all point to the suddenness of SF's transformation from a trading outpost to a metropolis. I suspect this is related to his statement at the end of the introduction that his thesis isn't "empirically provable." Don't get me wrong, it's a great read, and the photos and illustrations are fantastic. But the book leaves Jung, the collective consciousness, and the birth trauma on the roadside early on, and I wish it hadn't.

When the Water Came Up to Montgomery Street
The Bartlett Map of San Francisco, from the Beinecke Rare Books and Manuscripts Library, Yale University

The dominant impression the book left on me is one implied in its title. The focus on Yerba Buena Cove, and especially the multiplicity of images of the original eastern edge of the peninsula, has given me the feeling that I know how that part of the city has changed since it was called "Yerba Buena." Do I really? That's impossible to prove empirically.

Low-res images in this post were scanned from Charles A. Fracchia's When the Water Came Up to Montgomery Street.

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The Week on Twitter, 2010-07-16

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Hazardous Cliffs Stay Back

Be sure to watch to the end for some sweet irony.

He’s on a Boat!

He scoffs at your fancy, non-arm-powered vessels. Yes it's true, the new technologies of sail and engine allow you to "go places" and "move things," but that's exactly the point. He doesn't play your games. His is an enlightened existence. All he needs is a sunny day. And a bottle of water.

The Week on Twitter, 2010-07-09

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Guns & Yoga

Rusty Wells, Urban Flow yoga, San Francisco

Rusty Wells is the lynchpin of Urban Flow yoga studio in San Francisco, where practitioners regularly bask in the love and acceptance of the universe.

But who says a yoga master cannot also possess a shocking killer instinct? Yin and Yang, folks...

Feels Like Independence Day

I didn't see any fireworks over the weekend. Boo hoo.

But after watching this latest video by Daniel Jarvis, I feel like I can miss fireworks for the next three years.

Filmed at Dolores Park, 24th and Harrison, The Uptown, The Phone booth, Bernal Heights, and all over the roads of San Francisco.

Song is "Being a Teenager is Free Palestine" by The Downer Party.

Is This Map of San Francisco Racist?

Racist Map of San Francisco?

Tenderblog thinks so:

First off, where are the black neighborhoods? The Loin has been rather ignored. Fillmore is just part of Lower Pacific Heights. Western Addition is non-existent. Then there’s Hunter’s Point which has no “clever” tongue in cheek comment to it and is just colored black in what I assume is some allusion to there being blacks that live there... I realize that 7×7′s audience (if there actually is one) is just poshy, clueless ass clowns, but still, this is pretty blatant and is more than just an oversight, but more reflection of the artist and the magazine’s views of this supposed rainbow city.

Hmm. Also odd is that the Marina District isn't on the map, which seems to be where a lot of the magazine's readers would reside.

Walking the Wiggle

Joel Pomerantz, ThinkWalks.org

On the recommendation of Haighteration blog, I took the ThinkWalks walking tour of the Wiggle on Thursday evening.

Guide Joel Pomerantz was bursting with knowledge about the history of the bike route, going all the way back to pre-colonial times (no, the Ohlones didn't have bikes, but they supposedly followed the same route when walking), and also is an expert on San Francisco generally. Notably, he charmed a random anarchist on a BMX who tried to sieze control of the crowd at one point - the kid ended up sitting and listening for a bit, before bumping fists with Joel, screaming, "Anarchy in the USA!" and riding off.

I enjoyed Joel's thoughts on SF's hidden waterways (an ongoing obsession of this blog), and especially his warnings that when the 100-year storm hits, the MUNI tunnel, tubes, and grates in the Duboce/Church/Market St corridor will quickly submerge, forming an underground river that will rush across the Bay and produce a geyser on the other end in Oakland! Great stuff.

There was an impressively low median age on the free tour, and it was almost all locals. (Hey, passers-by who snickered, "tourists" under your breath - suck it, joke's on you.)

The Wiggle Mural, San Francisco

We met up at the Wiggle mural on the backside of Safeway, and there I became fixated with the fantastic diversity of traffic that converges at the Church/Duboce intersection. I've lived in this neighborhood and walked through this spot millions of times, but you get a totally different feel for it when you linger in this spot for a bit, especially at rush hour.

Bonus time lapse video below: