The condomlessness of bareback sex: Responses to the unrepresentability of HIV in Treasure Island Media’s Plantin’ Seed and Slammed

Sexualities ◽  
2015 ◽  
Vol 18 (1-2) ◽  
pp. 210-223 ◽  
Author(s):  
Stuart Scott
Keyword(s):  
Author(s):  
Robert Louis Stevenson
Keyword(s):  

2020 ◽  
Vol 97 (1) ◽  
pp. 3-32
Author(s):  
Robert W. Cherny

The federal art programs of the New Deal produced public art in quantities not seen before or since. Historians have studied many aspects of the New Deal's art programs, but few have considered the long-term history of works produced by them. New Deal art programs produced large numbers of public murals—so many that such murals are often thought of as the typical form of New Deal art. They thus provide readily available examples of the long-term experience of New Deal art. San Francisco has a particularly rich collection of these murals. Some of them have been well cared for over the past eight decades, but public officials have proved negligent stewards—and occasionally destructive stewards—of others. Some of San Francisco's murals were considered so controversial at the time they were created that they were modified or even destroyed. Others became controversial later, with calls for modification or destruction. Some of the latter were covered, some were vandalized, and some have deteriorated. Most of the damaged murals have been restored, sometimes more than once. This article looks at the city's New Deal murals at Coit Tower, the Mothers Building at the Zoo, the Beach Chalet, the University of California San Francisco, the Alemany Health Center, Treasure Island/City College, and Rincon Annex/Center, with special attention to the George Washington High School murals that have recently been highly controversial. Controversies over the murals at Coit Tower, Rincon Annex, and George Washington High School also reveal significant changes in the role of the city's political and civic leadership with regard to public art.


2016 ◽  
Vol 6 (1) ◽  
pp. 130-136
Author(s):  
Brock Winstead

Treasure Island in San Francisco Bay was created to host the Golden Gate International Exposition, a World’s Fair, in 1939-40. The fair was an expression of an idealized order of both design and international relations. Neither survived much longer than the fair itself. The author considers the creation and re-creation of Treasure Island and the problem of building for an uncertain, ultimately unknowable future. This article is a critical appreciation of Andrew Shanken’s Into the Void Pacific, a design history of the fair.


1911 ◽  
Vol 73 (12) ◽  
pp. 326-326
Author(s):  
Jessica J. Haskell
Keyword(s):  

1989 ◽  
Vol 47 (3) ◽  
pp. 25-29 ◽  
Author(s):  
John Levay
Keyword(s):  

10.28945/4750 ◽  
2021 ◽  
Vol 6 ◽  
pp. 001-025
Author(s):  
Samuel Barrington ◽  
Randy Esponda ◽  
Timothy E Newsome ◽  
Say Sengsouvanna ◽  
Cynthia L Steel

With the sun losing its glare and now appearing as a beautiful orange orb just above the distant horizon where the sky meets the sea, Barry O’Connor thought to himself, “This is as close to paradise as you can get.” Yet, the vast empty sea of white sand surrounding him told a very different story. It was July 17, 2020, and this beautiful area should have been overrun with college students and young families as they enjoyed their summer vacation. Instead, the executive order that came as a result of the COVID-19 epidemic four months earlier forced him to immediately close his four bars and six Caddy’s Waterfront Dining restaurants, laying off 600 employees and dashing his dreams of another lucrative season. Barry gazed at the beautiful sunset one more time before turning his thoughts to the monumental problem that faced him. While he agreed that the health and safety of his employees and loyal customers was paramount, he couldn’t help but feel the pang that losing a few million dollars a month brings. Now, as businesses began to reopen their doors in the face of new restrictions brought about by COVID, Barry was left to figure out how to navigate the uncharted landscape of new in-house capacity restrictions, everyone’s fear of contracting the virus, and the unknown of when this pandemic would end. All the while, Barry’s bar business was in shambles due to a second government shutdown of bars, which only added pressure on the Caddy’s brand to drive revenue and keep the other half of the business afloat. A potential solution loomed on the horizon, however. This Caddy’s location in Treasure Island had an extensive beach immediately outside its doors, which could expand its footprint, allowing an additional 450-500 customers to enjoy the Caddy’s experience in the safety of an outdoor arena. However, due to local government zoning restrictions, Caddy’s was not legally allowed to treat this area as a traditional restaurant setting. But Barry had become a self-made man because he understood that the nature of business was never static. He knew that the best way forward was to disregard the inconvenience of circumstances beyond his control, and instead pour his efforts into a search for the opportunities that always accompanied such impacts. But just what opportunities did the pandemic create? How could he best leverage technology to exploit them? How would he manage the impact of the changes on his customers and employees?


Author(s):  
David Sergeant

This chapter pursues imaginative continuities in R. L. Stevenson’s writing of the coast across different locations, times and genres – from essays to fiction, from Scotland to California to the South Seas. In doing so it approaches the historical specificities of Stevenson’s shorelines via a back-way route, through the imaginative landscape of his prose – a route that might bring together topics more often neatly demarcated. The influence of Stevenson’s chronic ill health on his writing of the shore is considered, along with his disturbed and hostile attitude to late-Victorian capitalist modernity. The chapter touches on works including ‘On the Enjoyment of Unpleasant Places’ (1874), ‘The Old Pacific Capital’ (1880), ‘The Merry Men’ (1882), Treasure Island (1883) and The Wrecker (1892).


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