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Storied: San Francisco

Storied: San Francisco

著者： Jeff Hunt
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 A weekly podcast about the artists, activists, and small businesses that make San Francisco so special.Copyright 2024 Storied: San Francisco 社会科学
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  • Misstencil, Part 1 (S7E14)

    Misstencil, Part 1 (S7E14)
    2025/05/13
    Misstencil was born on a mountain in China. In this episode, we meet artist Misstencil and she shares the story of her life. Before we get to that, be sure to RSVP to our Keep It Local show on May 23. Misstencil will be one of the six artists featured that evening, and for a very good reason. But we’ll get to that. As the Communist Party came to power in China, her dad and his family found themselves on the unfortunate side of things. His side of the family had a history as successful business people, which was suddenly frowned upon. Her mom came from a family of professors, also not favorable in the “new China.” Her dad was from Hunan Province, where her mom’s family later moved. When her dad was young, his family gave him up to a foster mother and foster sister. That foster family, capitalists like her dad’s family, was ostracized and became homeless. Misstencil’s dad was smart and talented, but because of his family’s background, was denied the opportunity to go to college. He also had tough luck with women. When it came time to meet their parents, once it became obvious what his family’s political background was, they would end the relationship. This happened on more than one occasion. Despite being attractive and talented (at art and engineering), he was still single at 30. Then someone introduced him to the woman who would become Misstencil’s mom. On their first date, he wasted no time letting her know his background. And it landed. She told him about her own background, and said she wanted to give him a chance. After the two got married, the government sent them to work hard jobs in the mountains. The reality of life there meant that children went to day care while the parents worked. And after work, those adults had to attend political meetings. There was little to no time to raise kids. This was the situation in which Misstencil would grow up. Because of this, her parents sent Misstencil to live with her mom’s parents when she was eight months old. She saw her parents only once a year until she was around 12. Growing up with her grandparents was traumatizing for Misstencil, despite how good they were to her. And that led to depression. All the kids around her had parents, but she effectively did not. It also affected her performance in school. She didn’t do well in any subject except art. Her depression made it hard for her to be interested or to take school seriously. Misstencil’s parents took her out of school eventually, out of fear that they would lose her, and were able to get her into an education program that was not goal-oriented. In that time, she started to change, which she attributes to the lack of pressure. “I no longer had this pressure of doing stuff I don’t like to do,” she says. When she graduated, that school sent Misstencil and one other young woman to Shanghai for college. She says that it was an especially optimistic time in China, and she embraced her time in the country’s largest city. Misstencil shares a fun sidebar about the first time she saw and went into a McDonald’s. Because she was totally unfamiliar with the menu, she ended up ordering a bunch of desserts. Then she tells us about seeing an advertisement for a meeting about a school in Switzerland. More importantly, cookies would be served at this meeting. That was enough for young Misstencil. Like many people in China, she was familiar with Switzerland and its amazing mountain scenery. Calendars depicting the Swiss Alps were common. But Misstencil never imagined that she’d have the opportunity to go there. As we’ve mentioned, the Chinese government exploited people like her dad. He was never really compensated for the incredible contributions he gave to his society. But then he found himself with a little bit of money, and told his daughter that they could use it to send her to Europe for school, at least for a year. She jumped on that chance to get out of her home country. Misstencil shares the detailed story of her journey to Switzerland. It involves large amounts of paper currency, some of which ended up in her shoes. Arriving was tricky, too. It was the middle of the night and there was a train to catch. And she needed to go to the bathroom, but didn’t have the coins needed to do that. A further complication was that she didn’t speak the language (German or French). A friendly fellow train passenger offered help finding her stop. But then he fell asleep. Eventually, she made it … in the middle of the night. There was no one around. So she walked. When she arrived at her new school, she was told that because school started the next day, she’d have to pay to stay there that night (which was already half over). Misstencil notes the contrast between this and what she was used to at home. She says she wondered if she had made a mistake. But she paid, and the next morning after she woke up, she opened her window. It was like being inside of a calendar, she says. Check ...
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    29 分
  • 415 Zine's Fredo and Laine, Part 2 (S7E13)

    415 Zine's Fredo and Laine, Part 2 (S7E13)
    2025/05/06

    Part 2 picks up where we left off in Part 1. Fredo and Laine had worked for the same company for a minute, but both left eventually. That social group they’d formed with a few other artists they worked with kept in touch. Some years went by.

    Fredo attended a workshop for artists at Hunt and Gather in the Sunset, and let Laine know about it. She says that he asked her to be his “accountability buddy.” He says it wasn’t a question, but more a half-joking demand.

    Fredo shares what an “accountability buddy” is, in this sense. At the workshop, each attendee set up goals for the next year. Your accountability buddy helps you stay on-target for achieving those goals. For Fredo and his buddy (Laine), part of that meant meeting almost once a week to go over what Fredo had been able to cross off his list and what was ahead. One vital area he felt he needed her help with was networking.

    With Laine holding him to task, Fredo knocked out most of his 20 goals for 2023 by August of that year. But, because his networking goal didn’t have a metric, per se, it proved trickier.

    And so they got together for coffee and sat in the parklet outside of Gus’s on Haight. Fredo brought a newspaper with him that day. He’d noticed that he kept hearing about art shows after the fact. Because he wasn’t really part of a larger scene (yet), he wondered how people found out about these events. His idea was to create a publication to do just that, and more. And then a funny thing happened. Laine had had the idea to make an art magazine that very same week. Kismet!

    They took that as an obvious sign that this was something they had to do. And so they started hanging out even more, talking and talking and talking about what they wanted their publication to be. What kind of paper? What would it look like? How do we make it free for artists to be featured? Do we want advertising?

    They answered those questions with several notebooks and a lot of caffeine. The first issue of 415 Zine took them seven months to make. Over that time, Laine came up with the idea of tying the title back to the structure of the publication—it could be four of something, one of something, and five of something. They did their due diligence when it came to researching the media landscape, especially when it came to art journalism. They settled on having their boundary be a geographic one, rather than having an artistic-genre focus.

    The “4” would be short features on artists—two pages of full-color examples of their work accompanied by brief write-ups about them. The “1” would be an in-depth interview with a single artist, with several samples of their art to go with the interview. And the “5” would be spots around San Francisco for folks to go experience art. Places like Madrone Art Bar, where we recorded this episode.

    I ask Laine and Fredo to talk about those seven months, from conception to the first publication, and the ups and downs they experienced in that time. Laine says she was in “no looking back” mode, and Fredo concurs. The only questions that popped up were around content. They were in it, and nothing would stop them.

    Though that first issue took them a little more than half a year, they quickly decided that 415 Zine would be quarterly. Most of the heavy lifting of creating something from scratch had been done. And though putting together a publication like this is no small feat, they felt they had it down.

    As we recorded that day in April 2025, Fredo and Laine were about to celebrate the first birthday of their creation. That party fell before this podcast was ready to go out, but I asked them to talk about the anniversary and what it means to have a full year and now five issues behind them.

    We end the episode with Fredo and Laine’s thoughts about our theme this season—Keep it local.

    Photography by Mason J.
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    26 分
  • 415 Zine’s Laine and Alfredo (S7E13)

    415 Zine’s Laine and Alfredo (S7E13)
    2025/04/29
    Alfredo Sainz’s grandfather came to US from Chihuahua, Mexico, in the Bracero Program during World War II. That family then migrated from El Paso, Texas, through New Mexico and Southern California, then as far north as San Francisco. In this episode, get to know Fredo and his 415 Zine co-founder and co-publisher, Laine Wiesemann. We begin Part 1 with Fredo. Fredo and his brother were his family’s first US-born members, making them both Chicanos. Most of his mom’s family immigrated to the US, but many family members on his dad’s side still live in Mexico, mostly in Guadalajara. His grandfather followed the work, which lead him to San Francisco in 1946. He worked in construction, eventually bringing his wife and children, including Fredo’s mom, to live with him. Fredo’s family settled in Excelsior near Crocker-Amazon Park. He attended Sacred Heart. After high school, he moved to Daly City and then the Sunset, where he lives today. Many of his high school classmates are still in SF. He’s never lived anywhere else, though his family did spend summers in Mexico, something Fredo remembers fondly. His grandfather still had a ranch there where they would stay. They’d set out right when the school year ended, and return right before the fall semester began, with a side trip to K-Mart for school clothes, of course. I ask Fredo if he’s ever been tempted to live somewhere else. He expounds on an emphatic “No!” Then he talks about a BBQ spot out near the ocean close to Doggie Diner where he was introduced to peach cobbler. Next, we turn to Laine and her story. She’s from the Central Valley—Sanger, California, near Fresno. The family later moved north to Linden, near Stockton. Both her parents were train engineers. Her mom was one of the first women engineers, in fact. Laine visited San Francisco a lot during her high school years. She remembers crossing the Bay Bridge and being awed. She has memories of her dad taking her and a friend to Amoeba Records. She’d been doing art since she was little, but really started getting into it when she was in high school. In her freshman year, she did commissions. After graduation, she moved to Chico, where she says she “learned how to party.” A friend of hers had moved to The City and her boss was coming here, so, with those things in mind, Laine decided it was time. She moved to San Francisco in 2008. That boss ended up not moving here after all, so Laine had to find work upon her arrival here. She was able to do that relatively easily. Though she’d worked at Trader Joe’s in Chico doing her store’s art, by the time she got to San Francisco, she took a break from art. She worked for a caterer doing special events. And it was at that job that Alfredo and Laine met. I ask them what year that connection was made, and the fact that they both struggled to remember says a lot. Deep friendships can do that. They ballpark it as 2009 or 2010, before the Giants won their first World Series in SF. A small subset of their coworkers were artists, and they all formed a tight social circle. Fredo and others urged Laine to get back to painting. And, inspired by her and others in the group, he decided to pick something up also. He channeled the graffiti he’d done when he was younger. Soon enough, that work crew had a group art show and they asked Fredo to be part of it. That show led to another with the same artists. They had their own art, of course, but the four also contributed to a single collaborate piece. Me, Laine, and Fredo struggle to remember the name of the game with plastic monkeys that Laine compared the piece to. “Barrel of Monkeys,” Fredo eventually recalls. Yep. It was 2016 and with those shows behind him, Fredo decided to run with “above-ground” art. He says that, especially in those days, Laine helped him out a lot with the technical side of creating art. Fredo also credits her with being good at the business side of being an artist—promotion and sales and such. Since she started doing art again, Laine hasn’t stopped. She shares how that got going again. She was visiting her girlfriend’s relatives in Tamales, where many members of that family paint. Laine was inspired. But when it came to subject matter, she felt she had two options—the surrounding natural beauty (specifically, a nearby creek), or a shiny red teapot. She settled on a mashup of sorts—the teapot pouring into the creek. She had a lot of fun with that little painting. And so, she picked that up and ran with it. Check back next week for Part 2 with Laine and Fredo. We recorded this episode at Madrone Art Bar in April 2025. Photography by Mason J.
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    34 分

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