>> when the new california academy of sciences opened in 2008, it quickly became one of the top tourist magnets in the city. part of the cal academies' astronomical success is the weekly nightlife party. >> i am joined by helen, who is here to school me on all the nocturnal activities that are getting ready to take place here. tell us a little about what we can expect to see at nightlife. >> we open up the doors every thursday night at the california

academy of sciences. there are certain things you can see every week you can go to the museum, visit the planetarium, and we bring in bars and a deejay or band. it is a different feel from during the day, something different every week. tonight , we have beer and music. -- tonight we have great beer and music. it is beer week. we have a dozen local brewers in african hall. we have a deejays to set up throughout the museum and a live performance at 9:00 p.m. tonight. >> what has been your favorite part as a participant or as an observer? >> my favorite part is to walk around the aquarium in to see people with a drink in their hands, getting to know maybe somebody new, may be looking for a day, or chatting with friends. there jellyfish. i mean, they are beautiful. >> the culmination of the

animals. >> it is very impressive. we do not have this at home. >> tell us a little about some of the spider's we see here on display. >> at the california academy of sciences, there is a very large collection of preserved and live specimens, which are the evidence about evolution. we have the assassin spiders, which are spiders that exclusively kill and eat other spiders. they are under the microscope here. research done and the california academy's i rhinology lab suggests that the assassin spiders have been doing this for over 150 million years. this glassed in room is a real scientific laboratory, and the people in that room are preparing specimens of vertebrate, that is mammals and

birds. the way they do this is to remove the skin, sew it together in a relatively lifelike pose, and ensure that it does not decompose. >> i am a really big class actress fan, so i am here to see them, and beer week. >> i wanted to learn something and have fun. >> i always enjoy it. i am not all is well -- always working as i am tonight. sometimes i come to enjoy the music and to dance. ♪ >> culturewire covers the arts in san francisco, and one of my favorite culture artists is here tonight. jason, thank you for being on culturewire. tell us about some of your posters that we have here today. >> most of the posters here are four specific shows or tours.

i am hired by the bands or the venue. >> what is the inspiration behind these posters? >> no, disease of the related to the bay and, of course. music -- it is related to the band, of course the musical content or isn't related to the bed. album covers can come from anywhere. ♪ ♪ >> class actress was great. we have been having so much fun. i did not realize how beautiful

the cal academy looks than that. what other events take place here? >> we do corporate events that night on a regular basis. but nightlife is your best bet to come in as a regular person pharmacy the academy at night, and visit with friends. calacademy.org/nightlife. we have details for the next few weeks. you can get tickets online in advance or at the door. >> thank you so much. thank you for watching culturewire on sf gov tv. >> we came to seven straight about 10 years ago. -- 7th street about 10 years

ago. the environment is huge. it is stronger than willpower. surrounding yourself with artists, being in a culture where artists are driving, and where a huge amount of them is a healthy environment. >> you are making it safer. push, push. that is better. when i start thinking, i see it actually -- sometimes, i do not see it, but when i do, it is usually from the inside out. it is like watching something being spawned. you go in, and you begin to work, excavate, play with the dancers, and then things began to emerge. you may have a plan that this is what i want to create. here are the ideas i want to

play with, but then, you go into the room, and there maybe some fertile ideas that are becoming manifest that are more interesting than the idea you had initially set out to plan. so there has to be this openness for spontaneity. also, a sense that regardless of the deadline, that you have tons of time so the you can keep your creativity alive and not cut it off and just go into old habits. it is a lot like listening. really listening to watch what is going to emerge. i like this thing where you put your foot on his back. let's keep it. were your mind is is how you build your life. if you put it in steel or in failure, it works. that works. it is a commitment. for most artists, it is a

vacation and a life that they have committed themselves to. there is this notion that artists continue to do their work because of some kind of the external financial support. if that was taken away, artists would still do their art. it is not like there is a prerequisite for these things to happen or i will not do it. how could that be? it is the relationship that you have committed to. it is the vocation. no matter how difficult it gets, you are going to need to produce your art. whether it is a large scale or very small scale. the need to create is going to happen, and you are going to have to fulfill it because that is your life.

>> feel like it really is a community. they are not the same thing, but it really does feel like there's that kind of a five. everybody is there to enjoy a literary reading. >> the best lit in san francisco. friendly, free, and you might get fed. ♪ [applause] >> this san francisco ryther created the radar reading series in 2003. she was inspired when she first moved to this city in the early 1990's and discover the wild west atmosphere of open mi it's ic in the mission. >> although there were these open mics every night of the

week, they were super macho. people writing poems about being jerks. beatty their chest onstage. >> she was energized by the scene and proved up with other girls who wanted their voices to be heard. touring the country and sharing gen-x 7 as a. her mainstream reputation grew with her novel. theses san francisco public library took notice and asked her if she would begin carrying a monthly reading series based on her community. >> a lot of the raiders that i work with our like underground writers. they're just coming at publishing and at being a writer

from this underground way. coming in to the library is awesome. very good for the library to show this writing community that they are welcome. at first, people were like, you want me to read at the library, really? things like that. >> as a documentary, there are interviews -- [inaudible] >> radar readings are focused on clear culture. strayed all others might write about gay authors. gay authors might write about universal experiences. the host creates a welcoming environment for everybody. there is no cultural barrier to entry. >> the demographic of people who come will match the demographic of the reader. it is very simple. if we want more people of color, you book more people of color.

you want more women, your book more women. kind of like that. it gets mixed up a little bit. in general, we kind of have a core group of people who come every month. their ages and very. we definitely have some folks who are straight. >> the loyal audience has allowed michelle to take more chances with the monthly lineup. established authors bring in an older audience. younker authors bring in their friends from the community who might be bringing in an older author. >> raider has provided a stage for more than 400 writers. it ranges from fiction to

academics stories to academic stories this service the underground of queer fell, history, or culture. >> and there are so many different literary circles in san francisco. i have been programming this reading series for nine years. and i still have a huge list on my computer of people i need to carry into this. >> the supportive audience has allowed michele to try new experiment this year, the radar book club. a deep explorationer of a single work. after the talk, she bounces on stage to jump-start the q&a. less charlie rose and more carson daly. >> san francisco is consistently ranked as one of the most literate cities in the united states. multiple reading events are happening every night of the year, competing against a big

names like city arts and lectures. radar was voted the winner of these san francisco contest. after two decades of working for free, michelle is able to make radar her full-time job. >> i am a right to myself, but i feel like my work in this world is eagerly to bring writers together and to produce literary events. if i was only doing my own work, i would not be happy. it is, like throwing a party or a dinner party. i can match that person with that person. it is really fun for me. it is nerve wracking during the actual readings. i hope everyone is good. i hope the audience likes them. i hope everybody shows up. but everything works out. at the end of the reading, everyone is happy. ♪

>> i tried to think about this room as the dream room, where we dream and bring some of those dreams to life. i feel very blessed that i have been able to spend the last 31 years of my life doing it my way, thinking about things better interesting to me, and then pursuing them. there are a lot of different artists that come here to work, mostly doing aerial work. kindred spirits, so to speak. there is a circus company that i have been fortunate enough to work with the last couple of years. i use elements of dance and choreography and combine that with theater techniques. a lot of the work is content- based, has a strong narrative. the dancers have more of a

theatrical feel. i think we are best known for our specific work. in the last 15 years, spending a lot of time focusing on issues that affect us and are related to the african-american experience,here in the united states. i had heard of marcus shelby and had been in join his work but never had the opportunity to meet him. we were brought together by the equal justice society specifically for this project. we were charged with beginning work. marquez and i spent a lot of time addressing our own position on the death penalty, our experiences with people who had been incarcerated, family members, friends of friends.

pulling our information. beyond that, we did our own research. to create a picture that resonated with humanity. it is the shape of a house. in this context, it is also small and acts like a cell. i thought that was an interesting play on how these people make these adjustments, half to create home. what is home for these people? the home is their cell. people talk a lot about noise -- very noisy in prisons. that is interesting to me. looking at the communication level, the rise of frustration of being caged, wondering, where

does redemption fit into the equation here? [singing] i think both of us really believe the death penalty is wrong, and is flawed for many reasons. the list is as long as my arm -- about several others. we feel this is important for both of us, personally, to participate in the debate of this issue in a way that we can help people frame it for a

conversation. >> when stephen de staebler died, he was working on one of the biggest shows of his career, matter and spirit. it is a retrospective look at the many faces and faces of the life of an innovative artist from the california clay movement. stephen de staebler's developed in an area dominated by abstract expression. even his peers saw his form.

>> he was able to find a middle ground in which he balanced the ideas of human figuration and representation with abstraction and found it even more meaningful to negotiate that duality. >> another challenge was to create art from a meeting that was typically viewed as kraft material. his transforming moment was an accident in the studio. an oversized vertical sculpture began to collapse under its own weight and spread onto the floor. he sought a new tradition before him, landscape sculpture. >> you feel this extended human form underneath the surface of the earth struggling to emerge. eventually, it does. it articulates his idea that the earth is like flesh, and the archaeology and geology in the earth are like the bones, the structure of the earth.

this tied in with his idea of mother earth, with the sense that we are all tied to nature and the earth. >> a half dozen bay area museums and private collectors loan the massive sculptures to the museum for its matter and spirit retrospective. but the most unusual contributions came from stephen himself. a wall of autobiographical masks and hence from the early decades of his private study. >> he had one of the most beautiful studios i have ever been in. when you walk in, your first impression is of these monumental figures that you see in the exhibition, but if you went into the back corner of his studio, there was a series of shells with these diminutive figures. he told me, these are the heart of my studio. these little, and held intimate study is that he referred to as his sketchbook. a painter might make drawings. stephen de staebler made

miniature sculptures. >> during the 1970's, he was inspired by the monuments of egypt. he assembled a large rocks of clay into figures that resembled the ancient kings and queens. he credited a weathered appearance by rubbing glazes' into the clay while still wet. the misfires from his killed were brought in his backyard in his berkeley home. he called it his boneyard. in the last year of his life, he dug up the artifacts from his own history, and the bones were rearranged, in the were slimmer figures with wings. >> even if you knew nothing about his life or career, you sensed there was an artist dealing with this fundamental issue of life and death, the cake, netting back together, and you feel there is an attempt to deal with mortality and immortality. there is a seeking of spiritual meaning in ais