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"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
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"content": "\u003cp>[dropcap]O[/dropcap]n Nov. 28, 1866, the Coya — an iron, 515-ton ship from Britain — finally approached the California coastline after months at sea. Bound for San Francisco, it carried 19 sailors and 10 passengers, along with a cargo of coal from Sydney.\u003c/p>\n\u003cp>The journey had begun with a foreboding omen. Twelve days after leaving Sydney Harbor, one of the ship’s crew, a man named Peter Johnson, fell overboard and drowned. No one could have known then that the same fate would meet all but three people on board. Twenty-six men, women and children were killed when the Coya crashed just 50 miles away from its final destination.\u003c/p>\n\u003cp>It was at Pigeon Point, 20 miles south of Half Moon Bay, that the Coya met its end. The ship had made good progress that day, bolstered by strong winds. Shortly after sunset, however, the vessel was engulfed by heavy fog, and the captain and crew were caught off-guard. The Coya struck a reef, and enormous waves repeatedly raised the ship and crashed it back down into the rock. One report from the\u003cem> Santa Cruz Weekly Sentinel\u003c/em> noted that the Coya “almost immediately began to break up.” Panic and chaos erupted on board, where many of the ship’s crew and passengers had been resting below deck.\u003c/p>\n\u003cp>The \u003cem>Sentinel\u003c/em> noted:\u003c/p>\n\u003cblockquote>\u003cp>The fierce breakers passing over the ship carried away by twos and threes the unfortunate beings who, half naked and benumbed with cold, could find no means of saving themselves, or of reaching land through the unbroken line of angry surf that thundered in their ears, adding to the terror of the situation by its awful roar.\u003c/p>\u003c/blockquote>\n\u003cp>The dead included Captain Richard Paige, his wife and young daughter, as well as the ship’s porter, cook, sailmaker, carpenter, steward and cabin boy. One couple aboard, passengers listed as Mr. and Mrs. Jeffreys, were killed along with their baby whom they tried to protect by wrapping the infant in Mrs. Jeffreys’ shawl.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The only three to survive the violent wreck were the chief mate Mr. Bairstow, a passenger named Mr. G. Byrnes and a young English seaman named Walter Cooper. Bairstow and Byrnes were wearing cork life belts, while Cooper endured by, in his own words, “clinging to a piece of timber with death’s grip.” Once on shore, the battered trio spent the night partially submerged in a hole they dug in the sand, in an attempt to stay warm.\u003c/p>\n\u003cp>[aside postid='arts_13937270']For days after the tragedy, Bairstow and Byrnes stayed at the site of the wreck. Byrnes, who lost all of his possessions on the Coya, spent his time burying the bodies of his associates that washed up close enough to retrieve. He did this with the assistance of San Mateo County’s Justice of the Peace, a Mr. Knowles. Bairstow was too injured to assist.\u003c/p>\n\u003cp>The Coya was not the first ship wrecked on the reefs and rocks of this particular patch of the Pacific. Less than two years before the accident, the Sir John Franklin sank just a quarter-mile away, killing 12 out of the 20 crew on board. Pigeon Point itself was called Whale Point until 1853, when a Boston clipper ship named the Carrier Pigeon hit the rocks and sank there.\u003c/p>\n\u003cp>Something about the Coya disaster affected locals — and all of the Bay Area — differently, however. “The people of this region have shown all possible kindness to the shipwrecked men who have survived their perils,” the \u003cem>San Francisco Times\u003c/em> reported on Nov. 30, 1866. “[They] have taken care of these poor fellows who are thus thrown out upon the world, penniless and strangers in a strange land.”\u003c/p>\n\u003cp>In that same article, the \u003cem>Times\u003c/em> chastised so-called “wreckers” — opportunists who plundered disaster sites for valuables — and called on them to return items so they may be sent to families of the deceased. “We lay stress upon this suggestion in deference to the feelings of the unfortunate lost,” the paper said.\u003c/p>\n\u003cp>[dropcap]O[/dropcap]n Dec. 15, 1866 — one day after the funeral of Captain Paige, his wife and their daughter at San Francisco’s Trinity Church — the \u003cem>Santa Cruz Weekly Sentinel\u003c/em> printed the findings of an inquest about the destruction of the Coya.\u003c/p>\n\u003cp>“The coast near New Year’s Point is a very dangerous one, on account of its peculiar location, climate and current,” the inquest’s jurors wrote in their final impassioned statement. “It seems to be very evident that it is the duty of the proper authorities to put a light on [the] Point.”\u003c/p>\n\u003cp>Three days later, \u003cem>The Sacramento Bee\u003c/em> published a recommendation for “a light house in the neighborhood of the place where the Carrier Pigeon, the Sir John Franklin and the Coya were wrecked. We … urge it as one of great importance second to no want of our coast.”\u003c/p>\n\u003cp>[aside postid='arts_13931837']Sadly, not even the horrors of the Coya were enough to get Pigeon Point its lighthouse. The final straw came two years later (almost to the day) when the Hellespont — a 750-ton oak vessel, also traveling from Australia to San Francisco and carrying coal — hit the rocks, split in half and sank. Eleven out of the 20 men on board were killed. The catastrophe revived the outrage around the Coya disaster anew.\u003c/p>\n\u003cp>This time, the \u003cem>San Mateo County Gazette\u003c/em> published a passionate plea for a lighthouse from its editor, H.A. Scofield.\u003c/p>\n\u003cp>“The recent terrible wreck of the ship Hellespont, at Pigeon Point, which resulted in the loss of 11 of her crew, including Captain Soule, constitutes another appeal to the government at Washington for the establishment of a lighthouse at Pigeon Point,” Scofield wrote. “Pigeon Point is the most extensive promontory on the coast south of the Golden Gate, and the point seems especially adapted for a lighthouse. No other place on the Pacific Coast has proved so fatal to navigators as this locality.”\u003c/p>\n\u003cp>In 1869, plans for a Pigeon Point lighthouse finally got underway. It was lit for the first time on Nov. 15, 1872.\u003c/p>\n\u003cfigure id=\"attachment_13952285\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1918705610-scaled-e1707901565607.jpg\" alt=\"A drone view of a lighthouse on a rugged coastline.\" width=\"1920\" height=\"1244\">\u003cfigcaption class=\"wp-caption-text\">Pigeon Point Lighthouse at the Station State Historic Park in Pescadero. Before its arrival, this section of coastline regularly sank ships. \u003ccite>(Jane Tyska/ Digital First Media/ East Bay Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From 1871, starting while the landmark was still under construction, a fog signal — comprised only of a steam whistle — also directed ships away from the land. That stayed in use in tandem with the lighthouse until 1911, when the whistle was replaced by a siren. Variations on the siren could be heard until 1976.\u003c/p>\n\u003cp>[aside postid='arts_13931210']At 115 feet tall, the Pigeon Point lighthouse remains one of the tallest in the United States. Today, it’s a tourist attraction, and \u003ca href=\"https://www.hiusa.org/find-hostels/california/pescadero-210-pigeonpoint-road\">the original lighthouse keeper’s housing is a hostel\u003c/a> for adventurous travelers. Having been closed to the public since 2001 for safety reasons, a $16 million, two-year construction project to restore the lighthouse to its former glory is expected to start in the first half of 2024. Improvements have already begun on the surrounding buildings.\u003c/p>\n\u003cp>Keeping the lighthouse in pristine condition is a fitting way to honor the victims of Pigeon Point’s multiple shipwrecks, many of whom found their final resting place beneath the waters that the lighthouse overlooks.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As the \u003cem>San Francisco Times\u003c/em> wrote in January, 1867:\u003c/p>\n\u003cblockquote>\u003cp>Upon the top of the promontory to which the survivors … climbed, are the graves of those who were drowned from the Sir John Franklin, and now the bodies of … the Coya are added to that number. There they lie entombed … on that lofty cliff, and the waves which lifted them up on its bare rocks roar their eternal requiem below.\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For days after the tragedy, Bairstow and Byrnes stayed at the site of the wreck. Byrnes, who lost all of his possessions on the Coya, spent his time burying the bodies of his associates that washed up close enough to retrieve. He did this with the assistance of San Mateo County’s Justice of the Peace, a Mr. Knowles. Bairstow was too injured to assist.\u003c/p>\n\u003cp>The Coya was not the first ship wrecked on the reefs and rocks of this particular patch of the Pacific. Less than two years before the accident, the Sir John Franklin sank just a quarter-mile away, killing 12 out of the 20 crew on board. Pigeon Point itself was called Whale Point until 1853, when a Boston clipper ship named the Carrier Pigeon hit the rocks and sank there.\u003c/p>\n\u003cp>Something about the Coya disaster affected locals — and all of the Bay Area — differently, however. “The people of this region have shown all possible kindness to the shipwrecked men who have survived their perils,” the \u003cem>San Francisco Times\u003c/em> reported on Nov. 30, 1866. “[They] have taken care of these poor fellows who are thus thrown out upon the world, penniless and strangers in a strange land.”\u003c/p>\n\u003cp>In that same article, the \u003cem>Times\u003c/em> chastised so-called “wreckers” — opportunists who plundered disaster sites for valuables — and called on them to return items so they may be sent to families of the deceased. “We lay stress upon this suggestion in deference to the feelings of the unfortunate lost,” the paper said.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n Dec. 15, 1866 — one day after the funeral of Captain Paige, his wife and their daughter at San Francisco’s Trinity Church — the \u003cem>Santa Cruz Weekly Sentinel\u003c/em> printed the findings of an inquest about the destruction of the Coya.\u003c/p>\n\u003cp>“The coast near New Year’s Point is a very dangerous one, on account of its peculiar location, climate and current,” the inquest’s jurors wrote in their final impassioned statement. “It seems to be very evident that it is the duty of the proper authorities to put a light on [the] Point.”\u003c/p>\n\u003cp>Three days later, \u003cem>The Sacramento Bee\u003c/em> published a recommendation for “a light house in the neighborhood of the place where the Carrier Pigeon, the Sir John Franklin and the Coya were wrecked. We … urge it as one of great importance second to no want of our coast.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sadly, not even the horrors of the Coya were enough to get Pigeon Point its lighthouse. The final straw came two years later (almost to the day) when the Hellespont — a 750-ton oak vessel, also traveling from Australia to San Francisco and carrying coal — hit the rocks, split in half and sank. Eleven out of the 20 men on board were killed. The catastrophe revived the outrage around the Coya disaster anew.\u003c/p>\n\u003cp>This time, the \u003cem>San Mateo County Gazette\u003c/em> published a passionate plea for a lighthouse from its editor, H.A. Scofield.\u003c/p>\n\u003cp>“The recent terrible wreck of the ship Hellespont, at Pigeon Point, which resulted in the loss of 11 of her crew, including Captain Soule, constitutes another appeal to the government at Washington for the establishment of a lighthouse at Pigeon Point,” Scofield wrote. “Pigeon Point is the most extensive promontory on the coast south of the Golden Gate, and the point seems especially adapted for a lighthouse. No other place on the Pacific Coast has proved so fatal to navigators as this locality.”\u003c/p>\n\u003cp>In 1869, plans for a Pigeon Point lighthouse finally got underway. It was lit for the first time on Nov. 15, 1872.\u003c/p>\n\u003cfigure id=\"attachment_13952285\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1918705610-scaled-e1707901565607.jpg\" alt=\"A drone view of a lighthouse on a rugged coastline.\" width=\"1920\" height=\"1244\">\u003cfigcaption class=\"wp-caption-text\">Pigeon Point Lighthouse at the Station State Historic Park in Pescadero. Before its arrival, this section of coastline regularly sank ships. \u003ccite>(Jane Tyska/ Digital First Media/ East Bay Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From 1871, starting while the landmark was still under construction, a fog signal — comprised only of a steam whistle — also directed ships away from the land. That stayed in use in tandem with the lighthouse until 1911, when the whistle was replaced by a siren. Variations on the siren could be heard until 1976.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At 115 feet tall, the Pigeon Point lighthouse remains one of the tallest in the United States. Today, it’s a tourist attraction, and \u003ca href=\"https://www.hiusa.org/find-hostels/california/pescadero-210-pigeonpoint-road\">the original lighthouse keeper’s housing is a hostel\u003c/a> for adventurous travelers. Having been closed to the public since 2001 for safety reasons, a $16 million, two-year construction project to restore the lighthouse to its former glory is expected to start in the first half of 2024. Improvements have already begun on the surrounding buildings.\u003c/p>\n\u003cp>Keeping the lighthouse in pristine condition is a fitting way to honor the victims of Pigeon Point’s multiple shipwrecks, many of whom found their final resting place beneath the waters that the lighthouse overlooks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the \u003cem>San Francisco Times\u003c/em> wrote in January, 1867:\u003c/p>\n\u003cblockquote>\u003cp>Upon the top of the promontory to which the survivors … climbed, are the graves of those who were drowned from the Sir John Franklin, and now the bodies of … the Coya are added to that number. There they lie entombed … on that lofty cliff, and the waves which lifted them up on its bare rocks roar their eternal requiem below.\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"title": "New PBS Documentary Spotlights the NAACP’s Earliest Incarnation",
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"content": "\u003cp>In 1906, a Black writer and teacher named Barbara Pope attempted to sit in the “whites only” section of a train in Virginia. Her protest against the Jim Crow laws of the South got Pope removed and fined $10. Determined to fight, Pope sought out assistance from the Niagara Movement, a short-lived but important civil rights group that pre-dated — and helped establish — the NAACP.\u003c/p>\n\u003cp>Pope, with the Niagara Movement’s assistance, was successful in her bid to get Virginia’s Supreme Court to overturn her fine. The Supreme Court of the District of Columbia also ruled in Pope’s favor in 1907 when she sued the Southern Railway Company, with the Niagara Movement’s backing. Unfortunately, instead of awarding Pope the $20,000 she asked for, the court granted her just one cent in compensation. By the time the cases were over, the Niagara Movement was almost bankrupt and Pope’s reputation was in ruins. She fell out of favor with her family, and her career was over. One year later, she hanged herself in a public park in Virginia.\u003c/p>\n\u003cp>[aside postid='pop_108474']The hard-won victories and tragic consequences of Pope’s legal battles are just one of the fascinating elements in \u003cem>Niagara Movement: The Early Battle for Civil Rights\u003c/em>, a PBS documentary airing on KQED this week. Directed by Oscar-nominated filmmaker Lawrence R. Hott, the hour-long special focuses on the philosophical splits that pitted Black leaders against one another at the turn of the century.\u003c/p>\n\u003cp>On one side was Booker T. Washington, a formerly enslaved man who preached progress for the Black community, but not parity. On the other was W. E. B. Du Bois, a fierce academic and the first Black man to earn a postgraduate degree from Harvard. Du Bois rejected Washington’s teachings after the \u003ca href=\"https://en.wikipedia.org/wiki/Lynching_of_Sam_Hose\">torture and lynching of Sam Hose\u003c/a> in Georgia in 1899. The murder made Du Bois understand that a more radical approach was needed, so he joined forces with writer and editor William Monroe Trotter. Trotter’s publication, \u003cem>The Guardian — \u003c/em>a particularly outspoken Black newspaper in Boston — not only argued for full citizenship, it actively referred to Washington as a hypocrite and even “the Benedict Arnold of the negro race.”\u003c/p>\n\u003cp>Together, Du Bois and Trotter organized the first anti-racism conference — a group of 29 Black men who traveled to Niagara Falls from 14 states to discuss voting rights and new strategies to transform America. That small group was the start of what became known as the Niagara Movement. It was a major departure from the Afro-American Council — an organization that followed the teachings of Washington, of which Trotter and Du Bois had both been members.\u003c/p>\n\u003cfigure id=\"attachment_13952434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-5.36.15-PM-e1708049249266.png\" alt=\"Twelve Black men and one Black boy, wearing turn-of-the-century clothing, sit in three rows for a photographic portrait.\" width=\"1920\" height=\"978\">\u003cfigcaption class=\"wp-caption-text\">Some of the attendees of the first Niagara Movement meeting in July 1905. \u003ccite>(PBS/ WNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Niagara Movement \u003c/em>breaks down the who, what, why and when of the organization, as well as the ways it established the actions and principles on which all future civil rights movements would be built. And the documentary excels by not shying away from the infighting and philosophical conflicts that were ever present within the struggle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Niagara Movement\u003c/em> proudly holds up the strengths of Washington, Du Bois and Trotter, but is unflinching when examining each man’s flaws. We see a petty, insecure side of Washington when we find out he sent spies to the first Niagara conference to report back to him. The film also looks at Trotter’s fervent opposition to women’s involvement in organizing, juxtaposing his illogical reasoning with the fact that the National Association of Colored Women already had 15,000 members during the first year of the Niagara Movement.\u003c/p>\n\u003cp>The documentary strictly focuses on Eastern and Southern states, meaning it doesn’t get into California’s approaches to civil rights during the same period. The fact that Barbara Pope’s court cases came a full 40 years after \u003ca href=\"https://www.kqed.org/news/11701126/how-a-heroine-became-a-demon-in-victorian-san-francisco\">Mary Ellen Pleasant\u003c/a>’s California \u003ca href=\"https://www.aclunc.org/sites/goldchains/explore/mary-ellen-pleasant.html#:~:text=In%201866%2C%20a%20street%20car,streetcars%20was%20illegal%20in%20California.\">Supreme Court victory\u003c/a> is not mentioned. \u003cem>Niagara Movement\u003c/em> also doesn’t explore how Du Bois’ criticism of racist attractions at World’s Fairs around the country probably influenced \u003ca href=\"https://www.kqed.org/arts/13883630/the-suffrage-and-civil-rights-organizer-who-guided-women-to-the-polls\">Alameda County Day\u003c/a> — a demonstration and celebration of local Black culture at San Francisco’s Panama-Pacific International Exposition in 1915.\u003c/p>\n\u003cp>[aside postid='arts_13883630']Still, \u003cem>Niagara Movement \u003c/em>acts as an effective explainer of the machinations and motivations of America’s early civil rights movement. It’s a fascinating jumping off point to see how civil rights on the other side of the country impacted the movement here in California — and vice versa. It is also an inspiring treatise on embracing rebellion, as well as a reminder that no movement is perfectly formed.\u003c/p>\n\u003cp>Ultimately, the Niagara Movement lasted just three years. It imploded under the weight of Du Bois and Trotter’s leadership clashes, financial strains and attacks from Washington. However, as the documentary makes clear, it planted important seeds around how civil rights movements could operate radically even within established legal systems. It also served up lessons on what not to do — instructions Du Bois heartily put into action when co-founding the NAACP in 1908. He did so with two women, \u003ca href=\"https://video.kqed.org/video/ida-b-wells-advocate/\">Ida B. Wells\u003c/a> and \u003ca href=\"https://naacp.org/find-resources/history-explained/civil-rights-leaders/mary-white-ovington\">Mary White Ovington\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Niagara Movement: The Early Battle for Civil Rights’ airs on KQED on Feb. 21, 2024 at 11 p.m. and is currently \u003ca href=\"https://www.pbs.org/video/niagara-movement-the-early-battle-for-civil-rights-gigtxp/\">streaming on PBS\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1906, a Black writer and teacher named Barbara Pope attempted to sit in the “whites only” section of a train in Virginia. Her protest against the Jim Crow laws of the South got Pope removed and fined $10. Determined to fight, Pope sought out assistance from the Niagara Movement, a short-lived but important civil rights group that pre-dated — and helped establish — the NAACP.\u003c/p>\n\u003cp>Pope, with the Niagara Movement’s assistance, was successful in her bid to get Virginia’s Supreme Court to overturn her fine. The Supreme Court of the District of Columbia also ruled in Pope’s favor in 1907 when she sued the Southern Railway Company, with the Niagara Movement’s backing. Unfortunately, instead of awarding Pope the $20,000 she asked for, the court granted her just one cent in compensation. By the time the cases were over, the Niagara Movement was almost bankrupt and Pope’s reputation was in ruins. She fell out of favor with her family, and her career was over. One year later, she hanged herself in a public park in Virginia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The hard-won victories and tragic consequences of Pope’s legal battles are just one of the fascinating elements in \u003cem>Niagara Movement: The Early Battle for Civil Rights\u003c/em>, a PBS documentary airing on KQED this week. Directed by Oscar-nominated filmmaker Lawrence R. Hott, the hour-long special focuses on the philosophical splits that pitted Black leaders against one another at the turn of the century.\u003c/p>\n\u003cp>On one side was Booker T. Washington, a formerly enslaved man who preached progress for the Black community, but not parity. On the other was W. E. B. Du Bois, a fierce academic and the first Black man to earn a postgraduate degree from Harvard. Du Bois rejected Washington’s teachings after the \u003ca href=\"https://en.wikipedia.org/wiki/Lynching_of_Sam_Hose\">torture and lynching of Sam Hose\u003c/a> in Georgia in 1899. The murder made Du Bois understand that a more radical approach was needed, so he joined forces with writer and editor William Monroe Trotter. Trotter’s publication, \u003cem>The Guardian — \u003c/em>a particularly outspoken Black newspaper in Boston — not only argued for full citizenship, it actively referred to Washington as a hypocrite and even “the Benedict Arnold of the negro race.”\u003c/p>\n\u003cp>Together, Du Bois and Trotter organized the first anti-racism conference — a group of 29 Black men who traveled to Niagara Falls from 14 states to discuss voting rights and new strategies to transform America. That small group was the start of what became known as the Niagara Movement. It was a major departure from the Afro-American Council — an organization that followed the teachings of Washington, of which Trotter and Du Bois had both been members.\u003c/p>\n\u003cfigure id=\"attachment_13952434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-5.36.15-PM-e1708049249266.png\" alt=\"Twelve Black men and one Black boy, wearing turn-of-the-century clothing, sit in three rows for a photographic portrait.\" width=\"1920\" height=\"978\">\u003cfigcaption class=\"wp-caption-text\">Some of the attendees of the first Niagara Movement meeting in July 1905. \u003ccite>(PBS/ WNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Niagara Movement \u003c/em>breaks down the who, what, why and when of the organization, as well as the ways it established the actions and principles on which all future civil rights movements would be built. And the documentary excels by not shying away from the infighting and philosophical conflicts that were ever present within the struggle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Niagara Movement\u003c/em> proudly holds up the strengths of Washington, Du Bois and Trotter, but is unflinching when examining each man’s flaws. We see a petty, insecure side of Washington when we find out he sent spies to the first Niagara conference to report back to him. The film also looks at Trotter’s fervent opposition to women’s involvement in organizing, juxtaposing his illogical reasoning with the fact that the National Association of Colored Women already had 15,000 members during the first year of the Niagara Movement.\u003c/p>\n\u003cp>The documentary strictly focuses on Eastern and Southern states, meaning it doesn’t get into California’s approaches to civil rights during the same period. The fact that Barbara Pope’s court cases came a full 40 years after \u003ca href=\"https://www.kqed.org/news/11701126/how-a-heroine-became-a-demon-in-victorian-san-francisco\">Mary Ellen Pleasant\u003c/a>’s California \u003ca href=\"https://www.aclunc.org/sites/goldchains/explore/mary-ellen-pleasant.html#:~:text=In%201866%2C%20a%20street%20car,streetcars%20was%20illegal%20in%20California.\">Supreme Court victory\u003c/a> is not mentioned. \u003cem>Niagara Movement\u003c/em> also doesn’t explore how Du Bois’ criticism of racist attractions at World’s Fairs around the country probably influenced \u003ca href=\"https://www.kqed.org/arts/13883630/the-suffrage-and-civil-rights-organizer-who-guided-women-to-the-polls\">Alameda County Day\u003c/a> — a demonstration and celebration of local Black culture at San Francisco’s Panama-Pacific International Exposition in 1915.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, \u003cem>Niagara Movement \u003c/em>acts as an effective explainer of the machinations and motivations of America’s early civil rights movement. It’s a fascinating jumping off point to see how civil rights on the other side of the country impacted the movement here in California — and vice versa. It is also an inspiring treatise on embracing rebellion, as well as a reminder that no movement is perfectly formed.\u003c/p>\n\u003cp>Ultimately, the Niagara Movement lasted just three years. It imploded under the weight of Du Bois and Trotter’s leadership clashes, financial strains and attacks from Washington. However, as the documentary makes clear, it planted important seeds around how civil rights movements could operate radically even within established legal systems. It also served up lessons on what not to do — instructions Du Bois heartily put into action when co-founding the NAACP in 1908. He did so with two women, \u003ca href=\"https://video.kqed.org/video/ida-b-wells-advocate/\">Ida B. Wells\u003c/a> and \u003ca href=\"https://naacp.org/find-resources/history-explained/civil-rights-leaders/mary-white-ovington\">Mary White Ovington\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Niagara Movement: The Early Battle for Civil Rights’ airs on KQED on Feb. 21, 2024 at 11 p.m. and is currently \u003ca href=\"https://www.pbs.org/video/niagara-movement-the-early-battle-for-civil-rights-gigtxp/\">streaming on PBS\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[dropcap]I[/dropcap]n the late 1960s, an uncommonly energetic 43-year-old named Ruth Beckford was teaching an Afro-Haitian dance class in Oakland. A dancing pro since the age of eight, Beckford had a habit of taking a close personal interest in her students. She taught the youngest ones a combination of life skills and etiquette to set them up for bright futures. She encouraged teens and young women to love themselves and pursue their dreams. And when one of her students told Beckford about her involvement with the Black Panther Party, Beckford was keen to be of assistance with that, too.\u003c/p>\n\u003cp>The student in question was LaVerne Anderson, who happened to be the girlfriend of Huey P. Newton. Beckford began by accompanying Anderson to some of Newton’s 1968 trial dates. In September of that year, when the idea for the Panthers’ Free Breakfast for School Children Program first came up, it was Beckford who sprang into action and made it happen.\u003c/p>\n\u003cp>[aside postid='arts_13874853']Beckford had long been a parishioner at Oakland’s \u003ca href=\"https://staugepiscopal.org/\">St. Augustine’s Episcopal Church\u003c/a>, then situated at West and 27th Streets. Beckford approached her priest there, Father Earl A. Neil, to find out if St. Augustine’s was willing to host a daily program there to feed neighborhood kids. Father Neil agreed, and he and Beckford went about building a health code-safe kitchen and dining space, as well as a nutritionally balanced menu.\u003c/p>\n\u003cp>On the first day — a Monday in January 1969 — 11 children came to eat. By Friday, that number had swelled to 135. Beckford and Father Neil made such a success of the free breakfasts, the program was soon mandatory in all Black Panther chapters nationwide. It was also a shining example of Beckford’s ability to turn ideas into action, and to plant seeds that would one day create mighty forests. That’s something she had already been doing in her dance classes for 22 years before she got involved with the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_13952106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-939585344-scaled-e1707777665615.jpg\" alt=\"Several young Black boys, one of whom is wearing a suit, raise their hands to speak as they sit around a table, paper plates of food in front of them.\" width=\"1920\" height=\"1298\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther Party’s Free Breakfast for Children program — like this one in New York City in 1969 — combined education and good nutrition. \u003ccite>(Bev Grant/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]B[/dropcap]eckford was born on Dec. 7, 1925 in Oakland’s \u003ca href=\"https://localwiki.org/oakland/Providence_Hospital\">Providence Hospital\u003c/a> to a Jamaican father and a mother from Los Angeles. Beckford was the youngest of four — she had a big sister and a pair of twin brothers — and was raised on 38th Avenue and MacArthur Boulevard. She grew up in a household so supportive that, when they saw her kicking along to music in her crib as a baby, her parents pledged to get her into dance class as soon as she was old enough.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At three years old, Beckford began training in “every kind of dance,” her dedicated mom sewing all her costumes. It was clear from the beginning that the young girl was naturally gifted, and that dance was indeed her calling. By eight, she was a vaudeville dancer. By 14, she was teaching other children. At 17, she toured with the prestigious \u003ca href=\"https://www.kqed.org/arts/13899186/if-cities-could-dance-east-st-louis\">Katherine Dunham\u003c/a> Company, where she fully embraced African and Caribbean dance for the first time. Beckford loved the work but declined a seven-year contract from Dunham so she could attend UC Berkeley instead. (Dunham remained a mentor and friend for life, and Beckford taught in her New York dance school in 1953.)\u003c/p>\n\u003cp>[aside postID='arts_13926548,pop_102326,arts_13916612']During her studies, Beckford was the only Black dancer in UC Berkeley’s dance club, Orchesis. The experience prepared her for working in majority-white companies later on. In her 20s, as the only Black dancer with the \u003ca href=\"https://calisphere.org/item/8c65bcebbbc335b04faa0cd457e3ebd7/\">Anna Halprin and Welland Lathrop\u003c/a> modern dance company, Beckford said she could sometimes hear the audience gasp as she arrived on San Francisco’s Herbst Theatre stage.\u003c/p>\n\u003cp>Once Beckford had graduated with a modern dance degree, she was keen to serve her community while doing what she loved most. First, she started an annual modern dance showcase that ran for over a decade. Then in 1947, aged just 21, Beckford started the Oakland Recreation Modern Dance Department — the first city-funded dance classes in the United States — and remained project director there for 20 years. Beckford insisted the classes be free so that anyone, no matter their means, would be able to attend. By the time she left in 1967, the department was running 34 modern dance classes for 700 students of all ages and abilities.\u003c/p>\n\u003cp>Of the importance of this program, Beckford later stated: “My philosophy for the young girls was, I would get them in through dance, but my whole goal was to make them be strong, free spirits. The girls got a lot of doses of self-empowerment training, self-esteem training,” she said. “Out of the thousands of girls that I taught, I knew a few would be dancers, but they all had to become women. I wanted them all to be strong young ladies — and it worked.”\u003c/p>\n\u003cp>These relationships were so important to Beckford, she prioritized them over having children of her own. “I feel if I had had children,” she said in 2000, “I would not have been the mentor to the hundreds and hundreds of girls I mentored. I would give them all the attention. I would tell them they were special.”\u003c/p>\n\u003cp>From 1954 on, Beckford was also running her own company, the Ruth Beckford African Haitian Dance Company. Her understanding of traditional styles was so exhaustive, she was invited to choreograph a folk festival in Haiti in 1958. At home, her company’s performances — comprised of six dancers accompanied by three drummers — were unlike anything most dance fans had seen in the Bay Area before. For a start, the company was comprised entirely of Black dancers — a refreshing contrast to the companies Beckford had grown up in.\u003c/p>\n\u003cfigure id=\"attachment_13951198\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13951198 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-576842076-scaled-e1706578196329.jpg\" alt=\"A Black male dancer does the splits in mid-air, while two Black women dance either side of him.\" width=\"1920\" height=\"1516\">\u003cfigcaption class=\"wp-caption-text\">Students and members of Ruth Beckford’s dance group rehearse a number in Oakland. \u003ccite>(Ted Streshinsky/ CORBIS/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]A[/dropcap]fter Beckford retired from teaching in 1975, there was still no stopping her. She became an author, writing an autobiography, two cookbooks and a \u003ca href=\"https://www.jstor.org/stable/2784188\">Katherine Dunham biography\u003c/a>. She also co-authored \u003cem>\u003ca href=\"https://www.everand.com/book/502678421/The-Picture-Man-From-the-Collection-of-Bay-Area-Photographer-E-F-Joseph-1927-1979\">The Picture Man\u003c/a>,\u003c/em> about Black Bay Area photographer E.F. Joseph. Her final work, \u003ca href=\"https://www.amazon.com/Still-Groovin-Affirmations-Women-Second/dp/0829813373\">\u003cem>Still Groovin’\u003c/em>\u003c/a>, was a book of spiritual advice and affirmations aimed squarely at mature women. “Women are sort of out there by themselves,” she said, “and women have to mentor each other. My book is a tool to help them become stronger.”\u003c/p>\n\u003cp>\u003cem>Still Groovin’\u003c/em> wasn’t her only means of trying to empower her peers. Between 1984 and 1988, Beckford wrote a trilogy of plays titled \u003cspan style=\"font-weight: 400\">’\u003c/span>\u003cem>Tis the Morning of My Life\u003c/em>, about a woman named Roxie Youngblood who finds herself in a relationship with a much younger man. Beckford admitted the story was inspired by her own life.\u003c/p>\n\u003cp>[aside postid='pop_102855']“I have a different energy, I think, to most men my age,” she once explained. “As long as I have this energy, I’m going to use it and have fun with younger people. Younger men have the energy I have, and I feel mine is worthy of that.” On another occasion, she noted: “Older women are marrying younger men nowadays because they find they have much more in common.”\u003c/p>\n\u003cp>When a New York theater asked permission to stage her first play, Beckford agreed only if the original Bay Area cast could perform it. “It’s time for New York to see what the West Coast can do,” she insisted.\u003c/p>\n\u003cp>For a lot of people, co-founding the Black Panthers’ Free Breakfast program would have been the pinnacle achievement of a lifetime. That Beckford then went on to mentor generations of young Black women was a huge deal. And the sheer number of ways Beckford sought to be of service throughout her life is ultimately breathtaking.\u003c/p>\n\u003cp>She served on the Board of Oakland\u003cspan style=\"font-weight: 400\">’s\u003c/span> African American Museum and Library, where she also founded an oral history program. She counseled homeless people in Berkeley, and women in shelters and prisons around the state. She served on a dance panel at the National Endowment for the Arts and campaigned for better theater facilities in Oakland. She founded a women’s golf club. She even spent Thursday afternoons in the late 1990s volunteering in Jack London Square’s information booth so that she might pass on her passion for all things Oakland.\u003c/p>\n\u003cp>Ruth Beckford remained indefatigable (despite surviving five back surgeries and a hip replacement) until her death at age 93. Shortly before her passing on May 8, 2019, Beckford reflected on a life thoroughly well lived.\u003c/p>\n\u003cp>“I have a joyous life, I have a good time,” she said. “I choreographed my life. Step-by-step, year-by-year.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n the late 1960s, an uncommonly energetic 43-year-old named Ruth Beckford was teaching an Afro-Haitian dance class in Oakland. A dancing pro since the age of eight, Beckford had a habit of taking a close personal interest in her students. She taught the youngest ones a combination of life skills and etiquette to set them up for bright futures. She encouraged teens and young women to love themselves and pursue their dreams. And when one of her students told Beckford about her involvement with the Black Panther Party, Beckford was keen to be of assistance with that, too.\u003c/p>\n\u003cp>The student in question was LaVerne Anderson, who happened to be the girlfriend of Huey P. Newton. Beckford began by accompanying Anderson to some of Newton’s 1968 trial dates. In September of that year, when the idea for the Panthers’ Free Breakfast for School Children Program first came up, it was Beckford who sprang into action and made it happen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Beckford had long been a parishioner at Oakland’s \u003ca href=\"https://staugepiscopal.org/\">St. Augustine’s Episcopal Church\u003c/a>, then situated at West and 27th Streets. Beckford approached her priest there, Father Earl A. Neil, to find out if St. Augustine’s was willing to host a daily program there to feed neighborhood kids. Father Neil agreed, and he and Beckford went about building a health code-safe kitchen and dining space, as well as a nutritionally balanced menu.\u003c/p>\n\u003cp>On the first day — a Monday in January 1969 — 11 children came to eat. By Friday, that number had swelled to 135. Beckford and Father Neil made such a success of the free breakfasts, the program was soon mandatory in all Black Panther chapters nationwide. It was also a shining example of Beckford’s ability to turn ideas into action, and to plant seeds that would one day create mighty forests. That’s something she had already been doing in her dance classes for 22 years before she got involved with the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_13952106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-939585344-scaled-e1707777665615.jpg\" alt=\"Several young Black boys, one of whom is wearing a suit, raise their hands to speak as they sit around a table, paper plates of food in front of them.\" width=\"1920\" height=\"1298\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther Party’s Free Breakfast for Children program — like this one in New York City in 1969 — combined education and good nutrition. \u003ccite>(Bev Grant/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>eckford was born on Dec. 7, 1925 in Oakland’s \u003ca href=\"https://localwiki.org/oakland/Providence_Hospital\">Providence Hospital\u003c/a> to a Jamaican father and a mother from Los Angeles. Beckford was the youngest of four — she had a big sister and a pair of twin brothers — and was raised on 38th Avenue and MacArthur Boulevard. She grew up in a household so supportive that, when they saw her kicking along to music in her crib as a baby, her parents pledged to get her into dance class as soon as she was old enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At three years old, Beckford began training in “every kind of dance,” her dedicated mom sewing all her costumes. It was clear from the beginning that the young girl was naturally gifted, and that dance was indeed her calling. By eight, she was a vaudeville dancer. By 14, she was teaching other children. At 17, she toured with the prestigious \u003ca href=\"https://www.kqed.org/arts/13899186/if-cities-could-dance-east-st-louis\">Katherine Dunham\u003c/a> Company, where she fully embraced African and Caribbean dance for the first time. Beckford loved the work but declined a seven-year contract from Dunham so she could attend UC Berkeley instead. (Dunham remained a mentor and friend for life, and Beckford taught in her New York dance school in 1953.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During her studies, Beckford was the only Black dancer in UC Berkeley’s dance club, Orchesis. The experience prepared her for working in majority-white companies later on. In her 20s, as the only Black dancer with the \u003ca href=\"https://calisphere.org/item/8c65bcebbbc335b04faa0cd457e3ebd7/\">Anna Halprin and Welland Lathrop\u003c/a> modern dance company, Beckford said she could sometimes hear the audience gasp as she arrived on San Francisco’s Herbst Theatre stage.\u003c/p>\n\u003cp>Once Beckford had graduated with a modern dance degree, she was keen to serve her community while doing what she loved most. First, she started an annual modern dance showcase that ran for over a decade. Then in 1947, aged just 21, Beckford started the Oakland Recreation Modern Dance Department — the first city-funded dance classes in the United States — and remained project director there for 20 years. Beckford insisted the classes be free so that anyone, no matter their means, would be able to attend. By the time she left in 1967, the department was running 34 modern dance classes for 700 students of all ages and abilities.\u003c/p>\n\u003cp>Of the importance of this program, Beckford later stated: “My philosophy for the young girls was, I would get them in through dance, but my whole goal was to make them be strong, free spirits. The girls got a lot of doses of self-empowerment training, self-esteem training,” she said. “Out of the thousands of girls that I taught, I knew a few would be dancers, but they all had to become women. I wanted them all to be strong young ladies — and it worked.”\u003c/p>\n\u003cp>These relationships were so important to Beckford, she prioritized them over having children of her own. “I feel if I had had children,” she said in 2000, “I would not have been the mentor to the hundreds and hundreds of girls I mentored. I would give them all the attention. I would tell them they were special.”\u003c/p>\n\u003cp>From 1954 on, Beckford was also running her own company, the Ruth Beckford African Haitian Dance Company. Her understanding of traditional styles was so exhaustive, she was invited to choreograph a folk festival in Haiti in 1958. At home, her company’s performances — comprised of six dancers accompanied by three drummers — were unlike anything most dance fans had seen in the Bay Area before. For a start, the company was comprised entirely of Black dancers — a refreshing contrast to the companies Beckford had grown up in.\u003c/p>\n\u003cfigure id=\"attachment_13951198\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13951198 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-576842076-scaled-e1706578196329.jpg\" alt=\"A Black male dancer does the splits in mid-air, while two Black women dance either side of him.\" width=\"1920\" height=\"1516\">\u003cfigcaption class=\"wp-caption-text\">Students and members of Ruth Beckford’s dance group rehearse a number in Oakland. \u003ccite>(Ted Streshinsky/ CORBIS/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>fter Beckford retired from teaching in 1975, there was still no stopping her. She became an author, writing an autobiography, two cookbooks and a \u003ca href=\"https://www.jstor.org/stable/2784188\">Katherine Dunham biography\u003c/a>. She also co-authored \u003cem>\u003ca href=\"https://www.everand.com/book/502678421/The-Picture-Man-From-the-Collection-of-Bay-Area-Photographer-E-F-Joseph-1927-1979\">The Picture Man\u003c/a>,\u003c/em> about Black Bay Area photographer E.F. Joseph. Her final work, \u003ca href=\"https://www.amazon.com/Still-Groovin-Affirmations-Women-Second/dp/0829813373\">\u003cem>Still Groovin’\u003c/em>\u003c/a>, was a book of spiritual advice and affirmations aimed squarely at mature women. “Women are sort of out there by themselves,” she said, “and women have to mentor each other. My book is a tool to help them become stronger.”\u003c/p>\n\u003cp>\u003cem>Still Groovin’\u003c/em> wasn’t her only means of trying to empower her peers. Between 1984 and 1988, Beckford wrote a trilogy of plays titled \u003cspan style=\"font-weight: 400\">’\u003c/span>\u003cem>Tis the Morning of My Life\u003c/em>, about a woman named Roxie Youngblood who finds herself in a relationship with a much younger man. Beckford admitted the story was inspired by her own life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I have a different energy, I think, to most men my age,” she once explained. “As long as I have this energy, I’m going to use it and have fun with younger people. Younger men have the energy I have, and I feel mine is worthy of that.” On another occasion, she noted: “Older women are marrying younger men nowadays because they find they have much more in common.”\u003c/p>\n\u003cp>When a New York theater asked permission to stage her first play, Beckford agreed only if the original Bay Area cast could perform it. “It’s time for New York to see what the West Coast can do,” she insisted.\u003c/p>\n\u003cp>For a lot of people, co-founding the Black Panthers’ Free Breakfast program would have been the pinnacle achievement of a lifetime. That Beckford then went on to mentor generations of young Black women was a huge deal. And the sheer number of ways Beckford sought to be of service throughout her life is ultimately breathtaking.\u003c/p>\n\u003cp>She served on the Board of Oakland\u003cspan style=\"font-weight: 400\">’s\u003c/span> African American Museum and Library, where she also founded an oral history program. She counseled homeless people in Berkeley, and women in shelters and prisons around the state. She served on a dance panel at the National Endowment for the Arts and campaigned for better theater facilities in Oakland. She founded a women’s golf club. She even spent Thursday afternoons in the late 1990s volunteering in Jack London Square’s information booth so that she might pass on her passion for all things Oakland.\u003c/p>\n\u003cp>Ruth Beckford remained indefatigable (despite surviving five back surgeries and a hip replacement) until her death at age 93. Shortly before her passing on May 8, 2019, Beckford reflected on a life thoroughly well lived.\u003c/p>\n\u003cp>“I have a joyous life, I have a good time,” she said. “I choreographed my life. Step-by-step, year-by-year.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-couples-victorian-valentines-day-history-bay-area-portraits",
"title": "Photos of Weird Victorian Couples to Ruin Your Valentine’s Day",
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"content": "\u003cp>Ah, love. Eternal. Binding. Great when you’re in it. Often supremely irritating to look at when you’re not. If you find yourself lacking relationship inspiration as we approach this year’s \u003ca href=\"https://www.kqed.org/pop/20463/the-dark-and-twisted-history-of-valentines-day\">Valentine’s Day\u003c/a>, please consider this a heart-shaped candy box from us to you. Ten couples from San Francisco history who just can’t help but remind us that relationships aren’t all they’re cracked up to be.\u003c/p>\n\u003cp>[aside postid='arts_13874348']Please now gaze upon their perplexed, dejected faces and imagine the stilted conversations that occurred before and after these portraits were taken. May they stand as a reminder that sometimes, being alone is better than being saddled with someone else…\u003c/p>\n\u003cp>Up first! Look at this duo from 1890. Gaze deep into their eyes and ponder the souls within. An abyss of darkness.\u003c/p>\n\u003cfigure id=\"attachment_13950574\" class=\"wp-caption aligncenter\" style=\"max-width: 637px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950574\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp37.02417.jpg\" alt=\"A Victorian era couple pose in a studio, she sitting, he standing. They both look confused and perhaps a little angry.\" width=\"637\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp37.02417.jpg 637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp37.02417-160x251.jpg 160w\" sizes=\"(max-width: 637px) 100vw, 637px\">\u003cfigcaption class=\"wp-caption-text\">‘You talkin’ to us? You talkin’ to us?! Then who the hell else are you talkin’ to? We’re the only ones here…’ etc. \u003ccite>(OpenSFHistory / wnp37.02417)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ah, to be visiting the Cliff House with this cheery couple from 1900.\u003c/p>\n\u003cfigure id=\"attachment_13950531\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950531\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0172.jpg\" alt=\"A Victorian woman in a hat and a large man in a suit pose on a bench in front of an image of the Cliff House in San Francisco.\" width=\"1000\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0172.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0172-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0172-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0172-768x542.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘The thing that really drew me to Malcolm was that really special way he does his jackets up.’ \u003ccite>(OpenSFHistory / wnp70.0172)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are these two from 1900, in the middle of paying a visit to \u003ca href=\"https://www.kqed.org/arts/13909983/victorian-attractions-san-francisco-chutes-gravity-railroad-woodwards-gardens-bonet-tower-auditorium-skating\">the Haight Street Chutes\u003c/a> (a giant waterslide, ridden in a flat-bottomed boat that existed between 1895 and 1902). What a barrel of laughs they’re having!\u003c/p>\n\u003cfigure id=\"attachment_13950537\" class=\"wp-caption aligncenter\" style=\"max-width: 740px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950537\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp27.7774.jpg\" alt=\"A man and a woman sit very straight-faced in front of an image depicting a giant water slide.\" width=\"740\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp27.7774.jpg 740w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp27.7774-160x216.jpg 160w\" sizes=\"(max-width: 740px) 100vw, 740px\">\u003cfigcaption class=\"wp-caption-text\">Fairly certain that Amanda Knox is a reincarnation of this woman. \u003ccite>(OpenSFHistory / wnp27.7774)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Our next couple is clearly having the time of their lives, yes, but look where they’re doing it — all over the rubble of the 1906 earthquake. Like raging, fork-stealing psychopaths.\u003c/p>\n\u003cfigure id=\"attachment_13950530\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950530\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/earthqua.jpg\" alt=\"A Victorian couple gazes at each other and smiles while walking across piles of bricks and ruins.\" width=\"1000\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/earthqua.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/earthqua-800x690.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/earthqua-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/earthqua-768x662.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘Babe, you’re so damn sexy that when I’m with you it feels, like, totally fine to dance on the rubble of other people’s hopes and dreams.’ ‘Same, Arnold. Same.’ \u003ccite>(OpenSFHistory / wnp37.01299)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I don’t want to make groundless accusations or anything but these two look like they’ve got a body hidden in their basement.\u003c/p>\n\u003cfigure id=\"attachment_13950586\" class=\"wp-caption aligncenter\" style=\"max-width: 590px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950586\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp14.11172.jpg\" alt=\"A Victorian couple stands on the side of a road. \" width=\"590\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp14.11172.jpg 590w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp14.11172-160x271.jpg 160w\" sizes=\"(max-width: 590px) 100vw, 590px\">\u003cfigcaption class=\"wp-caption-text\">This was taken on the Great Highway circa 1910 — an excellent location to plot an escape strategy. Coincidence? \u003ccite>(OpenSFHistory / wnp14.11172)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Don’t have a date this year? Please find comfort in this super-awkward double date that took place at the Premium Postal Studio at 1311 Fillmore Street in the 1910s.\u003c/p>\n\u003cfigure id=\"attachment_13950534\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950534\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1005.jpg\" alt=\"Two men and two women stand within a prop cutout that resembles a hot air balloon.\" width=\"1000\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1005.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1005-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1005-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1005-768x568.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">This whole thing was masterminded by the guy on the left. You can just tell. \u003ccite>(OpenSFHistory / wnp70.1005)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These two are basically just in training for the haunting they’re going to do after they’ve crashed that car into the side of the house.\u003c/p>\n\u003cfigure id=\"attachment_13950575\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950575\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp37.03219.jpg\" alt=\"A Victorian couple sitting in an early automobile outside a large house.\" width=\"1000\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp37.03219.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp37.03219-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp37.03219-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp37.03219-768x554.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Here we see a couple outside the McLaren Lodge on Stanyan Street in the 1910s. Ten bucks says they’re still there. \u003ccite>(OpenSFHistory / wnp37.03219)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The photographer for this one really captured the unfiltered joy and unabashed closeness of this couple, didn’t he? Perfection!\u003c/p>\n\u003cfigure id=\"attachment_13950576\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950576\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0174.jpg\" alt=\"A man and a woman pose inside a prop car in a photo studio. Turn of the century.\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0174.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0174-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0174-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0174-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">I don’t know. Something about it just screams ‘I make her walk behind me in the street.’ \u003ccite>(OpenSFHistory / wnp70.0174)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Look. \u003ca href=\"https://www.kqed.org/arts/13866892/an-exhibit-explores-victorian-mourning-customs-ahead-of-halloween\">Victorian mourning garb\u003c/a> was weird and all, but letting anyone leave the house with half an emu on their head is just downright cruel and unusual. Bad husbanding, bro.\u003c/p>\n\u003cfigure id=\"attachment_13950533\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0977.jpg\" alt=\"A Victorian couple sits in front of an image of San Francisco's Cliff House. \" width=\"1000\" height=\"753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0977.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0977-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0977-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0977-768x578.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘What’s the secret to a good marriage? Being really, really into unfathomable hats.’ \u003ccite>(OpenSFHistory / wnp70.0977)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, there’s this wild and wacky couple from 1911. Bob’s letting his lady friend sit at the wheel of the car, sure, but you can practically hear the sound of his ego breaking under the weight of it. Clench that jaw a little tighter, my man!\u003c/p>\n\u003cfigure id=\"attachment_13950539\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950539\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1012.jpg\" alt=\"A man and woman pose inside a car in front of a backdrop featuring San Francisco’s Cliff House.\" width=\"1000\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1012.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1012-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1012-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1012-768x580.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘Our marriage was in real trouble for a while, but now, every two weeks or so, I let Meredith pretend-drive this prop car. Really gives her a sense of independence, you know?’ \u003ccite>(OpenSFHistory / wnp70.1012)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Happy Valentine’s Day, everyone! May you ignore everything that just happened and go find a wooden rendition of a donkey to have a cuddle on — just like these cutie pies.\u003c/p>\n\u003cfigure id=\"attachment_13950535\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950535\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1026.jpg\" alt=\"A 1920s-era couple sits on a prop donkey in front of a backdrop of San Francisco's cliff house.\" width=\"1000\" height=\"783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1026.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1026-800x626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1026-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1026-768x601.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Relationship goals. \u003ccite>(OpenSFHistory / wnp70.1026)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "May your Feb. 14 not involve sitting in a prop car with half an emu on your head.",
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"title": "Victorian Portraits of Uncomfortable Couples for Valentine's Day | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ah, love. Eternal. Binding. Great when you’re in it. Often supremely irritating to look at when you’re not. If you find yourself lacking relationship inspiration as we approach this year’s \u003ca href=\"https://www.kqed.org/pop/20463/the-dark-and-twisted-history-of-valentines-day\">Valentine’s Day\u003c/a>, please consider this a heart-shaped candy box from us to you. Ten couples from San Francisco history who just can’t help but remind us that relationships aren’t all they’re cracked up to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Please now gaze upon their perplexed, dejected faces and imagine the stilted conversations that occurred before and after these portraits were taken. May they stand as a reminder that sometimes, being alone is better than being saddled with someone else…\u003c/p>\n\u003cp>Up first! Look at this duo from 1890. Gaze deep into their eyes and ponder the souls within. An abyss of darkness.\u003c/p>\n\u003cfigure id=\"attachment_13950574\" class=\"wp-caption aligncenter\" style=\"max-width: 637px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950574\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp37.02417.jpg\" alt=\"A Victorian era couple pose in a studio, she sitting, he standing. They both look confused and perhaps a little angry.\" width=\"637\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp37.02417.jpg 637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp37.02417-160x251.jpg 160w\" sizes=\"(max-width: 637px) 100vw, 637px\">\u003cfigcaption class=\"wp-caption-text\">‘You talkin’ to us? You talkin’ to us?! Then who the hell else are you talkin’ to? We’re the only ones here…’ etc. \u003ccite>(OpenSFHistory / wnp37.02417)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ah, to be visiting the Cliff House with this cheery couple from 1900.\u003c/p>\n\u003cfigure id=\"attachment_13950531\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950531\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0172.jpg\" alt=\"A Victorian woman in a hat and a large man in a suit pose on a bench in front of an image of the Cliff House in San Francisco.\" width=\"1000\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0172.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0172-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0172-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0172-768x542.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘The thing that really drew me to Malcolm was that really special way he does his jackets up.’ \u003ccite>(OpenSFHistory / wnp70.0172)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are these two from 1900, in the middle of paying a visit to \u003ca href=\"https://www.kqed.org/arts/13909983/victorian-attractions-san-francisco-chutes-gravity-railroad-woodwards-gardens-bonet-tower-auditorium-skating\">the Haight Street Chutes\u003c/a> (a giant waterslide, ridden in a flat-bottomed boat that existed between 1895 and 1902). What a barrel of laughs they’re having!\u003c/p>\n\u003cfigure id=\"attachment_13950537\" class=\"wp-caption aligncenter\" style=\"max-width: 740px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950537\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp27.7774.jpg\" alt=\"A man and a woman sit very straight-faced in front of an image depicting a giant water slide.\" width=\"740\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp27.7774.jpg 740w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp27.7774-160x216.jpg 160w\" sizes=\"(max-width: 740px) 100vw, 740px\">\u003cfigcaption class=\"wp-caption-text\">Fairly certain that Amanda Knox is a reincarnation of this woman. \u003ccite>(OpenSFHistory / wnp27.7774)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Our next couple is clearly having the time of their lives, yes, but look where they’re doing it — all over the rubble of the 1906 earthquake. Like raging, fork-stealing psychopaths.\u003c/p>\n\u003cfigure id=\"attachment_13950530\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950530\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/earthqua.jpg\" alt=\"A Victorian couple gazes at each other and smiles while walking across piles of bricks and ruins.\" width=\"1000\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/earthqua.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/earthqua-800x690.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/earthqua-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/earthqua-768x662.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘Babe, you’re so damn sexy that when I’m with you it feels, like, totally fine to dance on the rubble of other people’s hopes and dreams.’ ‘Same, Arnold. Same.’ \u003ccite>(OpenSFHistory / wnp37.01299)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I don’t want to make groundless accusations or anything but these two look like they’ve got a body hidden in their basement.\u003c/p>\n\u003cfigure id=\"attachment_13950586\" class=\"wp-caption aligncenter\" style=\"max-width: 590px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950586\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp14.11172.jpg\" alt=\"A Victorian couple stands on the side of a road. \" width=\"590\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp14.11172.jpg 590w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp14.11172-160x271.jpg 160w\" sizes=\"(max-width: 590px) 100vw, 590px\">\u003cfigcaption class=\"wp-caption-text\">This was taken on the Great Highway circa 1910 — an excellent location to plot an escape strategy. Coincidence? \u003ccite>(OpenSFHistory / wnp14.11172)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Don’t have a date this year? Please find comfort in this super-awkward double date that took place at the Premium Postal Studio at 1311 Fillmore Street in the 1910s.\u003c/p>\n\u003cfigure id=\"attachment_13950534\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950534\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1005.jpg\" alt=\"Two men and two women stand within a prop cutout that resembles a hot air balloon.\" width=\"1000\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1005.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1005-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1005-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1005-768x568.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">This whole thing was masterminded by the guy on the left. You can just tell. \u003ccite>(OpenSFHistory / wnp70.1005)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These two are basically just in training for the haunting they’re going to do after they’ve crashed that car into the side of the house.\u003c/p>\n\u003cfigure id=\"attachment_13950575\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950575\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp37.03219.jpg\" alt=\"A Victorian couple sitting in an early automobile outside a large house.\" width=\"1000\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp37.03219.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp37.03219-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp37.03219-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp37.03219-768x554.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Here we see a couple outside the McLaren Lodge on Stanyan Street in the 1910s. Ten bucks says they’re still there. \u003ccite>(OpenSFHistory / wnp37.03219)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The photographer for this one really captured the unfiltered joy and unabashed closeness of this couple, didn’t he? Perfection!\u003c/p>\n\u003cfigure id=\"attachment_13950576\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950576\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0174.jpg\" alt=\"A man and a woman pose inside a prop car in a photo studio. Turn of the century.\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0174.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0174-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0174-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0174-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">I don’t know. Something about it just screams ‘I make her walk behind me in the street.’ \u003ccite>(OpenSFHistory / wnp70.0174)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Look. \u003ca href=\"https://www.kqed.org/arts/13866892/an-exhibit-explores-victorian-mourning-customs-ahead-of-halloween\">Victorian mourning garb\u003c/a> was weird and all, but letting anyone leave the house with half an emu on their head is just downright cruel and unusual. Bad husbanding, bro.\u003c/p>\n\u003cfigure id=\"attachment_13950533\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0977.jpg\" alt=\"A Victorian couple sits in front of an image of San Francisco's Cliff House. \" width=\"1000\" height=\"753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0977.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0977-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0977-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.0977-768x578.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘What’s the secret to a good marriage? Being really, really into unfathomable hats.’ \u003ccite>(OpenSFHistory / wnp70.0977)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, there’s this wild and wacky couple from 1911. Bob’s letting his lady friend sit at the wheel of the car, sure, but you can practically hear the sound of his ego breaking under the weight of it. Clench that jaw a little tighter, my man!\u003c/p>\n\u003cfigure id=\"attachment_13950539\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950539\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1012.jpg\" alt=\"A man and woman pose inside a car in front of a backdrop featuring San Francisco’s Cliff House.\" width=\"1000\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1012.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1012-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1012-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1012-768x580.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘Our marriage was in real trouble for a while, but now, every two weeks or so, I let Meredith pretend-drive this prop car. Really gives her a sense of independence, you know?’ \u003ccite>(OpenSFHistory / wnp70.1012)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Happy Valentine’s Day, everyone! May you ignore everything that just happened and go find a wooden rendition of a donkey to have a cuddle on — just like these cutie pies.\u003c/p>\n\u003cfigure id=\"attachment_13950535\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950535\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1026.jpg\" alt=\"A 1920s-era couple sits on a prop donkey in front of a backdrop of San Francisco's cliff house.\" width=\"1000\" height=\"783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1026.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1026-800x626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1026-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/opensfhistory_wnp70.1026-768x601.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Relationship goals. \u003ccite>(OpenSFHistory / wnp70.1026)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Newly Unearthed: The First Known Photograph of the San Francisco Opera",
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"content": "\u003cp>For over a decade, the oldest known image of the \u003ca href=\"https://www.sfopera.com/\">San Francisco Opera\u003c/a> was a panoramic group photograph taken on Oct. 6, 1923 with a cryptic “Picture #2” inscribed on its lower left-hand corner. Pictured inside the Civic (now Bill Graham) Auditorium, founder and conductor Gaetano Merola, star tenor Beniamino Gigli, chorus members and orchestra musicians pose in costume and tuxes, ready for the night’s performance of \u003cem>Andrea Chénier\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13951908\" class=\"wp-caption alignright\" style=\"max-width: 1817px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2.jpg\" alt=\"\" width=\"1817\" height=\"2229\" class=\"size-full wp-image-13951908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2.jpg 1817w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-800x981.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-1020x1251.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-768x942.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-1252x1536.jpg 1252w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-1669x2048.jpg 1669w\" sizes=\"(max-width: 1817px) 100vw, 1817px\">\u003cfigcaption class=\"wp-caption-text\">Singer Chung-Wai Soong performs with a number of Bay Area choirs and companies, including the SF Opera’s extra chorus. \u003ccite>(Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But we now have what the opera believes to be a \u003ci>new\u003c/i> oldest photograph, showing members of the fledgling company earlier on the same day, in their pre-performance street clothes. \u003c/p>\n\u003cp>Credit for its discovery goes to Chung-Wai Soong, a professional opera singer who is also a member of SF Opera’s extra chorus. Soong purchased the print on a bit of a whim at the Antiquarian Book Fair “at least 10, 15, maybe even 20 years ago,” he says. “I’m not a collector, but it’s always fun to have these sort of talismanic articles.”\u003c/p>\n\u003cp>The 6-by-24-inch print Soong purchased was already mounted to cardboard, slightly warped and bent — and it remained in that state for years, sitting on top of a mirror in his home. It was always in the back of his mind, he says, that he should show it to the folks at the opera.\u003c/p>\n\u003cp>Barbara Rominski, director of the \u003ca href=\"https://www.sfopera.com/about/san-francisco-opera-archives/\">opera archives\u003c/a> since 2016, remembers the day Soong brought the photograph to her attention. “He just sort of whipped it out of his canvas grocery bag,” she says, laughing, “and he said, ‘Have you ever seen this?’”\u003c/p>\n\u003cp>Rominski initially thought it was the same image the opera proudly displays on the fourth floor of the Veterans Building — that Oct. 6, 1923 photograph from the \u003cem>Andrea Chénier\u003c/em> performance. \u003c/p>\n\u003cfigure id=\"attachment_13951907\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO.jpg\" alt=\"Large sepia-toned group photo of men, women and children on risers inside high-ceilinged space\" width=\"2000\" height=\"488\" class=\"size-full wp-image-13951907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-800x195.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-1020x249.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-160x39.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-768x187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-1536x375.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-1920x468.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An October 1923 photograph of the San Francisco Opera company in the Civic Auditorium, discovered by opera singer Chung-Wai Soong and recently donated to the archives. \u003ccite>(San Francisco Opera Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951909\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company.jpg\" alt=\"Large black-and-white group photo of people in costumes and tuxes on risers inside high-ceilinged space\" width=\"2000\" height=\"518\" class=\"size-full wp-image-13951909\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-800x207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-1020x264.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-160x41.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-768x199.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-1536x398.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-1920x497.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The opera’s ‘Picture #2’ photograph was long thought to be the earliest image of the company’s inaugural season in 1923. \u003ccite>(San Francisco Opera Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Then I took a closer look at it and went ‘Oh — swear words — in fact, no Chung-Wai, I have \u003ci>never\u003c/i> seen this photograph \u003ci>ever\u003c/i>,’” she remembers. “It was a total surprise to everybody in the room.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The print was in ill repair. With Soong’s permission, Rominski sent it off to Berkeley art conservator Heida Shoemaker. It returned, restored and no longer attached to cardboard, just a few weeks ago; Soong has officially donated the photograph to the SF Opera archives.\u003c/p>\n\u003cp>The singer says he’s of two minds about his unexpected discovery. “[I’m] gleefully thrilled it’s finally going to a proper home, and it’s been properly taken care of,” he says. “But also slightly horrified that it’s spent all these years sitting on top of my mirror. I mean, it could have fallen down and my cat could have chewed it. Anything could have happened!”\u003c/p>\n\u003cp>To Rominski, Soong’s relationship with the photograph, its place in his home, is a testament to its special power. “You sort of think, wow, that was a 100-year-old photograph that you were fairly nonchalantly carrying it around, but it also just shows the beauty of a photograph, right? It’s just this wonderful object that we feel very close to.”\u003c/p>\n\u003cfigure id=\"attachment_13951915\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001.jpg\" alt=\"Large crowd in auditorium facing stage\" width=\"2000\" height=\"903\" class=\"size-full wp-image-13951915\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-800x361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-1020x461.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-768x347.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-1536x694.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-1920x867.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of a packed Civic Auditorium during an SF Opera performance in 1926. \u003ccite>(San Francisco Opera Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image comes from SF Opera’s first season, when the company performed in the vast expanse of what is now the Bill Graham Civic Auditorium. Tickets were $1; box seats were $5. \u003c/p>\n\u003cp>The Civic Auditorium was not an ideal venue for opera: it seated around 5,000 people, but it had no backstage, fly galleries or dressing rooms. The company moved to its current home in the War Memorial Opera House in 1932. \u003c/p>\n\u003cp>For Soong, who is currently in rehearsals for Pocket Opera’s production of \u003ci>\u003ca href=\"https://pocketopera.org/2024-season/la-cenerentola/\">La Cenerentola\u003c/a>\u003c/i>, the group photograph captures the true community endeavor of starting an opera company from scratch. “I look at all these faces, these sort of progenitors to what I do, and some of these are well-known singers,” he says, “but some of these people … some of their grandkids probably still live in North Beach, you know?”\u003c/p>\n\u003cp>Gaetano Merola trained up his early chorus (seen in dirndl costumes in the group photograph) from local amateur singers.\u003c/p>\n\u003cp>As an archivist, Rominski gets excited about possibilities this photograph represents. “You never know what’s going to come out of the woodwork,” she says. “Now there are two photographs that we know of. Is there a third or fourth and a fifth?”\u003c/p>\n\u003cp>If this photograph managed to remain relatively unknown for over 100 years, other objects significant to the opera’s early days are out there. Rominski is certain of it: “I am going to be delighted and surprised and super happy, because there’s going to be more stuff that’s coming out of the woodwork.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For over a decade, the oldest known image of the \u003ca href=\"https://www.sfopera.com/\">San Francisco Opera\u003c/a> was a panoramic group photograph taken on Oct. 6, 1923 with a cryptic “Picture #2” inscribed on its lower left-hand corner. Pictured inside the Civic (now Bill Graham) Auditorium, founder and conductor Gaetano Merola, star tenor Beniamino Gigli, chorus members and orchestra musicians pose in costume and tuxes, ready for the night’s performance of \u003cem>Andrea Chénier\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13951908\" class=\"wp-caption alignright\" style=\"max-width: 1817px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2.jpg\" alt=\"\" width=\"1817\" height=\"2229\" class=\"size-full wp-image-13951908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2.jpg 1817w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-800x981.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-1020x1251.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-768x942.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-1252x1536.jpg 1252w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-1669x2048.jpg 1669w\" sizes=\"(max-width: 1817px) 100vw, 1817px\">\u003cfigcaption class=\"wp-caption-text\">Singer Chung-Wai Soong performs with a number of Bay Area choirs and companies, including the SF Opera’s extra chorus. \u003ccite>(Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But we now have what the opera believes to be a \u003ci>new\u003c/i> oldest photograph, showing members of the fledgling company earlier on the same day, in their pre-performance street clothes. \u003c/p>\n\u003cp>Credit for its discovery goes to Chung-Wai Soong, a professional opera singer who is also a member of SF Opera’s extra chorus. Soong purchased the print on a bit of a whim at the Antiquarian Book Fair “at least 10, 15, maybe even 20 years ago,” he says. “I’m not a collector, but it’s always fun to have these sort of talismanic articles.”\u003c/p>\n\u003cp>The 6-by-24-inch print Soong purchased was already mounted to cardboard, slightly warped and bent — and it remained in that state for years, sitting on top of a mirror in his home. It was always in the back of his mind, he says, that he should show it to the folks at the opera.\u003c/p>\n\u003cp>Barbara Rominski, director of the \u003ca href=\"https://www.sfopera.com/about/san-francisco-opera-archives/\">opera archives\u003c/a> since 2016, remembers the day Soong brought the photograph to her attention. “He just sort of whipped it out of his canvas grocery bag,” she says, laughing, “and he said, ‘Have you ever seen this?’”\u003c/p>\n\u003cp>Rominski initially thought it was the same image the opera proudly displays on the fourth floor of the Veterans Building — that Oct. 6, 1923 photograph from the \u003cem>Andrea Chénier\u003c/em> performance. \u003c/p>\n\u003cfigure id=\"attachment_13951907\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO.jpg\" alt=\"Large sepia-toned group photo of men, women and children on risers inside high-ceilinged space\" width=\"2000\" height=\"488\" class=\"size-full wp-image-13951907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-800x195.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-1020x249.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-160x39.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-768x187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-1536x375.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-1920x468.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An October 1923 photograph of the San Francisco Opera company in the Civic Auditorium, discovered by opera singer Chung-Wai Soong and recently donated to the archives. \u003ccite>(San Francisco Opera Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951909\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company.jpg\" alt=\"Large black-and-white group photo of people in costumes and tuxes on risers inside high-ceilinged space\" width=\"2000\" height=\"518\" class=\"size-full wp-image-13951909\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-800x207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-1020x264.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-160x41.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-768x199.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-1536x398.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-1920x497.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The opera’s ‘Picture #2’ photograph was long thought to be the earliest image of the company’s inaugural season in 1923. \u003ccite>(San Francisco Opera Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Then I took a closer look at it and went ‘Oh — swear words — in fact, no Chung-Wai, I have \u003ci>never\u003c/i> seen this photograph \u003ci>ever\u003c/i>,’” she remembers. “It was a total surprise to everybody in the room.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The print was in ill repair. With Soong’s permission, Rominski sent it off to Berkeley art conservator Heida Shoemaker. It returned, restored and no longer attached to cardboard, just a few weeks ago; Soong has officially donated the photograph to the SF Opera archives.\u003c/p>\n\u003cp>The singer says he’s of two minds about his unexpected discovery. “[I’m] gleefully thrilled it’s finally going to a proper home, and it’s been properly taken care of,” he says. “But also slightly horrified that it’s spent all these years sitting on top of my mirror. I mean, it could have fallen down and my cat could have chewed it. Anything could have happened!”\u003c/p>\n\u003cp>To Rominski, Soong’s relationship with the photograph, its place in his home, is a testament to its special power. “You sort of think, wow, that was a 100-year-old photograph that you were fairly nonchalantly carrying it around, but it also just shows the beauty of a photograph, right? It’s just this wonderful object that we feel very close to.”\u003c/p>\n\u003cfigure id=\"attachment_13951915\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001.jpg\" alt=\"Large crowd in auditorium facing stage\" width=\"2000\" height=\"903\" class=\"size-full wp-image-13951915\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-800x361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-1020x461.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-768x347.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-1536x694.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-1920x867.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of a packed Civic Auditorium during an SF Opera performance in 1926. \u003ccite>(San Francisco Opera Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image comes from SF Opera’s first season, when the company performed in the vast expanse of what is now the Bill Graham Civic Auditorium. Tickets were $1; box seats were $5. \u003c/p>\n\u003cp>The Civic Auditorium was not an ideal venue for opera: it seated around 5,000 people, but it had no backstage, fly galleries or dressing rooms. The company moved to its current home in the War Memorial Opera House in 1932. \u003c/p>\n\u003cp>For Soong, who is currently in rehearsals for Pocket Opera’s production of \u003ci>\u003ca href=\"https://pocketopera.org/2024-season/la-cenerentola/\">La Cenerentola\u003c/a>\u003c/i>, the group photograph captures the true community endeavor of starting an opera company from scratch. “I look at all these faces, these sort of progenitors to what I do, and some of these are well-known singers,” he says, “but some of these people … some of their grandkids probably still live in North Beach, you know?”\u003c/p>\n\u003cp>Gaetano Merola trained up his early chorus (seen in dirndl costumes in the group photograph) from local amateur singers.\u003c/p>\n\u003cp>As an archivist, Rominski gets excited about possibilities this photograph represents. “You never know what’s going to come out of the woodwork,” she says. “Now there are two photographs that we know of. Is there a third or fourth and a fifth?”\u003c/p>\n\u003cp>If this photograph managed to remain relatively unknown for over 100 years, other objects significant to the opera’s early days are out there. Rominski is certain of it: “I am going to be delighted and surprised and super happy, because there’s going to be more stuff that’s coming out of the woodwork.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "A Pop-Up Black History Museum Receives $2 Million to Find a Home in Redwood City",
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"content": "\u003cp>Senator Josh Becker of Menlo Park presented a symbolic $2 million check to Carolyn Hoskins on Feb. 2, kicking off Black History Month at the \u003ca href=\"https://hoskinsblackhistorymuseum.org/\">Domini Hoskins Black History Museum\u003c/a> and setting the traveling collection on a path towards a permanent home.\u003c/p>\n\u003cp>As reported in \u003ci>\u003ca href=\"https://www.almanacnews.com/news/2024/02/05/domini-hoskins-black-history-museum-in-redwood-city-receives-2m-from-state/\">The Almanac\u003c/a>\u003c/i>, Becker negotiated for the funding in the state Senate last year. “These funds will ensure that this revered pillar of our community remains accessible and the lessons that it provides will continue to be taught,” Becker said in his office’s \u003ca href=\"https://sd13.senate.ca.gov/index.php/news/press-release/february-2-2024/senator-becker-invests-2-million-to-make-dream-black-history\">press release\u003c/a>.\u003c/p>\n\u003cp>The San Mateo County Event Center, which serves as the fiscal agent for the museum, announced its hope of turning the pop-up museum’s current location, Redwood City’s 890 Jefferson Ave., into a year-round learning center.\u003c/p>\n\u003cp>“The Domini Hoskins Black History Museum and Learning Center is a testament to the power of community-driven initiatives and the importance of preserving and sharing Black history all year, not just for a designated month,” said CEO Dana Stoehr in a San Mateo County Event Center press release.\u003c/p>\n\u003cfigure id=\"attachment_13951720\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/HoskinsDisplay_2000.jpg\" alt=\"\" width=\"2000\" height=\"1263\" class=\"size-full wp-image-13951720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/HoskinsDisplay_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/HoskinsDisplay_2000-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/HoskinsDisplay_2000-1020x644.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/HoskinsDisplay_2000-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/HoskinsDisplay_2000-768x485.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/HoskinsDisplay_2000-1536x970.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/HoskinsDisplay_2000-1920x1212.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The music display at the Domini Hoskins Black History Museum. \u003ccite>(Milla Khano/San Mateo County Event Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The idea for the museum came to Hoskins in 1997, while helping her grandson Domini with a Black History Month assignment. After two years of reports on Dr. Martin Luther King Jr., young Domini was fed up. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“His powerful question to me was, ‘Weren’t there any other famous Black people that did anything?’” Hoskins remembers in \u003ca href=\"https://youtu.be/RTsv4F9RchY?feature=shared\">a 2023 video\u003c/a>. “In answer to his question, you are going to see 22,000 square feet of African American history.”\u003c/p>\n\u003cp>The Domini Hoskins Black History Museum holds objects that represent Black experience in America from slavery to the present day, objects Hoskins and her family have painstakingly collected themselves. Sections include inventions (“Thank you George Crum for the potato chips!” says Hoskins), sports memorabilia, music, politics and toys. For years, the museum has been packed away at the end of February, appearing in different locations, or in fragments, as Hoskins visits classrooms and community events. \u003c/p>\n\u003cp>The museum has a slate of programming and special events planned for February, including a Super Bowl tailgate party (Hoskins’ late husband, \u003ca href=\"https://en.wikipedia.org/wiki/Bob_Hoskins_(American_football)\">Robert “Bob” Hoskins\u003c/a>, played for the 49ers in the ’60s and ’70s), a day of book giveaways and a Sunday Best Gospel Day, with a prize for best hat. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The whole point is education,” Hoskins said at the Feb. 2 ceremony. “I am here to toil and tell my story about my history, which is so rich, and to let people know that African Americans have contributed so much to this great country.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Senator Josh Becker of Menlo Park presented a symbolic $2 million check to Carolyn Hoskins on Feb. 2, kicking off Black History Month at the \u003ca href=\"https://hoskinsblackhistorymuseum.org/\">Domini Hoskins Black History Museum\u003c/a> and setting the traveling collection on a path towards a permanent home.\u003c/p>\n\u003cp>As reported in \u003ci>\u003ca href=\"https://www.almanacnews.com/news/2024/02/05/domini-hoskins-black-history-museum-in-redwood-city-receives-2m-from-state/\">The Almanac\u003c/a>\u003c/i>, Becker negotiated for the funding in the state Senate last year. “These funds will ensure that this revered pillar of our community remains accessible and the lessons that it provides will continue to be taught,” Becker said in his office’s \u003ca href=\"https://sd13.senate.ca.gov/index.php/news/press-release/february-2-2024/senator-becker-invests-2-million-to-make-dream-black-history\">press release\u003c/a>.\u003c/p>\n\u003cp>The San Mateo County Event Center, which serves as the fiscal agent for the museum, announced its hope of turning the pop-up museum’s current location, Redwood City’s 890 Jefferson Ave., into a year-round learning center.\u003c/p>\n\u003cp>“The Domini Hoskins Black History Museum and Learning Center is a testament to the power of community-driven initiatives and the importance of preserving and sharing Black history all year, not just for a designated month,” said CEO Dana Stoehr in a San Mateo County Event Center press release.\u003c/p>\n\u003cfigure id=\"attachment_13951720\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/HoskinsDisplay_2000.jpg\" alt=\"\" width=\"2000\" height=\"1263\" class=\"size-full wp-image-13951720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/HoskinsDisplay_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/HoskinsDisplay_2000-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/HoskinsDisplay_2000-1020x644.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/HoskinsDisplay_2000-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/HoskinsDisplay_2000-768x485.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/HoskinsDisplay_2000-1536x970.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/HoskinsDisplay_2000-1920x1212.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The music display at the Domini Hoskins Black History Museum. \u003ccite>(Milla Khano/San Mateo County Event Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The idea for the museum came to Hoskins in 1997, while helping her grandson Domini with a Black History Month assignment. After two years of reports on Dr. Martin Luther King Jr., young Domini was fed up. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“His powerful question to me was, ‘Weren’t there any other famous Black people that did anything?’” Hoskins remembers in \u003ca href=\"https://youtu.be/RTsv4F9RchY?feature=shared\">a 2023 video\u003c/a>. “In answer to his question, you are going to see 22,000 square feet of African American history.”\u003c/p>\n\u003cp>The Domini Hoskins Black History Museum holds objects that represent Black experience in America from slavery to the present day, objects Hoskins and her family have painstakingly collected themselves. Sections include inventions (“Thank you George Crum for the potato chips!” says Hoskins), sports memorabilia, music, politics and toys. For years, the museum has been packed away at the end of February, appearing in different locations, or in fragments, as Hoskins visits classrooms and community events. \u003c/p>\n\u003cp>The museum has a slate of programming and special events planned for February, including a Super Bowl tailgate party (Hoskins’ late husband, \u003ca href=\"https://en.wikipedia.org/wiki/Bob_Hoskins_(American_football)\">Robert “Bob” Hoskins\u003c/a>, played for the 49ers in the ’60s and ’70s), a day of book giveaways and a Sunday Best Gospel Day, with a prize for best hat. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The whole point is education,” Hoskins said at the Feb. 2 ceremony. “I am here to toil and tell my story about my history, which is so rich, and to let people know that African Americans have contributed so much to this great country.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s already a favorite annual event of Bay Area bibliophiles, but this year’s \u003ca href=\"https://www.abaa.org/cabookfair\">Antiquarian Book Fair\u003c/a> promises to be a little more rock ‘n’ roll than usual. Among this year’s collection of rare books, maps and historical documents is a wealth of music memorabilia, including two major pieces by the Beatles.\u003c/p>\n\u003cp>The first: original Beatles lyrics that were handwritten by Paul McCartney. The framed scrap of paper can be purchased from \u003ca href=\"https://www.biblioctopus.com/\">Biblioctopus\u003c/a> for a whopping $650,000. Not a bad little price tag considering the song in question isn’t even for a big hit. Rather, it’s for “\u003ca href=\"https://www.youtube.com/watch?v=ysDwR5SIR1Q\">Lovely Rita\u003c/a>,” a jaunty ode to a “lovely meter maid” that appeared on 1967’s \u003cem>Sgt. Pepper’s Lonely Hearts Club Band.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13950616\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Photo-12a_-Beatles-lyrics-framed-e1705626643203.jpg\" alt=\"A frame containing a Beatles album cover and a piece of paper with handwriting on it.\" width=\"1920\" height=\"1413\">\u003cfigcaption class=\"wp-caption-text\">Handwritten lyrics by Paul McCartney for 1967 Beatles track, ‘Lovely Rita.’ The memorabilia will be available to buy at this year’s California International Antiquarian Book Fair. \u003ccite>(Courtesy of Biblioctopus/ The California International Antiquarian Book Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another rare book dealer hailing all the way from Austria has \u003ca href=\"https://inlibris.com/item/bn63198/\">a copy of the Fab Four’s debut album\u003c/a>, \u003cem>Please Please Me \u003c/em>on offer, signed by the whole band. The Vienna-based dealer, \u003ca href=\"https://inlibris.com/\">Antiquariat Inlibris\u003c/a>, also has signed Polaroids of David Bowie, Freddy Mercury and Mick Jagger on offer as well as \u003ca href=\"https://inlibris.com/item/bn61538/\">a copy of \u003cem>Dick Clark’s American Bandstand\u003c/em>\u003c/a> (by Dick Clark and Fred Bronson) that’s signed by over 100 musicians. Artists including Aretha Franklin, Little Richard, Diana Ross, Billy Joel, Cher, Donna Summer, Elton John, Cyndi Lauper, Sting and Jerry Lee Lewis all had their mitts on this book at some point, making it a truly rare treasure.\u003c/p>\n\u003cp>[aside postid='arts_13951425']Elsewhere, New York’s \u003ca href=\"https://www.appledorebookshop.com/\">Appledore Books\u003c/a> has a wealth of vintage Fillmore posters and a collection of 1968 issues of \u003cem>Rolling Stone.\u003c/em> \u003ca href=\"https://www.janetteray.co.uk/browse/\">Janette Ray Rare and Out of Print Books\u003c/a> has Stanley Mouse artwork and some UK books about ’70s subcultures. \u003ca href=\"https://www.capitolhillbooks-dc.com/\">Capitol Hill Books\u003c/a> has singer-songwriter \u003ca href=\"https://en.wikipedia.org/wiki/Tom_Verlaine\">Tom Verlaine\u003c/a>‘s music book collection on display — including a personally inscribed copy of\u003ca href=\"https://www.ndbooks.com/book/woolgathering/\"> Patti Smith’s \u003cem>Woolgathering\u003c/em>\u003c/a>. And \u003ca href=\"https://www.jhbooks.com/\">Jeff Hirsch Books\u003c/a> has signed copies of Bob Dylan’s \u003cem>Lyrics 1962-1985\u003c/em> and \u003cem>Organic Trains\u003c/em> by Jim Carroll.\u003c/p>\n\u003cp>Autograph lovers might also wish to seek out Germany’s \u003ca href=\"https://www.kotte-autographs.com/en/service/contact/\">Kotte Autographs\u003c/a> amongst the fair’s 120 sellers, as well as Berkeley’s own \u003ca href=\"https://padaweb.myshopify.com/blogs/members/141041159-j-b-muns-fine-arts-books-musical-autographs\">J.B. Muns Fine Arts Books & Musical Autographs\u003c/a> — both of whom will have much more music memorabilia on hand. J.B. Muns, though primarily focused on classical music swag, has promised to bring an album of pop, country and jazz autographs. \u003ca href=\"https://www.kensandersbooks.com/\">Ken Sanders Rare Books\u003c/a> also has a giant collection of signed photographs by British Invasion bands that were lovingly gathered by a teen fan in the 1960s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Exhibitors are flocking to the Bay for the prestigious event from countries as far flung as Australia, Argentina and Denmark. Over 5,000 people are expected to attend — if you look at that in musical terms, that’s more than two sold-out Warfields.\u003c/p>\n\u003cp>What a way to celebrate the fair’s 75th anniversary.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The 56th California International Antiquarian Book Fair takes place at Pier 27 (the Embarcadero) in San Francisco, Feb. 9-11. \u003ca href=\"https://www.abaa.org/cabookfair\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci data-stringify-type=\"italic\">A note to our readers: KQED is a sponsor of the Antiquarian Book Fair. Newsroom staff decide editorial coverage independently of sponsorships.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s already a favorite annual event of Bay Area bibliophiles, but this year’s \u003ca href=\"https://www.abaa.org/cabookfair\">Antiquarian Book Fair\u003c/a> promises to be a little more rock ‘n’ roll than usual. Among this year’s collection of rare books, maps and historical documents is a wealth of music memorabilia, including two major pieces by the Beatles.\u003c/p>\n\u003cp>The first: original Beatles lyrics that were handwritten by Paul McCartney. The framed scrap of paper can be purchased from \u003ca href=\"https://www.biblioctopus.com/\">Biblioctopus\u003c/a> for a whopping $650,000. Not a bad little price tag considering the song in question isn’t even for a big hit. Rather, it’s for “\u003ca href=\"https://www.youtube.com/watch?v=ysDwR5SIR1Q\">Lovely Rita\u003c/a>,” a jaunty ode to a “lovely meter maid” that appeared on 1967’s \u003cem>Sgt. Pepper’s Lonely Hearts Club Band.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13950616\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Photo-12a_-Beatles-lyrics-framed-e1705626643203.jpg\" alt=\"A frame containing a Beatles album cover and a piece of paper with handwriting on it.\" width=\"1920\" height=\"1413\">\u003cfigcaption class=\"wp-caption-text\">Handwritten lyrics by Paul McCartney for 1967 Beatles track, ‘Lovely Rita.’ The memorabilia will be available to buy at this year’s California International Antiquarian Book Fair. \u003ccite>(Courtesy of Biblioctopus/ The California International Antiquarian Book Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another rare book dealer hailing all the way from Austria has \u003ca href=\"https://inlibris.com/item/bn63198/\">a copy of the Fab Four’s debut album\u003c/a>, \u003cem>Please Please Me \u003c/em>on offer, signed by the whole band. The Vienna-based dealer, \u003ca href=\"https://inlibris.com/\">Antiquariat Inlibris\u003c/a>, also has signed Polaroids of David Bowie, Freddy Mercury and Mick Jagger on offer as well as \u003ca href=\"https://inlibris.com/item/bn61538/\">a copy of \u003cem>Dick Clark’s American Bandstand\u003c/em>\u003c/a> (by Dick Clark and Fred Bronson) that’s signed by over 100 musicians. Artists including Aretha Franklin, Little Richard, Diana Ross, Billy Joel, Cher, Donna Summer, Elton John, Cyndi Lauper, Sting and Jerry Lee Lewis all had their mitts on this book at some point, making it a truly rare treasure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Elsewhere, New York’s \u003ca href=\"https://www.appledorebookshop.com/\">Appledore Books\u003c/a> has a wealth of vintage Fillmore posters and a collection of 1968 issues of \u003cem>Rolling Stone.\u003c/em> \u003ca href=\"https://www.janetteray.co.uk/browse/\">Janette Ray Rare and Out of Print Books\u003c/a> has Stanley Mouse artwork and some UK books about ’70s subcultures. \u003ca href=\"https://www.capitolhillbooks-dc.com/\">Capitol Hill Books\u003c/a> has singer-songwriter \u003ca href=\"https://en.wikipedia.org/wiki/Tom_Verlaine\">Tom Verlaine\u003c/a>‘s music book collection on display — including a personally inscribed copy of\u003ca href=\"https://www.ndbooks.com/book/woolgathering/\"> Patti Smith’s \u003cem>Woolgathering\u003c/em>\u003c/a>. And \u003ca href=\"https://www.jhbooks.com/\">Jeff Hirsch Books\u003c/a> has signed copies of Bob Dylan’s \u003cem>Lyrics 1962-1985\u003c/em> and \u003cem>Organic Trains\u003c/em> by Jim Carroll.\u003c/p>\n\u003cp>Autograph lovers might also wish to seek out Germany’s \u003ca href=\"https://www.kotte-autographs.com/en/service/contact/\">Kotte Autographs\u003c/a> amongst the fair’s 120 sellers, as well as Berkeley’s own \u003ca href=\"https://padaweb.myshopify.com/blogs/members/141041159-j-b-muns-fine-arts-books-musical-autographs\">J.B. Muns Fine Arts Books & Musical Autographs\u003c/a> — both of whom will have much more music memorabilia on hand. J.B. Muns, though primarily focused on classical music swag, has promised to bring an album of pop, country and jazz autographs. \u003ca href=\"https://www.kensandersbooks.com/\">Ken Sanders Rare Books\u003c/a> also has a giant collection of signed photographs by British Invasion bands that were lovingly gathered by a teen fan in the 1960s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Exhibitors are flocking to the Bay for the prestigious event from countries as far flung as Australia, Argentina and Denmark. Over 5,000 people are expected to attend — if you look at that in musical terms, that’s more than two sold-out Warfields.\u003c/p>\n\u003cp>What a way to celebrate the fair’s 75th anniversary.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The 56th California International Antiquarian Book Fair takes place at Pier 27 (the Embarcadero) in San Francisco, Feb. 9-11. \u003ca href=\"https://www.abaa.org/cabookfair\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci data-stringify-type=\"italic\">A note to our readers: KQED is a sponsor of the Antiquarian Book Fair. Newsroom staff decide editorial coverage independently of sponsorships.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Series ‘Genius: MLK/X’ Recognizes Both Men’s Civil Rights Contributions",
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"content": "\u003cp>Much has been written about the one-and-only time the Rev. Martin Luther King Jr. and Malcolm X met. It was on March 26, 1964, and the two civil rights leaders were both in Washington for a Senate debate on the Civil Rights Act.\u003c/p>\n\u003cp>The moment is also depicted in the new installment of National Geographic’s \u003cem>Genius\u003c/em> anthology series called \u003cem>Genius: MLK /X\u003c/em>, premiering Thursday. This is the fourth series.\u003c/p>\n\u003cp>[aside postid='arts_13823377']Kelvin Harrison Jr. (King) and Aaron Pierre (Malcolm X) now can be at ease about being scheduled to shoot the scene on the first day of filming. At the time, it was intimidating.\u003c/p>\n\u003cp>“I was like, what kind of prank are the producers trying to play on us?” recalled Harrison. “We barely even knew what we were doing yet.\u003c/p>\n\u003cp>“We kind of went into separate corners … and we didn’t really see each other until that moment. What you see is us seeing each other for the first time in character,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Looking back, Pierre thinks it was a smart scheduling decision.\u003c/p>\n\u003cp>“Had we had four months (of shooting) under our belt, I think we might have gone into that differently, but we had no choice but to just lean into the present moment,” he said.\u003c/p>\n\u003cp>Executive producers Gina Prince-Bythewood and Reggie Rock Bythewood kept a photo of the real-life introduction on their two sons’ walls while they were growing up. Their hope is that with \u003cem>Genius: MLK/X\u003c/em>, viewers will recognize the contributions of both men to civil rights and U.S. history.\u003c/p>\n\u003cp>“One misconception is that we’re told we have to choose. Either you align with Malcolm or you align with Martin, you know, but our offering is that we need both,” said Bythewood. “While they challenged each other, they also learned from each other, and they were aligned in many ways.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2O2JZ7ZYgYc\u003c/p>\n\u003cp>Past seasons of \u003cem>Genius\u003c/em> have covered Albert Einstein, Pablo Picasso and Aretha Franklin. \u003cem>Genius: MLK /X\u003c/em> examines each man’s origin story and what led them to make the choices they did to lead a movement.\u003c/p>\n\u003cp>“We know the speeches. We know the interviews. We know the famous moments. But we wanted to explore what happened in the lead-up to those moments and what made these men believe they had the capacity to do the things they did,” said Pierre.\u003c/p>\n\u003cp>[aside postid='arts_13854299']For accuracy, the producers and writers held a two-week “think take” for eight hours a day. Scholars, activists and people who were involved in the Civil Rights Movement were invited. They dug into the men’s personal lives, mental health and more. Bythewood says they discussed things they wouldn’t have ever gotten from history books. “Some of these scholars even debated each other,” he said. “As writers we were like: ‘This is a goldmine.’”\u003c/p>\n\u003cp>Another priority: to “amplify” Coretta Scott King and Betty Shabazz, who were married to King and X.\u003c/p>\n\u003cp>“Too often they’re thought of as just the wives or the sidekick. They were so integral not only to the genius of the two men, but to the movement itself,” said Prince-Bythewood.\u003c/p>\n\u003cp>The fifth episode of the series tells each woman’s backstory and how they evolved into leaders.\u003c/p>\n\u003cp>“We shine a powerful, beautiful light on those women and the equal role they played in these movements,” said Pierre. “I think that’s something really special.”\u003c/p>\n\u003cp>Harrison says he originally believed he was not up for the challenge of playing King.\u003c/p>\n\u003cp>“I said no at first,” Harrison said. “The producers asked me to read the first episode at least, and I met with them and expressed my feeling of basically imposter syndrome, that I didn’t think I had what it takes to do it. They said, ‘That’s the reason why we want you to do it, because at the age that Dr. King was, when he had to step into this big movement, he also didn’t know if he had what it took.’”\u003c/p>\n\u003cp>For Pierre, he hopes that people finish this \u003cem>Genius\u003c/em> installment with a fresh understanding of Malcolm X, a man who he says, “there is a considerable amount of misinformation about.”\u003c/p>\n\u003cp>[aside postid='arts_13819139']“Malcolm X, el-Hajj Malik el-Shabazz, he operated from a place of love. He operated from a place of light. He wasn’t advocating someone to see out physical confrontation. He was advocating for the cause of his deep love for his family, his friends, his community, his loved ones, anyone in the world that looked like him,” Pierre said.\u003c/p>\n\u003cp>The series is premiering at a time when Black history is threatened in schools and key moments are being removed from curriculums.\u003c/p>\n\u003cp>“There are places across the country where the ‘Letter from Birmingham Jail’ is banned. \u003cem>The Autobiography of Malcolm X\u003c/em> is challenged. But this is American history,” said Bythewood.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Genius: MLK/X’ begins streaming Feb. 1, 2024 on \u003ca href=\"https://www.natgeotv.com/za/shows/natgeo/genius\">National Geographic\u003c/a>, and the next day on \u003ca href=\"https://www.hulu.com/series/genius-mlkx-3f12de0d-5bcf-4ad1-8a33-162bce2f1647\">Hulu\u003c/a> and \u003ca href=\"https://ondisneyplus.disney.com/show/genius-mlk-x\">Disney+\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kelvin Harrison Jr. (King) and Aaron Pierre (Malcolm X) now can be at ease about being scheduled to shoot the scene on the first day of filming. At the time, it was intimidating.\u003c/p>\n\u003cp>“I was like, what kind of prank are the producers trying to play on us?” recalled Harrison. “We barely even knew what we were doing yet.\u003c/p>\n\u003cp>“We kind of went into separate corners … and we didn’t really see each other until that moment. What you see is us seeing each other for the first time in character,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Looking back, Pierre thinks it was a smart scheduling decision.\u003c/p>\n\u003cp>“Had we had four months (of shooting) under our belt, I think we might have gone into that differently, but we had no choice but to just lean into the present moment,” he said.\u003c/p>\n\u003cp>Executive producers Gina Prince-Bythewood and Reggie Rock Bythewood kept a photo of the real-life introduction on their two sons’ walls while they were growing up. Their hope is that with \u003cem>Genius: MLK/X\u003c/em>, viewers will recognize the contributions of both men to civil rights and U.S. history.\u003c/p>\n\u003cp>“One misconception is that we’re told we have to choose. Either you align with Malcolm or you align with Martin, you know, but our offering is that we need both,” said Bythewood. “While they challenged each other, they also learned from each other, and they were aligned in many ways.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2O2JZ7ZYgYc'\n title='//www.youtube.com/embed/2O2JZ7ZYgYc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Past seasons of \u003cem>Genius\u003c/em> have covered Albert Einstein, Pablo Picasso and Aretha Franklin. \u003cem>Genius: MLK /X\u003c/em> examines each man’s origin story and what led them to make the choices they did to lead a movement.\u003c/p>\n\u003cp>“We know the speeches. We know the interviews. We know the famous moments. But we wanted to explore what happened in the lead-up to those moments and what made these men believe they had the capacity to do the things they did,” said Pierre.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For accuracy, the producers and writers held a two-week “think take” for eight hours a day. Scholars, activists and people who were involved in the Civil Rights Movement were invited. They dug into the men’s personal lives, mental health and more. Bythewood says they discussed things they wouldn’t have ever gotten from history books. “Some of these scholars even debated each other,” he said. “As writers we were like: ‘This is a goldmine.’”\u003c/p>\n\u003cp>Another priority: to “amplify” Coretta Scott King and Betty Shabazz, who were married to King and X.\u003c/p>\n\u003cp>“Too often they’re thought of as just the wives or the sidekick. They were so integral not only to the genius of the two men, but to the movement itself,” said Prince-Bythewood.\u003c/p>\n\u003cp>The fifth episode of the series tells each woman’s backstory and how they evolved into leaders.\u003c/p>\n\u003cp>“We shine a powerful, beautiful light on those women and the equal role they played in these movements,” said Pierre. “I think that’s something really special.”\u003c/p>\n\u003cp>Harrison says he originally believed he was not up for the challenge of playing King.\u003c/p>\n\u003cp>“I said no at first,” Harrison said. “The producers asked me to read the first episode at least, and I met with them and expressed my feeling of basically imposter syndrome, that I didn’t think I had what it takes to do it. They said, ‘That’s the reason why we want you to do it, because at the age that Dr. King was, when he had to step into this big movement, he also didn’t know if he had what it took.’”\u003c/p>\n\u003cp>For Pierre, he hopes that people finish this \u003cem>Genius\u003c/em> installment with a fresh understanding of Malcolm X, a man who he says, “there is a considerable amount of misinformation about.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Malcolm X, el-Hajj Malik el-Shabazz, he operated from a place of love. He operated from a place of light. He wasn’t advocating someone to see out physical confrontation. He was advocating for the cause of his deep love for his family, his friends, his community, his loved ones, anyone in the world that looked like him,” Pierre said.\u003c/p>\n\u003cp>The series is premiering at a time when Black history is threatened in schools and key moments are being removed from curriculums.\u003c/p>\n\u003cp>“There are places across the country where the ‘Letter from Birmingham Jail’ is banned. \u003cem>The Autobiography of Malcolm X\u003c/em> is challenged. But this is American history,” said Bythewood.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Genius: MLK/X’ begins streaming Feb. 1, 2024 on \u003ca href=\"https://www.natgeotv.com/za/shows/natgeo/genius\">National Geographic\u003c/a>, and the next day on \u003ca href=\"https://www.hulu.com/series/genius-mlkx-3f12de0d-5bcf-4ad1-8a33-162bce2f1647\">Hulu\u003c/a> and \u003ca href=\"https://ondisneyplus.disney.com/show/genius-mlk-x\">Disney+\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "All Your Favorite Arts Organizations Are Turning 50 This Year",
"headTitle": "All Your Favorite Arts Organizations Are Turning 50 This Year | KQED",
"content": "\u003cp>What was in the water in 1974? That’s the question you might ask when a surprising number of Bay Area arts organizations celebrate their 50th anniversary this year: \u003ca href=\"https://creativegrowth.org/about\">Creative Growth\u003c/a>, \u003ca href=\"http://www.kala.org/about/history/\">Kala\u003c/a>, \u003ca href=\"https://sfcamerawork.org/purpose-our-story\">SF Camerawork\u003c/a>, \u003ca href=\"https://www.smallpresstraffic.org/currently-post/50-years\">Small Press Traffic\u003c/a>, \u003ca href=\"https://soex.org/about/history\">Southern Exposure\u003c/a> — the list goes on.\u003c/p>\n\u003cp>In anticipation of the anniversary, Syd Staiti, executive director of Small Press Traffic (SPT), began talking to people present at the beginning, when it was a Noe Valley bookstore and poetry hub. The short answer, Staiti relates, is that “word got around that it was really cheap to live in San Francisco.”\u003c/p>\n\u003cp>“People came here or already lived here, young people with lots of energy and ideas and ideals who wanted to start things,” Staiti says. Aided by cheap rent, people would “work like a day a week — literally — and then spend the rest of their time making things happen.”\u003c/p>\n\u003cfigure id=\"attachment_13951029\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo.jpg\" alt=\"\" width=\"1080\" height=\"640\" class=\"size-full wp-image-13951029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo-1020x604.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo-768x455.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">L: Southern Exposure’s original location at 499 Alabama St. in Project Artaud; R: A drawing of the Small Press Traffic storefront in 1980 by Ed Aulerich-Sugai. \u003ccite>(Courtesy of Southern Exposure; Courtesy of Denise Kastan Zetterbaum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Turning 50, but not feeling 50’\u003c/h2>\n\u003cp>Valerie Imus, Co-Director of Southern Exposure, says the moment was ripe for the formation of new organizations. “We’re on the heels of a lot of social and political movements of the ’60s,” she says, pointing to the San Francisco State strike, anti-war protests, the formation of the Black Panther Party, the trial of \u003ca href=\"https://en.wikipedia.org/wiki/Los_Siete_de_la_Raza\">Los Siete de la Raza\u003c/a> — all in the years just before 1974. “It’s just a lot of anti-institutional movements, a lot of self-determination and collaboration happening.”\u003c/p>\n\u003cp>[aside postID='arts_13940221']Like many of the now-50-year-old organizations, Southern Exposure was a very different entity in its early years. It began as the American Can Collective, a membership-based gallery within Project Artaud (a former American Can Company building). Renamed Southern Exposure after a cease and desist from the still-operating company (and a sassy temporary renaming to the “American Cant Collective”), the arts space didn’t incorporate as a nonprofit until the 1990s. \u003c/p>\n\u003cp>Though Southern Exposure is now a 501(c)3 with an operating budget over $800,000 and a staff of five, that playful and anti-establishment spirit persists. “The curatorial council is this evolving body of artists who are able to continue to bring in new folks and new things that are happening,” says Co-Director Margaret McCarthy. “That’s what’s exciting to me about turning 50, but not \u003ci>feeling\u003c/i> 50.”\u003c/p>\n\u003cfigure id=\"attachment_13951019\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER.jpg\" alt=\"Two people sit on stack of drywall in a cavernous warehouse space looking at architectural plans\" width=\"2000\" height=\"1482\" class=\"size-full wp-image-13951019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-1920x1423.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kala co-founder Archana Horsting discussing build-out plans in the organization’s future studios on Heinz Avenue in Berkeley. \u003ccite>(Courtesy of Kala)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Besides their longevity, these organizations share a foundation in necessity. SF Camerawork was established to formalize and legitimize photography as \u003ca href=\"https://www.kqed.org/arts/13874133/sfmoma-thought-pieces-review\">an emerging art form\u003c/a>. Kala was founded by 11 international artists to share printmaking equipment that they couldn’t afford on their own. After state-run hospitals closed in the ’50s and ’60s, Creative Growth was born to support newly deinstitutionalized artists with disabilities.\u003c/p>\n\u003cp>As an example of how Creative Growth has changed and grown over the years, Director Emeritus Tom di Maria points to photographs of artists at the studio from its early days. “They have these little smocks on, and you would think it’s an art room in an institution, the state hospital or something,” he says. Over the years, the dynamic has shifted from directed art-making to artist-led initiatives. \u003c/p>\n\u003cp>Creative Growth’s artists, di Maria says, “want to have input into their curatorial practice. They want to know what viewers think about them. They want professional development.” Over its lifespan, the organization has evolved to meet those needs, engaging artists in aspects of leadership.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Balancing past, present and future\u003c/h2>\n\u003cp>[aside postID='arts_13913436,arts_13939278']For the five organizations in this story (others local orgs founded in 1974 include \u003ca href=\"https://www.breadandroses.org/\">Bread & Roses\u003c/a>, \u003ca href=\"https://calshakes.org/\">Cal Shakes\u003c/a>, \u003ca href=\"https://www.calawyersforthearts.org/\">California Lawyers for the Arts\u003c/a> and \u003ca href=\"https://www.proartscommons.org/\">ProArts\u003c/a>), taking stock of their 50-year history is a big part of the year ahead. \u003c/p>\n\u003cp>The first to celebrate will be SPT, with \u003ca href=\"https://www.smallpresstraffic.org/event/the-party\">a party\u003c/a> at Et al.’s Mission Street space on Jan. 27. The nonprofit just received a \u003ca href=\"https://www.smallpresstraffic.org/currently-post/announcing-mellon-foundation-preservation-grant\">$150,000 Mellon Grant\u003c/a> to catalog and digitize their archives over a two-year period. That includes not just books and magazines, Staiti points out, but donated audio recordings of poetry readings, all soon to be made fully accessible to the public. In the meantime, SPT has commissioned artist, poet and writer Gabrielle Civil to create \u003ca href=\"https://www.smallpresstraffic.org/currently-post/where-would-i-be-without-you\">a series of events\u003c/a> drawing from the collection.\u003c/p>\n\u003cp>Staiti is aiming for a fine balance between the present moment and Small Press Traffic’s legacy communities. (Like most of the nonprofits’ current leaders, Staiti wasn’t even alive in 1974.) It’s something SF Camerawork’s Executive Director Aay Preston-Myint is also onsidering while working toward 50th anniversary exhibition later this year. \u003c/p>\n\u003cp>“There’s a lot of different stories about what to include, who to include, right? Like why one person or one exhibit or the other stands out, versus why one might be hidden,” Preston-Myint says. “But at least for Camerawork, I’m hoping to use the material itself as a springboard.” \u003c/p>\n\u003cfigure id=\"attachment_13951018\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage.jpg\" alt=\"Cover of newsletter with two black-and-white photographs\" width=\"1500\" height=\"1854\" class=\"size-full wp-image-13951018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-800x989.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-1020x1261.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-768x949.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-1243x1536.jpg 1243w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A 1980 issue of SF Camerawork’s newsletter, featuring work by Steve Smith and Susan Felter. \u003ccite>(Courtesy of SF Camerawork)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The birthday plans run the gamut: archival and group shows, \u003ca href=\"http://www.kala.org/gallery/spring-gala-and-auction/\">auctions-cum-anniversary parties\u003c/a>, conferences and museum exhibitions. (Those last two come from \u003ca href=\"https://www.sfmoma.org/press-release/sfmoma-and-creative-growth-art-center-announce-unprecedented-partnership-in-celebration-of-creative-growths-50th-anniversary/\">Creative Growth’s partnership with the San Francisco Museum of Modern Art\u003c/a>, which recently acquired over 100 works by artists associated with the nonprofit.)\u003c/p>\n\u003cp>While maintaining their existence (and relevance) over 50 years is a tremendous accomplishment, several of the organizations’ leaders are quick to point out this milestone exists within an arts ecosystem that’s constantly generating new and exciting endeavors. \u003c/p>\n\u003cp>“Artists tend to band together and get creative, out of a need or an absence,” Preston-Myint says. “They do this to create the thing that isn’t there for them.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Small Press Traffic hosts ‘The Party’ on Saturday, Jan. 27, from 7–10 p.m. at Et al. (2831a Mission St., San Francisco). \u003ca href=\"https://www.smallpresstraffic.org/event/the-party\">More information and RSVP link here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Kala (1060 Heinz Ave., Berkeley) will host ‘Kala 50,’ an exhibition and art auction, March 21–April 27. \u003ca href=\"http://www.kala.org/gallery/spring-gala-and-auction/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Stay tuned for 50th anniversary programming from Creative Growth, SF Camerawork, Southern Exposure and others.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What was in the water in 1974? That’s the question you might ask when a surprising number of Bay Area arts organizations celebrate their 50th anniversary this year: \u003ca href=\"https://creativegrowth.org/about\">Creative Growth\u003c/a>, \u003ca href=\"http://www.kala.org/about/history/\">Kala\u003c/a>, \u003ca href=\"https://sfcamerawork.org/purpose-our-story\">SF Camerawork\u003c/a>, \u003ca href=\"https://www.smallpresstraffic.org/currently-post/50-years\">Small Press Traffic\u003c/a>, \u003ca href=\"https://soex.org/about/history\">Southern Exposure\u003c/a> — the list goes on.\u003c/p>\n\u003cp>In anticipation of the anniversary, Syd Staiti, executive director of Small Press Traffic (SPT), began talking to people present at the beginning, when it was a Noe Valley bookstore and poetry hub. The short answer, Staiti relates, is that “word got around that it was really cheap to live in San Francisco.”\u003c/p>\n\u003cp>“People came here or already lived here, young people with lots of energy and ideas and ideals who wanted to start things,” Staiti says. Aided by cheap rent, people would “work like a day a week — literally — and then spend the rest of their time making things happen.”\u003c/p>\n\u003cfigure id=\"attachment_13951029\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo.jpg\" alt=\"\" width=\"1080\" height=\"640\" class=\"size-full wp-image-13951029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo-1020x604.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo-768x455.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">L: Southern Exposure’s original location at 499 Alabama St. in Project Artaud; R: A drawing of the Small Press Traffic storefront in 1980 by Ed Aulerich-Sugai. \u003ccite>(Courtesy of Southern Exposure; Courtesy of Denise Kastan Zetterbaum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Turning 50, but not feeling 50’\u003c/h2>\n\u003cp>Valerie Imus, Co-Director of Southern Exposure, says the moment was ripe for the formation of new organizations. “We’re on the heels of a lot of social and political movements of the ’60s,” she says, pointing to the San Francisco State strike, anti-war protests, the formation of the Black Panther Party, the trial of \u003ca href=\"https://en.wikipedia.org/wiki/Los_Siete_de_la_Raza\">Los Siete de la Raza\u003c/a> — all in the years just before 1974. “It’s just a lot of anti-institutional movements, a lot of self-determination and collaboration happening.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like many of the now-50-year-old organizations, Southern Exposure was a very different entity in its early years. It began as the American Can Collective, a membership-based gallery within Project Artaud (a former American Can Company building). Renamed Southern Exposure after a cease and desist from the still-operating company (and a sassy temporary renaming to the “American Cant Collective”), the arts space didn’t incorporate as a nonprofit until the 1990s. \u003c/p>\n\u003cp>Though Southern Exposure is now a 501(c)3 with an operating budget over $800,000 and a staff of five, that playful and anti-establishment spirit persists. “The curatorial council is this evolving body of artists who are able to continue to bring in new folks and new things that are happening,” says Co-Director Margaret McCarthy. “That’s what’s exciting to me about turning 50, but not \u003ci>feeling\u003c/i> 50.”\u003c/p>\n\u003cfigure id=\"attachment_13951019\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER.jpg\" alt=\"Two people sit on stack of drywall in a cavernous warehouse space looking at architectural plans\" width=\"2000\" height=\"1482\" class=\"size-full wp-image-13951019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-1920x1423.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kala co-founder Archana Horsting discussing build-out plans in the organization’s future studios on Heinz Avenue in Berkeley. \u003ccite>(Courtesy of Kala)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Besides their longevity, these organizations share a foundation in necessity. SF Camerawork was established to formalize and legitimize photography as \u003ca href=\"https://www.kqed.org/arts/13874133/sfmoma-thought-pieces-review\">an emerging art form\u003c/a>. Kala was founded by 11 international artists to share printmaking equipment that they couldn’t afford on their own. After state-run hospitals closed in the ’50s and ’60s, Creative Growth was born to support newly deinstitutionalized artists with disabilities.\u003c/p>\n\u003cp>As an example of how Creative Growth has changed and grown over the years, Director Emeritus Tom di Maria points to photographs of artists at the studio from its early days. “They have these little smocks on, and you would think it’s an art room in an institution, the state hospital or something,” he says. Over the years, the dynamic has shifted from directed art-making to artist-led initiatives. \u003c/p>\n\u003cp>Creative Growth’s artists, di Maria says, “want to have input into their curatorial practice. They want to know what viewers think about them. They want professional development.” Over its lifespan, the organization has evolved to meet those needs, engaging artists in aspects of leadership.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Balancing past, present and future\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For the five organizations in this story (others local orgs founded in 1974 include \u003ca href=\"https://www.breadandroses.org/\">Bread & Roses\u003c/a>, \u003ca href=\"https://calshakes.org/\">Cal Shakes\u003c/a>, \u003ca href=\"https://www.calawyersforthearts.org/\">California Lawyers for the Arts\u003c/a> and \u003ca href=\"https://www.proartscommons.org/\">ProArts\u003c/a>), taking stock of their 50-year history is a big part of the year ahead. \u003c/p>\n\u003cp>The first to celebrate will be SPT, with \u003ca href=\"https://www.smallpresstraffic.org/event/the-party\">a party\u003c/a> at Et al.’s Mission Street space on Jan. 27. The nonprofit just received a \u003ca href=\"https://www.smallpresstraffic.org/currently-post/announcing-mellon-foundation-preservation-grant\">$150,000 Mellon Grant\u003c/a> to catalog and digitize their archives over a two-year period. That includes not just books and magazines, Staiti points out, but donated audio recordings of poetry readings, all soon to be made fully accessible to the public. In the meantime, SPT has commissioned artist, poet and writer Gabrielle Civil to create \u003ca href=\"https://www.smallpresstraffic.org/currently-post/where-would-i-be-without-you\">a series of events\u003c/a> drawing from the collection.\u003c/p>\n\u003cp>Staiti is aiming for a fine balance between the present moment and Small Press Traffic’s legacy communities. (Like most of the nonprofits’ current leaders, Staiti wasn’t even alive in 1974.) It’s something SF Camerawork’s Executive Director Aay Preston-Myint is also onsidering while working toward 50th anniversary exhibition later this year. \u003c/p>\n\u003cp>“There’s a lot of different stories about what to include, who to include, right? Like why one person or one exhibit or the other stands out, versus why one might be hidden,” Preston-Myint says. “But at least for Camerawork, I’m hoping to use the material itself as a springboard.” \u003c/p>\n\u003cfigure id=\"attachment_13951018\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage.jpg\" alt=\"Cover of newsletter with two black-and-white photographs\" width=\"1500\" height=\"1854\" class=\"size-full wp-image-13951018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-800x989.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-1020x1261.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-768x949.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-1243x1536.jpg 1243w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A 1980 issue of SF Camerawork’s newsletter, featuring work by Steve Smith and Susan Felter. \u003ccite>(Courtesy of SF Camerawork)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The birthday plans run the gamut: archival and group shows, \u003ca href=\"http://www.kala.org/gallery/spring-gala-and-auction/\">auctions-cum-anniversary parties\u003c/a>, conferences and museum exhibitions. (Those last two come from \u003ca href=\"https://www.sfmoma.org/press-release/sfmoma-and-creative-growth-art-center-announce-unprecedented-partnership-in-celebration-of-creative-growths-50th-anniversary/\">Creative Growth’s partnership with the San Francisco Museum of Modern Art\u003c/a>, which recently acquired over 100 works by artists associated with the nonprofit.)\u003c/p>\n\u003cp>While maintaining their existence (and relevance) over 50 years is a tremendous accomplishment, several of the organizations’ leaders are quick to point out this milestone exists within an arts ecosystem that’s constantly generating new and exciting endeavors. \u003c/p>\n\u003cp>“Artists tend to band together and get creative, out of a need or an absence,” Preston-Myint says. “They do this to create the thing that isn’t there for them.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Small Press Traffic hosts ‘The Party’ on Saturday, Jan. 27, from 7–10 p.m. at Et al. (2831a Mission St., San Francisco). \u003ca href=\"https://www.smallpresstraffic.org/event/the-party\">More information and RSVP link here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Kala (1060 Heinz Ave., Berkeley) will host ‘Kala 50,’ an exhibition and art auction, March 21–April 27. \u003ca href=\"http://www.kala.org/gallery/spring-gala-and-auction/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Stay tuned for 50th anniversary programming from Creative Growth, SF Camerawork, Southern Exposure and others.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13890102/badass-santa-bizarre-legends-from-the-life-of-st-nicholas\">Santa Claus\u003c/a>: Gift giver, elf employer and rotund hero to children who live around the world! He’s also the guy whose entire reason for existing revolves around breaking into houses — like, \u003cem>a lot\u003c/em> of houses — on an annual basis.\u003c/p>\n\u003cp>With that in mind, it’s not all that surprising that Santa is also a hero to criminals of all stripes — many of whom have gotten their kicks impersonating him over the years.\u003c/p>\n\u003cp>Here are five very naughty Santa Clauses from Northern California history. (And, yes, of course one of them is naked.)\u003c/p>\n\u003ch2>Fugitive Santa\u003c/h2>\n\u003cfigure id=\"attachment_13939394\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939394\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-484479784-scaled-e1702511660179.jpg\" alt=\"Side view of Santa Claus rushing through snow blizzard to deliver presents. Blurry snowy background.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">What if the sack is full of stolen goods instead of gifts? \u003ccite>(Gilaxia/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1954, a shifty salesman from a Modesto appliance store somehow managed to steal $12,000 — an astounding $134,000 in 2023 money — and hit the damn road. Herbert Vernon Caudell made it all the way to Louisville, Kentucky where he, for some reason, agreed to play Santa in a local department store. Somehow, despite his festive disguise, cops managed to track him down and nabbed him at his new place of work, charging him with forgery and embezzlement.\u003c/p>\n\u003cp>“Louisville police had to make their way through swarms of children being entertained by the robust Santa in order to arrest him,” the \u003cem>San Francisco Examiner\u003c/em> reported.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No word on how many psychological issues this created for the kids who bore witness to the bust.\u003c/p>\n\u003ch2>Drunk Santa\u003c/h2>\n\u003cfigure id=\"attachment_13939396\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939396\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-513320273-scaled.jpg\" alt=\"A Santa lying on the floor, arms spread wide, with his feet resting above a fireplace.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-513320273-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-513320273-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-513320273-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-513320273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-513320273-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-513320273-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-513320273-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-513320273-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In fairness, if every child on Earth left you a glass of eggnog, you’d be drunk as well. \u003ccite>(Bogdan Malizkiy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Christmas Eve 1934, one drunk Santa made headlines after getting arrested in San Francisco’s Richmond District. The Santa in question — a man named Charles H. Hayton — was so wasted that concerned residents called the cops on him. Even more bizarrely, the report in the \u003cem>Examiner\u003c/em> that followed was awash with euphemisms to avoid saying so.\u003c/p>\n\u003cp>“He was arrested for carrying a package,” the paper reported. “In fact, it was a load, a terrific load that Santa Claus was packing. It was too much for the old man and he staggered under it, so that one foot went north and the other went south and Santa went around in circles. The inspectors led him away from an audience of interested youngsters. They took him, uniform and all, to the city prison and booked him on charges of overdoing the Christmas spirit.”\u003c/p>\n\u003cp>Okay, nerds.\u003c/p>\n\u003ch2>Fraudulent Santa\u003c/h2>\n\u003cfigure id=\"attachment_13939395\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939395\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1721200686-scaled-e1702514715742.jpg\" alt=\"Santa Claus in sunglasses jumps in the air behind an empty shopping cart.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Santa: Just in it for his damn self. \u003ccite>(Bogdan Malizkiy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You know those Santas that stand on the street, collecting money for charity? All the way back in 1911, a guy put on the magic red suit, got himself a box and hit a busy street corner in Oakland. A passing cop suspected he wasn’t there on behalf of a charity and was going to keep all the money for himself, so arrested him on the spot.\u003c/p>\n\u003cp>When word spread around the town that Santa was in jail, one little girl named Ada had a minor panic attack and immediately tried to reach Santa in lockup. She sent a letter to the chief of police to pass on, stating: “I am sorry you are in jail. I hope you will soon be out. I wrote to you before, but I don’t think you will get my letter. I asked you to bring me a big kid doll and a nice story book, a sleigh, a hair ribbon and Christmas crackers, and candy and oranges.”\u003c/p>\n\u003cp>Little bit desperate, Ada. Little bit desperate.\u003c/p>\n\u003ch2>Naked Santa\u003c/h2>\n\u003cfigure id=\"attachment_13939392\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939392\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1356140452-scaled-e1702510885625.jpg\" alt=\"A Santa Claus statue viewed from the neck up.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">You can picture the rest. \u003ccite>(Adam Webb/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Predictably, bad Santas in Berkeley are cut from a different cloth than bad Santas everywhere else. And in 1995, one of them — wearing only his festive red hat — led a bizarre march through downtown Berkeley that resulted in three arrests.\u003c/p>\n\u003cp>“It was quite a scene,” Deputy Berkeley Chief Roy Meisner told the \u003cem>Oakland Tribune\u003c/em> at the time. “There were people with no clothes, people with no clothes and mud all over them, people wearing masks and the usual punks and skinheads. One guy was surfing — or at least he was riding on a surfboard which was on top of a Volkswagen. We arrested the driver too, for $10,000 in outstanding warrants.”\u003c/p>\n\u003cp>Naked Santa wasn’t arrested on account of his, uh, candy cane being exposed in front of God and everyone. Rather, he was arrested for spraying red paint on a woman who had come out of a cafe on Bancroft Avenue to see what was going on. Not cool, naked Santa.\u003c/p>\n\u003ch2>Counterfeit Santa\u003c/h2>\n\u003cfigure id=\"attachment_13939393\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939393\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1736658754-scaled.jpg\" alt=\"Santa Claus gesturing heart shape.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1736658754-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1736658754-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1736658754-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1736658754-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1736658754-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1736658754-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1736658754-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1736658754-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nope. No, thank you. Nope. \u003ccite>(Imagesbybarbara/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Picture if you will, a Hare Krishna monk, dressed in a Santa suit, impersonating a different (official!) Santa who’d been hired by Trans World Airlines to spread the joy (and give out candy) at SFO in 1975.\u003c/p>\n\u003cp>Then picture that Hare Krishna Santa running around the airport asking people for donations for “a hospital Christmas party.” \u003cem>Then\u003c/em> picture those passengers figuring out the ruse, getting mad and reporting the 22-year-old. Sheriff’s deputies arrived quickly, removed the Krishna caperer and charged him with obtaining money under false pretenses and soliciting in a public place.\u003c/p>\n\u003cp>Why in God’s name was an ’80s teen comedy never made about this?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy holidays, everyone. Don’t forget to guard those chimneys…\u003c/p>\n\n",
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"title": "Bad Santas From Northern California History | KQED",
"description": "Santa’s existences revolves around breaking into houses. No wonder so many criminals have impersonated him.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13890102/badass-santa-bizarre-legends-from-the-life-of-st-nicholas\">Santa Claus\u003c/a>: Gift giver, elf employer and rotund hero to children who live around the world! He’s also the guy whose entire reason for existing revolves around breaking into houses — like, \u003cem>a lot\u003c/em> of houses — on an annual basis.\u003c/p>\n\u003cp>With that in mind, it’s not all that surprising that Santa is also a hero to criminals of all stripes — many of whom have gotten their kicks impersonating him over the years.\u003c/p>\n\u003cp>Here are five very naughty Santa Clauses from Northern California history. (And, yes, of course one of them is naked.)\u003c/p>\n\u003ch2>Fugitive Santa\u003c/h2>\n\u003cfigure id=\"attachment_13939394\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939394\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-484479784-scaled-e1702511660179.jpg\" alt=\"Side view of Santa Claus rushing through snow blizzard to deliver presents. Blurry snowy background.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">What if the sack is full of stolen goods instead of gifts? \u003ccite>(Gilaxia/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1954, a shifty salesman from a Modesto appliance store somehow managed to steal $12,000 — an astounding $134,000 in 2023 money — and hit the damn road. Herbert Vernon Caudell made it all the way to Louisville, Kentucky where he, for some reason, agreed to play Santa in a local department store. Somehow, despite his festive disguise, cops managed to track him down and nabbed him at his new place of work, charging him with forgery and embezzlement.\u003c/p>\n\u003cp>“Louisville police had to make their way through swarms of children being entertained by the robust Santa in order to arrest him,” the \u003cem>San Francisco Examiner\u003c/em> reported.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No word on how many psychological issues this created for the kids who bore witness to the bust.\u003c/p>\n\u003ch2>Drunk Santa\u003c/h2>\n\u003cfigure id=\"attachment_13939396\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939396\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-513320273-scaled.jpg\" alt=\"A Santa lying on the floor, arms spread wide, with his feet resting above a fireplace.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-513320273-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-513320273-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-513320273-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-513320273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-513320273-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-513320273-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-513320273-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-513320273-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In fairness, if every child on Earth left you a glass of eggnog, you’d be drunk as well. \u003ccite>(Bogdan Malizkiy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Christmas Eve 1934, one drunk Santa made headlines after getting arrested in San Francisco’s Richmond District. The Santa in question — a man named Charles H. Hayton — was so wasted that concerned residents called the cops on him. Even more bizarrely, the report in the \u003cem>Examiner\u003c/em> that followed was awash with euphemisms to avoid saying so.\u003c/p>\n\u003cp>“He was arrested for carrying a package,” the paper reported. “In fact, it was a load, a terrific load that Santa Claus was packing. It was too much for the old man and he staggered under it, so that one foot went north and the other went south and Santa went around in circles. The inspectors led him away from an audience of interested youngsters. They took him, uniform and all, to the city prison and booked him on charges of overdoing the Christmas spirit.”\u003c/p>\n\u003cp>Okay, nerds.\u003c/p>\n\u003ch2>Fraudulent Santa\u003c/h2>\n\u003cfigure id=\"attachment_13939395\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939395\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1721200686-scaled-e1702514715742.jpg\" alt=\"Santa Claus in sunglasses jumps in the air behind an empty shopping cart.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Santa: Just in it for his damn self. \u003ccite>(Bogdan Malizkiy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You know those Santas that stand on the street, collecting money for charity? All the way back in 1911, a guy put on the magic red suit, got himself a box and hit a busy street corner in Oakland. A passing cop suspected he wasn’t there on behalf of a charity and was going to keep all the money for himself, so arrested him on the spot.\u003c/p>\n\u003cp>When word spread around the town that Santa was in jail, one little girl named Ada had a minor panic attack and immediately tried to reach Santa in lockup. She sent a letter to the chief of police to pass on, stating: “I am sorry you are in jail. I hope you will soon be out. I wrote to you before, but I don’t think you will get my letter. I asked you to bring me a big kid doll and a nice story book, a sleigh, a hair ribbon and Christmas crackers, and candy and oranges.”\u003c/p>\n\u003cp>Little bit desperate, Ada. Little bit desperate.\u003c/p>\n\u003ch2>Naked Santa\u003c/h2>\n\u003cfigure id=\"attachment_13939392\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939392\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1356140452-scaled-e1702510885625.jpg\" alt=\"A Santa Claus statue viewed from the neck up.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">You can picture the rest. \u003ccite>(Adam Webb/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Predictably, bad Santas in Berkeley are cut from a different cloth than bad Santas everywhere else. And in 1995, one of them — wearing only his festive red hat — led a bizarre march through downtown Berkeley that resulted in three arrests.\u003c/p>\n\u003cp>“It was quite a scene,” Deputy Berkeley Chief Roy Meisner told the \u003cem>Oakland Tribune\u003c/em> at the time. “There were people with no clothes, people with no clothes and mud all over them, people wearing masks and the usual punks and skinheads. One guy was surfing — or at least he was riding on a surfboard which was on top of a Volkswagen. We arrested the driver too, for $10,000 in outstanding warrants.”\u003c/p>\n\u003cp>Naked Santa wasn’t arrested on account of his, uh, candy cane being exposed in front of God and everyone. Rather, he was arrested for spraying red paint on a woman who had come out of a cafe on Bancroft Avenue to see what was going on. Not cool, naked Santa.\u003c/p>\n\u003ch2>Counterfeit Santa\u003c/h2>\n\u003cfigure id=\"attachment_13939393\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939393\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1736658754-scaled.jpg\" alt=\"Santa Claus gesturing heart shape.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1736658754-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1736658754-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1736658754-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1736658754-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1736658754-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1736658754-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1736658754-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1736658754-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nope. No, thank you. Nope. \u003ccite>(Imagesbybarbara/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Picture if you will, a Hare Krishna monk, dressed in a Santa suit, impersonating a different (official!) Santa who’d been hired by Trans World Airlines to spread the joy (and give out candy) at SFO in 1975.\u003c/p>\n\u003cp>Then picture that Hare Krishna Santa running around the airport asking people for donations for “a hospital Christmas party.” \u003cem>Then\u003c/em> picture those passengers figuring out the ruse, getting mad and reporting the 22-year-old. Sheriff’s deputies arrived quickly, removed the Krishna caperer and charged him with obtaining money under false pretenses and soliciting in a public place.\u003c/p>\n\u003cp>Why in God’s name was an ’80s teen comedy never made about this?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy holidays, everyone. Don’t forget to guard those chimneys…\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Wanna Own a Piece of a World-Famous Punk Club?",
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"content": "\u003cp>“No racism, no sexism, no homophobia, no transphobia, no alcohol, no drugs, no fighting, no stagediving,” reads the list of rules that greets visitors to Berkeley’s \u003ca href=\"https://www.924gilman.org/\">924 Gilman\u003c/a>. Those rules are central to the ethos of the venue — a widely beloved, all-ages, volunteer-run punk club that birthed Green Day, Operation Ivy, Rancid and so many other East Bay bands since it first opened in 1986. But there’s never been a rule against taking home a chunk of the wall.[aside postID='arts_11333286']\u003c/p>\n\u003cp>Good thing, because that’s exactly what 200 punk fans will be doing sometime in early 2024, as a reward for contributing to \u003ca href=\"https://www.kickstarter.com/projects/lavasocks/new-924-gilman-side-doors/\">a fundraiser launched this week\u003c/a>. The Kickstarter aims to raise $20,000 to fund the replacement of 924 Gilman’s existing side door with new doors that will nearly double the club’s capacity, as well as help make the venue more accessible.\u003c/p>\n\u003cp>It’s a project nearly 15 years in the making, says musician and longtime Gilman volunteer Alex Botkin — but the financial strain of the pandemic made the upgrade more urgent.\u003c/p>\n\u003cfigure id=\"attachment_11336196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11336196\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-800x533.jpg\" alt=\"Ghoul perform at 924 Gilman in 2015.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ghoul perform at 924 Gilman in 2015. \u003ccite>(Taylor Keahey/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“After coming back from being closed during COVID, we’ve seen a growing increase in costs just to keep the venue running,” says Botkin, noting that Gilman volunteers have been working with the City of Berkeley for the past seven months to get the proper permits in place. “We’ve always tried to operate within legal capacity, which has been 225, and for much larger shows that’s really difficult to accommodate. This will help with getting as many people in as possible.” The Berkeley Fire Department will determine the club’s new capacity following the renovation, but volunteers expect the new number to be 500 to 550.\u003c/p>\n\u003cp>In coming up with rewards for donors, Botkin says volunteers were looking for something “authentically Gilman, that no one could misconstrue as corporate or sellout-ish.” They landed on “wall chunks.” Following the renovation, supporters who donated $100 will receive a four- to five-inch piece of the heavily illustrated and tagged interior wall that currently surrounds the existing door, along with a certificate of authenticity signed by a Gilman volunteer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People come by Gilman from far-away places just to see a little bit of East Bay punk history, and they always talk about how amazing the actual building is,” says Botkin. “So this is giving people a chance to have a small piece of it in their home.”[aside postID='arts_13239750']“Also it’s just funny,” he acknowledges. “Like, can we sell people rubble?”\u003c/p>\n\u003cp>Comedic value aside, the fundraiser speaks to the tenuous nature of Gilman’s existence in the year 2023. Known worldwide by punk fans, celebrated by legendary rock bands and even \u003ca href=\"https://www.kqed.org/arts/12978058/municipal-honors-for-924-gilman-punk-really-is-dead\">feted by the City of Berkeley itself\u003c/a> — something that would have been unimaginable 30 years ago — the club still teeters on the brink of unsustainability. As a DIY space in a fully gentrified Berkeley neighborhood, it relies on new generations of young people discovering it, putting in hours of unpaid work on it, tending to both its legacy and its day-to-day functions.\u003c/p>\n\u003cp>There’s always nostalgia involved when it comes to Gilman, says Botkin. But upgrades like these are about “the reality of keeping the place running.”\u003c/p>\n\u003cfigure id=\"attachment_13939358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-5-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13939358\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-5-800x600.jpeg\" alt=\"a blank tan exterior wall of a building with a single door\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-5-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-5-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-5-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-5-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-5-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-5-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-5-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">924 Gilman’s current side door. \u003ccite>(Courtesy Alex Botkin/924 Gilman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for the existing side door — the site of countless punk dramas, romances and smoke breaks over the past four decades — it will do what so many industry veterans do when they retire: head to Vegas. Following removal, its new home will be at the \u003ca href=\"https://www.kqed.org/arts/13928586/las-vegas-punk-rock-museum-has-a-treasure-trove-of-bay-area-treats\">Punk Rock Museum\u003c/a>, opened by NOFX’s Fat Mike there earlier this year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plotkin isn’t sure exactly what that exhibition will look like. But “our pitch was that it should be interactive,” he says. “See what it feels like to get kicked out of Gilman.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“No racism, no sexism, no homophobia, no transphobia, no alcohol, no drugs, no fighting, no stagediving,” reads the list of rules that greets visitors to Berkeley’s \u003ca href=\"https://www.924gilman.org/\">924 Gilman\u003c/a>. Those rules are central to the ethos of the venue — a widely beloved, all-ages, volunteer-run punk club that birthed Green Day, Operation Ivy, Rancid and so many other East Bay bands since it first opened in 1986. But there’s never been a rule against taking home a chunk of the wall.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Good thing, because that’s exactly what 200 punk fans will be doing sometime in early 2024, as a reward for contributing to \u003ca href=\"https://www.kickstarter.com/projects/lavasocks/new-924-gilman-side-doors/\">a fundraiser launched this week\u003c/a>. The Kickstarter aims to raise $20,000 to fund the replacement of 924 Gilman’s existing side door with new doors that will nearly double the club’s capacity, as well as help make the venue more accessible.\u003c/p>\n\u003cp>It’s a project nearly 15 years in the making, says musician and longtime Gilman volunteer Alex Botkin — but the financial strain of the pandemic made the upgrade more urgent.\u003c/p>\n\u003cfigure id=\"attachment_11336196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11336196\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-800x533.jpg\" alt=\"Ghoul perform at 924 Gilman in 2015.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ghoul perform at 924 Gilman in 2015. \u003ccite>(Taylor Keahey/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“After coming back from being closed during COVID, we’ve seen a growing increase in costs just to keep the venue running,” says Botkin, noting that Gilman volunteers have been working with the City of Berkeley for the past seven months to get the proper permits in place. “We’ve always tried to operate within legal capacity, which has been 225, and for much larger shows that’s really difficult to accommodate. This will help with getting as many people in as possible.” The Berkeley Fire Department will determine the club’s new capacity following the renovation, but volunteers expect the new number to be 500 to 550.\u003c/p>\n\u003cp>In coming up with rewards for donors, Botkin says volunteers were looking for something “authentically Gilman, that no one could misconstrue as corporate or sellout-ish.” They landed on “wall chunks.” Following the renovation, supporters who donated $100 will receive a four- to five-inch piece of the heavily illustrated and tagged interior wall that currently surrounds the existing door, along with a certificate of authenticity signed by a Gilman volunteer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Also it’s just funny,” he acknowledges. “Like, can we sell people rubble?”\u003c/p>\n\u003cp>Comedic value aside, the fundraiser speaks to the tenuous nature of Gilman’s existence in the year 2023. Known worldwide by punk fans, celebrated by legendary rock bands and even \u003ca href=\"https://www.kqed.org/arts/12978058/municipal-honors-for-924-gilman-punk-really-is-dead\">feted by the City of Berkeley itself\u003c/a> — something that would have been unimaginable 30 years ago — the club still teeters on the brink of unsustainability. As a DIY space in a fully gentrified Berkeley neighborhood, it relies on new generations of young people discovering it, putting in hours of unpaid work on it, tending to both its legacy and its day-to-day functions.\u003c/p>\n\u003cp>There’s always nostalgia involved when it comes to Gilman, says Botkin. But upgrades like these are about “the reality of keeping the place running.”\u003c/p>\n\u003cfigure id=\"attachment_13939358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-5-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13939358\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-5-800x600.jpeg\" alt=\"a blank tan exterior wall of a building with a single door\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-5-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-5-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-5-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-5-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-5-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-5-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-5-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">924 Gilman’s current side door. \u003ccite>(Courtesy Alex Botkin/924 Gilman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for the existing side door — the site of countless punk dramas, romances and smoke breaks over the past four decades — it will do what so many industry veterans do when they retire: head to Vegas. Following removal, its new home will be at the \u003ca href=\"https://www.kqed.org/arts/13928586/las-vegas-punk-rock-museum-has-a-treasure-trove-of-bay-area-treats\">Punk Rock Museum\u003c/a>, opened by NOFX’s Fat Mike there earlier this year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plotkin isn’t sure exactly what that exhibition will look like. But “our pitch was that it should be interactive,” he says. “See what it feels like to get kicked out of Gilman.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Mariah Carey’s ‘All I Want for Christmas Is You’ Has Stayed So Popular",
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"content": "\u003cp>If anything about Mariah Carey’s “All I Want for Christmas Is You” annoys you, best to avoid shopping malls now. Or the radio. Maybe music altogether, for that matter.\u003c/p>\n\u003cp>Her 1994 carol dominates holiday music like nothing else.\u003c/p>\n\u003cp>The Christmas colossus has reached No. 1 on Billboard’s Hot 100 chart the past four years in a row — measuring the most popular songs each week by airplay, sales and streaming, not just the holiday-themed — and it’s reasonable to assume 2023 will be no different. One expert predicts it will soon exceed $100 million in earnings. Even its ringtone has sold millions.\u003c/p>\n\u003cp>“That song is just embedded in history now,” says David Foster, the 16-time Grammy-winning composer and producer. “It’s embedded in Christmas. When you think of Christmas right now, you think of that song.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yXQViqx6GMY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carey’s hit is so omnipresent that the \u003cem>Wall Street Journal\u003c/em> wrote about retail workers driven batty by how many times it comes on in their stores, including one who retreats to the stockroom every time he hears the distinctive opening bells.\u003c/p>\n\u003cp>Yet the story behind “All I Want for Christmas Is You” is not all holly and mistletoe.\u003c/p>\n\u003cp>The song’s co-authors, Carey and Walter Afanasieff, are in a mystifying feud. The authors of a different song with the same title have sued seeking $20 million in damages. While Carey calls herself the Queen of Christmas, her bid to trademark that title failed.\u003c/p>\n\u003ch2>Carey’s Signal Ends Each Year’s Hibernation\u003c/h2>\n\u003cp>Every year on Nov. 1, the song’s hibernation ends when Carey posts on social media that “it’s time” to play it again. This year’s message depicted her being freed from a block of ice to make the declaration.\u003c/p>\n\u003cp>[aside postid='arts_13889748']In both music and lyrics, the song was perfectly engineered for success, says Joe Bennett, musicologist and professor at the Berklee College of Music.\u003c/p>\n\u003cp>At the time of its release, most new holiday music came from artists past their peak and looking for a new market. In 1994, though, Carey was at the top of her game.\u003c/p>\n\u003cp>“All I Want for Christmas Is You” works as a love and holiday song. Carey sets it up: She doesn’t care about all the holiday trappings, she has one thing — one person — on her mind. It’s kept vague whether it’s a lover or someone she yearns for.\u003c/p>\n\u003cp>“It’s a wishing song and it works narratively,” Bennett says. “You can sing it to your beloved if you are together or not together.”\u003c/p>\n\u003cp>She sprinkles in specific holiday references: the Christmas tree, presents, Santa Claus, a stocking upon the fireplace, reindeer, sleigh bells, children singing and, of course, mistletoe.\u003c/p>\n\u003cp>The instruments and brisk arrangement recall Phil Spector’s 1965 album, \u003cem>A Christmas Gift for You\u003c/em>, itself a holiday classic. To top it off, part of the melody slyly references “White Christmas,” Bennett says.\u003c/p>\n\u003cp>“That was my goal, to do something timeless that didn’t feel like the ‘90s,” Carey explained in a recent \u003cem>Good Morning America\u003c/em> interview.\u003c/p>\n\u003cp>[aside postid='pop_107720']Billboard has produced lists of top seasonal hits since 2010, and “All I Want for Christmas Is You” has been No. 1 for 57 of the 62 weeks it has run, said Gary Trust, chart director. The Luminate data company said the song peaked at 387 million streams in 2019, the 25th anniversary of its release.\u003c/p>\n\u003cp>Precise numbers are hard to come by, but Will Page, Spotify’s former chief economist and author of the book \u003cem>Pivot\u003c/em>, estimates the song will exceed $100 million in earnings this holiday season.\u003c/p>\n\u003cp>“By most objective measures,” Bennett says, “it’s the most successful Christmas song of all time.”\u003c/p>\n\u003ch2>Dispute Between the Writers\u003c/h2>\n\u003cp>As Afanasieff has told it, much of the work on “All I Want for Christmas Is You” was done by him and Carey working in a rented house in the summer of 1994. The team had a history, working on Carey’s albums \u003cem>Emotions\u003c/em> and \u003cem>Music Box\u003c/em>.\u003c/p>\n\u003cp>He started with a boogie-woogie piano, tossing out melodic ideas that Carey would respond to with lyrics.\u003c/p>\n\u003cp>[aside postid='arts_13922351']“It was like a game of ping-pong,” he said on last year’s podcast, \u003cem>Hot Takes & Deep Dives with Jess Rothschild.\u003c/em> “I hit the ball to her, she’d hit it back to me.”\u003c/p>\n\u003cp>Later, working alone, Carey completed the lyrics and Afanasieff recorded all the instruments.\u003c/p>\n\u003cp>Then things became complicated. Carey was married at the time to Tommy Mottola, head of Sony Music. They broke up in 1997 and her relationship with Afanasieff, who kept working for Mottola, became a casualty of that fractured marriage.\u003c/p>\n\u003cp>Afanasieff told Rothschild that he and Carey didn’t speak for about two decades until she called him around the time of the song’s 25th anniversary, asking for the co-writer’s permission to use the “All I Want for Christmas Is You” lyrics in a children’s book.\u003c/p>\n\u003cp>That business call didn’t lead to a thaw. Afanasieff says it seems his contributions have been written out of Carey’s telling of the song’s creation. No co-writer was mentioned during her \u003cem>Good Morning America\u003c/em> interview last month.\u003c/p>\n\u003cp>“I was working on it by myself so I was writing on this little Casio keyboard, writing down words and thinking about, ‘What do I think about Christmas? What do I love? What do I want? What do I dream of?” she says. “And that’s what started it.”\u003c/p>\n\u003cp>At the time the song was written, Carey wasn’t a keyboard player and didn’t know how to write music, Afanasieff has said. Carey’s spokeswoman did not respond to an interview request.\u003c/p>\n\u003cp>Afanasieff sounds almost bewildered by the turn of events. He told \u003cem>Variety\u003c/em> in 1999 that every holiday season he has to defend himself against people who don’t believe he co-wrote the song. He’s even gotten death threats.\u003c/p>\n\u003cp>[aside postid='arts_13922004']“Mariah has been very wonderful, positive and a force of nature,” he told \u003cem>Variety\u003c/em>’s Chris Willman. “She’s the one that made the song a hit and she’s awesome. But she definitely does not share credit where credit is due. As a result, it has really hurt my reputation and, as a result, has left me with a bittersweet taste in my mouth.”\u003c/p>\n\u003cp>Last month, songwriters Andy Stone and Troy Powers sued Carey and Afanasieff in federal court in California, seeking $20 million in copyright infringement and citing their own 1989 country song, “All I Want for Christmas Is You.” They had dropped a previous effort.\u003c/p>\n\u003cp>Their song has a similar theme, with a narrator desiring a love interest before Christmas comforts. The writers cite an “overwhelming likelihood” that Carey and Afanasieff had heard their song.\u003c/p>\n\u003cp>The two songs have no musical similarities, Berklee’s Bennett says, and the theme is hardly unique. He pointed out Bing Crosby’s “You’re All I Want for Christmas,” Carla Thomas’ “All I Want for Christmas Is You” and Buck Owens’ “All I Want for Christmas, Dear, Is You.”\u003c/p>\n\u003cp>Says the musicologist: “It’s nonsense.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0QATvC2oiNY\u003c/p>\n\u003ch2>The Next ‘All I Want for Christmas Is You’\u003c/h2>\n\u003cp>In his podcast appearance, Afanasieff noted how Foster once told him that “All I Want for Christmas Is You” was the last song to enter the Christmas canon and “that vault is sealed.”\u003c/p>\n\u003cp>[aside postid='pop_108094']Foster told AP he exaggerated a little, but not a lot. Writing a new holiday song is brutally hard, since you’re competing with not just current hits but hundreds of years of songs and memories. The old classics never go away. Only 10 entries on Billboard’s last Hot 100 of holiday songs last year were written after “All I Want for Christmas Is You.”\u003c/p>\n\u003cp>“I just stay away from them, because they scare me,” Foster says. “Lyrically, it’s sort of all been done before — better than I can ever do.”\u003c/p>\n\u003cp>A holiday album Foster and his wife, Katharine McPhee, released recently sticks with the standards, plus Foster’s own 1989 song, “Grown-Up Christmas List.”\u003c/p>\n\u003cp>A handful of more contemporary songs have shown potential staying power, like Ariana Grande’s “Santa Tell Me” from 2014, Kelly Clarkson’s “Underneath the Tree” from 2013, Gwen Stefani & Blake Shelton’s “You Make it Feel Like Christmas” from 2017 and Taylor Swift’s “Christmas Tree Farm” from 2019.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nlR0MkrRklg\u003c/p>\n\u003cp>While he appreciates Foster’s compliment, Afanasieff told Rothschild that he hoped others don’t take it to heart.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I urge songwriters every year,” he says. “It’s time to write the next ‘All I Want for Christmas Is You.’”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If anything about Mariah Carey’s “All I Want for Christmas Is You” annoys you, best to avoid shopping malls now. Or the radio. Maybe music altogether, for that matter.\u003c/p>\n\u003cp>Her 1994 carol dominates holiday music like nothing else.\u003c/p>\n\u003cp>The Christmas colossus has reached No. 1 on Billboard’s Hot 100 chart the past four years in a row — measuring the most popular songs each week by airplay, sales and streaming, not just the holiday-themed — and it’s reasonable to assume 2023 will be no different. One expert predicts it will soon exceed $100 million in earnings. Even its ringtone has sold millions.\u003c/p>\n\u003cp>“That song is just embedded in history now,” says David Foster, the 16-time Grammy-winning composer and producer. “It’s embedded in Christmas. When you think of Christmas right now, you think of that song.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yXQViqx6GMY'\n title='//www.youtube.com/embed/yXQViqx6GMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carey’s hit is so omnipresent that the \u003cem>Wall Street Journal\u003c/em> wrote about retail workers driven batty by how many times it comes on in their stores, including one who retreats to the stockroom every time he hears the distinctive opening bells.\u003c/p>\n\u003cp>Yet the story behind “All I Want for Christmas Is You” is not all holly and mistletoe.\u003c/p>\n\u003cp>The song’s co-authors, Carey and Walter Afanasieff, are in a mystifying feud. The authors of a different song with the same title have sued seeking $20 million in damages. While Carey calls herself the Queen of Christmas, her bid to trademark that title failed.\u003c/p>\n\u003ch2>Carey’s Signal Ends Each Year’s Hibernation\u003c/h2>\n\u003cp>Every year on Nov. 1, the song’s hibernation ends when Carey posts on social media that “it’s time” to play it again. This year’s message depicted her being freed from a block of ice to make the declaration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In both music and lyrics, the song was perfectly engineered for success, says Joe Bennett, musicologist and professor at the Berklee College of Music.\u003c/p>\n\u003cp>At the time of its release, most new holiday music came from artists past their peak and looking for a new market. In 1994, though, Carey was at the top of her game.\u003c/p>\n\u003cp>“All I Want for Christmas Is You” works as a love and holiday song. Carey sets it up: She doesn’t care about all the holiday trappings, she has one thing — one person — on her mind. It’s kept vague whether it’s a lover or someone she yearns for.\u003c/p>\n\u003cp>“It’s a wishing song and it works narratively,” Bennett says. “You can sing it to your beloved if you are together or not together.”\u003c/p>\n\u003cp>She sprinkles in specific holiday references: the Christmas tree, presents, Santa Claus, a stocking upon the fireplace, reindeer, sleigh bells, children singing and, of course, mistletoe.\u003c/p>\n\u003cp>The instruments and brisk arrangement recall Phil Spector’s 1965 album, \u003cem>A Christmas Gift for You\u003c/em>, itself a holiday classic. To top it off, part of the melody slyly references “White Christmas,” Bennett says.\u003c/p>\n\u003cp>“That was my goal, to do something timeless that didn’t feel like the ‘90s,” Carey explained in a recent \u003cem>Good Morning America\u003c/em> interview.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Billboard has produced lists of top seasonal hits since 2010, and “All I Want for Christmas Is You” has been No. 1 for 57 of the 62 weeks it has run, said Gary Trust, chart director. The Luminate data company said the song peaked at 387 million streams in 2019, the 25th anniversary of its release.\u003c/p>\n\u003cp>Precise numbers are hard to come by, but Will Page, Spotify’s former chief economist and author of the book \u003cem>Pivot\u003c/em>, estimates the song will exceed $100 million in earnings this holiday season.\u003c/p>\n\u003cp>“By most objective measures,” Bennett says, “it’s the most successful Christmas song of all time.”\u003c/p>\n\u003ch2>Dispute Between the Writers\u003c/h2>\n\u003cp>As Afanasieff has told it, much of the work on “All I Want for Christmas Is You” was done by him and Carey working in a rented house in the summer of 1994. The team had a history, working on Carey’s albums \u003cem>Emotions\u003c/em> and \u003cem>Music Box\u003c/em>.\u003c/p>\n\u003cp>He started with a boogie-woogie piano, tossing out melodic ideas that Carey would respond to with lyrics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It was like a game of ping-pong,” he said on last year’s podcast, \u003cem>Hot Takes & Deep Dives with Jess Rothschild.\u003c/em> “I hit the ball to her, she’d hit it back to me.”\u003c/p>\n\u003cp>Later, working alone, Carey completed the lyrics and Afanasieff recorded all the instruments.\u003c/p>\n\u003cp>Then things became complicated. Carey was married at the time to Tommy Mottola, head of Sony Music. They broke up in 1997 and her relationship with Afanasieff, who kept working for Mottola, became a casualty of that fractured marriage.\u003c/p>\n\u003cp>Afanasieff told Rothschild that he and Carey didn’t speak for about two decades until she called him around the time of the song’s 25th anniversary, asking for the co-writer’s permission to use the “All I Want for Christmas Is You” lyrics in a children’s book.\u003c/p>\n\u003cp>That business call didn’t lead to a thaw. Afanasieff says it seems his contributions have been written out of Carey’s telling of the song’s creation. No co-writer was mentioned during her \u003cem>Good Morning America\u003c/em> interview last month.\u003c/p>\n\u003cp>“I was working on it by myself so I was writing on this little Casio keyboard, writing down words and thinking about, ‘What do I think about Christmas? What do I love? What do I want? What do I dream of?” she says. “And that’s what started it.”\u003c/p>\n\u003cp>At the time the song was written, Carey wasn’t a keyboard player and didn’t know how to write music, Afanasieff has said. Carey’s spokeswoman did not respond to an interview request.\u003c/p>\n\u003cp>Afanasieff sounds almost bewildered by the turn of events. He told \u003cem>Variety\u003c/em> in 1999 that every holiday season he has to defend himself against people who don’t believe he co-wrote the song. He’s even gotten death threats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Mariah has been very wonderful, positive and a force of nature,” he told \u003cem>Variety\u003c/em>’s Chris Willman. “She’s the one that made the song a hit and she’s awesome. But she definitely does not share credit where credit is due. As a result, it has really hurt my reputation and, as a result, has left me with a bittersweet taste in my mouth.”\u003c/p>\n\u003cp>Last month, songwriters Andy Stone and Troy Powers sued Carey and Afanasieff in federal court in California, seeking $20 million in copyright infringement and citing their own 1989 country song, “All I Want for Christmas Is You.” They had dropped a previous effort.\u003c/p>\n\u003cp>Their song has a similar theme, with a narrator desiring a love interest before Christmas comforts. The writers cite an “overwhelming likelihood” that Carey and Afanasieff had heard their song.\u003c/p>\n\u003cp>The two songs have no musical similarities, Berklee’s Bennett says, and the theme is hardly unique. He pointed out Bing Crosby’s “You’re All I Want for Christmas,” Carla Thomas’ “All I Want for Christmas Is You” and Buck Owens’ “All I Want for Christmas, Dear, Is You.”\u003c/p>\n\u003cp>Says the musicologist: “It’s nonsense.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0QATvC2oiNY'\n title='//www.youtube.com/embed/0QATvC2oiNY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The Next ‘All I Want for Christmas Is You’\u003c/h2>\n\u003cp>In his podcast appearance, Afanasieff noted how Foster once told him that “All I Want for Christmas Is You” was the last song to enter the Christmas canon and “that vault is sealed.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"tagline": "Art is where you find it",
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"soldout": {
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"tagline": "A new future for housing",
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"info": "",
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"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"ted-radio-hour": {
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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