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"bio": "Marisol Medina-Cadena is a radio reporter and podcast producer. Before working at KQED, she produced for PBS member station, KCET, in Los Angeles. In 2017, Marisol won an Emmy Award for her work on the televised documentary, \u003cem>City Rising\u003c/em>, examining California's affordable housing crisis and the historical roots of gentrification.",
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"title": "'Indigenizing' San Francisco (Yelamu): The Cultural District Honoring Native History",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>In Indigenous protocol, we’re beginning this week’s episode honoring the original stewards of this land that many of us in Frisco now occupy — the ancestral homeland of the \u003ca href=\"https://www.ramaytush.org/terminology.html\">Ramaytush Ohlone\u003c/a>.\u003c/p>\n\u003cp>Now, let’s take a trip down Valencia Street to La Misión.\u003c/p>\n\u003cp>The neighborhood is home to not one, but two rich cultural districts. \u003ca href=\"https://www.calle24sf.org/\">Calle 24\u003c/a> Latino Cultural District was first established in 1999. More recently, in 2020, it was joined by the\u003ca href=\"https://americanindianculturaldistrict.org/\"> American Indian Cultural District —\u003c/a> a home base for the Urban Native community. Its aim is to uplift the culture, history, and continuing contributions of American Indians in San Francisco and beyond.\u003c/p>\n\u003cp>On this week’s Rightnowish, we introduce you to some of the people behind this cultural district that’s the first of its kind in the Golden State.\u003c/p>\n\u003cp>Mary Travis-Allen (Mayagna, Chortega, Seneca) is the President of the District’s Advisory Board and recalls memories of “\u003ca href=\"https://www.sfheritage.org/community/community-voices-preserving-american-indian-culture-in-san-francisco/\">Little Rez\u003c/a>” along 16th Street. Debbie Santiago (\u003cspan style=\"font-weight: 400\">Washoe, Osage) \u003c/span>and her mother, Alberta Snyder (\u003cspan style=\"font-weight: 400\">Washoe) share their memories about the SFUSD’s \u003ca href=\"https://www.sfheritage.org/cultural-districts/the-history-of-the-indian-education-program-in-san-francisco/\">Indian Education Program\u003c/a> that ran out of the \u003ca href=\"https://www.aiccsf.org/\">American Indian Cultural Center\u003c/a> on Valencia Street in the 70s and 80s. \u003c/span>\u003cspan style=\"font-weight: 400\">Karen Waukazoo (Lakota) remembers her late mother and local hero, Helen Waukazoo, who co-founded \u003ca href=\"https://www.friendshiphousesf.org/\">Friendship House,\u003c/a> the oldest social service organization in the United States run by and for American Indians. Last but not least, we venture to the waterfront at Fort Mason to talk with Sharaya Souza (Taos Pueblo, Ute, Kiowa), the Executive Director of the \u003ca href=\"https://americanindianculturaldistrict.org/\">American Indian Cultural District \u003c/a>about the legacy of the Alcatraz occupation. \u003c/span>\u003c/p>\n\u003cp>There are so many Native stories alive in La Misión — we hope this is just the start to more of us hearing about them.\u003c/p>\n\u003cp>\u003cem>This story was originally published July 22, 2022.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Below are photos along with some lightly edited excerpts from the episode.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13916489\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916489 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS54254_20220310-IMG_5523-800x576.jpg\" alt=\"\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54254_20220310-IMG_5523-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54254_20220310-IMG_5523-1020x735.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54254_20220310-IMG_5523-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54254_20220310-IMG_5523-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54254_20220310-IMG_5523-1536x1106.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54254_20220310-IMG_5523-1920x1383.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54254_20220310-IMG_5523.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary Travis-Allen poses for a portrait in front of Bond Bar in San Francisco, Calif., on Mar. 10, 2022. Travis-Allen remembers Bond Bar, formerly known as Warren’s Slaughterhouse Bar, as a gathering hub for Native Americans during the 60s and 70s. (Amaya Edwards)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">\u003cstrong>Mary Travis-Allen\u003c/strong>: \u003c/span>\u003cspan style=\"font-weight: 400\">Warren’s Slaughterhouse Bar … was a meeting location for us back in the 60s and 70s, and helped foundationally bring our community together.\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">With people coming from all over the states and different reservations, they were able to socialize — but more importantly, discuss the similarities of the struggles that they were having… \u003c/span>\u003cspan style=\"font-weight: 400\">because what people were experiencing here was a failure of yet another promise by the government to move our communities into the city and assimilate into America. \u003c/span>\u003cspan style=\"font-weight: 400\">They struggled for employment, and they found that there really wasn’t the resource or the realization of this American Dream that had been promised to them.\u003c/span>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13916493\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916493\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS54229_20220310-IMG_5337-800x561.jpg\" alt=\"\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54229_20220310-IMG_5337-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54229_20220310-IMG_5337-1020x715.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54229_20220310-IMG_5337-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54229_20220310-IMG_5337-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54229_20220310-IMG_5337-1536x1076.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54229_20220310-IMG_5337-1920x1345.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54229_20220310-IMG_5337.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Debbie Santiago poses for a portrait with her mother at the Old American Indian Center in the American Indian Cultural District of San Francisco, Calif., on Mar. 10, 2022. (Amaya Edwards)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">\u003cstrong>Debbie Santiago\u003c/strong>: \u003c/span>\u003c/em>\u003cem>\u003cspan style=\"font-weight: 400\">Our people … after a long period of time, have been overlooked and unseen. People come up to me and say, “Oh, you don’t exist.”\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">\u003cstrong>Alberta Snyder\u003c/strong>: “I didn’t know there was any American Indian people still living here in the Bay Area …” \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">And so we have to laugh and tell them, “I’m American Indian, number one, and I’ve lived here in the Bay Area all my life.” … There’s a big community of American Indian people from different tribes that was relocated into the Bay Area. So\u003c/span>\u003cspan style=\"font-weight: 400\"> to me, it’s always funny that they’re thinking, you know, that we’re gone, with the cowboys or whatever.\u003c/span>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13916528\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916528 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS54864_20220321-IMG_7446-qut-800x574.jpg\" alt=\"\" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54864_20220321-IMG_7446-qut-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54864_20220321-IMG_7446-qut-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54864_20220321-IMG_7446-qut-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54864_20220321-IMG_7446-qut-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54864_20220321-IMG_7446-qut-1536x1102.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54864_20220321-IMG_7446-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Old American Indian Center at 225 Valencia St. on Mar. 21 ,2022 \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916491\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916491\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS54242_20220310-IMG_5420-800x520.jpg\" alt=\"\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54242_20220310-IMG_5420-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54242_20220310-IMG_5420-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54242_20220310-IMG_5420-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54242_20220310-IMG_5420-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54242_20220310-IMG_5420-1536x998.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54242_20220310-IMG_5420-1920x1248.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54242_20220310-IMG_5420.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Friendship House American Indian Healing Center on Mar. 10, 2022. (Amaya Edwards)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Karen Waukazoo\u003c/strong>: \u003cspan style=\"font-weight: 400\">My mom came out around early 60s … She was taken from her family by the U.S. government to go to a boarding school. … \u003c/span>\u003cspan style=\"font-weight: 400\">While she was here [in San Francisco] she saw that there was so much alcoholism, and there was no place for Native Americans to go for that. That is when she started this program. \u003c/span>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13916490\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS54244_20220310-IMG_5424-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54244_20220310-IMG_5424-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54244_20220310-IMG_5424-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54244_20220310-IMG_5424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54244_20220310-IMG_5424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54244_20220310-IMG_5424-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54244_20220310-IMG_5424-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54244_20220310-IMG_5424.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abalone shells and sage lay in a brick shrine at the Friendship House American Indian Healing Center on Mar. 10, 2022. (Amaya Edwards)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">\u003cstrong>Marisol Medina-Cadena\u003c/strong>: And the alcoholism that your mom was seeing didn’t happen out of nowhere, right? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">\u003cstrong>Karen Waukazoo\u003c/strong>: Yes, completely! So, Natives face all the same issues as when my mom first came here: housing, jobs, health, mental health care, suicide prevention, substance abuse treatment… \u003c/span>My mom would always say it’s a shame that Natives are homeless on their own land. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13916492\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916492 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS54235_20220310-IMG_5380-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54235_20220310-IMG_5380-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54235_20220310-IMG_5380-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54235_20220310-IMG_5380-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54235_20220310-IMG_5380-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54235_20220310-IMG_5380-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54235_20220310-IMG_5380-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54235_20220310-IMG_5380.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karen Waukazoo (right) poses for portraits with Dauwila Harrison at the Friendship House in San Francisco, on Mar. 10, 2022. Waukazoo reminisces on memories of her late mother, Helen Waukazoo, highlighting her mother’s unwavering determination to provide social services for the Native American community in San Francisco. (Amaya Edwards)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">\u003cstrong>Karen Waukazoo\u003c/strong>: The unique thing about Friendship House is that it provides these services in a very culturally specific way, which is important to our Native people. \u003c/span>\u003cspan style=\"font-weight: 400\">There can be a deep-seated level of distrust in government services because … being separated from your family can cause hurt and pain…\u003c/span>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20220310-IMG_5535-qut-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20220310-IMG_5535-qut-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20220310-IMG_5535-qut-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20220310-IMG_5535-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20220310-IMG_5535-qut-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20220310-IMG_5535-qut-1536x1019.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20220310-IMG_5535-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A “Visions of the Future” board in the American Indian Cultural District office at Fort Mason in San Francisco. The board is covered in post-it notes with “visions” written on them. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">\u003cstrong>Sharaya Souza\u003c/strong>: What people don’t know is that at one point, the Mission district was called the “Red Ghetto.” At one point, it was a thriving, bustling area of American Indian businesses, organizations and community members. And today, when we look at the data that comes from a map, we still see many of our members actually reside in the cultural district. …It is a continuing history. It is a living history. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">One of the biggest things that I’ve noticed coming into San Francisco — aside from the fact that we don’t have tribal liaisons like we do in the governor’s office or at state institutions — is that this city is predicated on equity and racial equity … yet [American Indians] have the lowest graduation rates, the highest suicide rates, the lowest employment rates, the second lowest income, the lowest homeownership rates. Our funding for our youth is completely disproportionate. \u003c/span>\u003cspan style=\"font-weight: 400\">And it’s not about competing with each other for resources. It’s really just understanding how we’ve constantly turned a blind eye to American Indians. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4399537508&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena, co-host: \u003c/b>\u003cspan style=\"font-weight: 400\">What up y’all?! I don’t know about you but November flew by. Scratch that, it zoomed by. Scorpio season did a number on me, and from my point of view, it also did one on our global community. This month also happens to be Native American Heritage Month. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maybe last week, you had a feast with your fam, or a lovely Friendsgiving. \u003c/span>\u003cspan style=\"font-weight: 400\">For many Native families, the American holiday is considered “A Day of Mourning.” Because for them, it symbolizes the \u003c/span>\u003cspan style=\"font-weight: 400\">betrayal and bloodshed \u003c/span>\u003cspan style=\"font-weight: 400\">by the “pilgrims”… or “settlers” if we wanna be historically accurate. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I know, I dropped a lot on you. So, let’s take a deep breath and exhale together. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[breath]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For this week’s episode, the Rightnowish team decided to throw it back to an episode we made last year: where we took you to meet culture-keepers in Frisco’s Mission district, who are fighting Indigenous erasure. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And since we reported this story, there’s been some cool developments. Visual markers like, colorful murals, sleek pole banners and official street signs have been installed… The goal: to remind us that we’re still on “Native Land.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Okay, here we go… \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[street noise, quiet traffic, and sounds of chatter]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sharaya Souza, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">So as American Indian people, it’s always protocol to acknowledge whose land you’re on. And today, no matter where you go in the city and county of San Francisco, you’re on Ramaytush Ohlone land. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, co-host: \u003c/b>\u003cspan style=\"font-weight: 400\">Hello, wassup world it’s Pendarvis Harshaw, host of Rightnowish… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">And I’m Marisol Medina-Cadena, the Rightnowish Producer. And we’re coming to you from KQED’s studios on unceded \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=dvEaoZyi03k\">\u003cspan style=\"font-weight: 400\">Ramaytush\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> Ohlone land… originally known as Yelamu.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah and that voice you heard earlier is that of Sharaya Souza.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sharaya Souza:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hello everyone, my name is Sharaya Souza, Taos Pueblo, Ute, and Kiowa, and I’m the executive director and co-founder of the American Indian Cultural District. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Two years ago, San Francisco became the home of the \u003c/span>\u003cspan style=\"font-weight: 400\">first\u003c/span>\u003cspan style=\"font-weight: 400\"> American Indian Cultural District of its kind in California. What makes it so special… is that it is a hub honoring the multiplicity of urban Native groups that reside in the Bay, in addition to the Ramaytush [ram-uh-tush] Ohlone. It’s located in the Mission District…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sharaya Souza: \u003c/b>\u003cspan style=\"font-weight: 400\">What people don’t know is that at one point, the Mission district was called the “Red Ghetto.”At one point, it was a thriving, bustling area of American Indian businesses, organizations and community members. And today, when we look at the data that comes from a map, we still see many of our members actually reside in the cultural district // and that it is a continuing history. It is a living history. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">We’ve talked about the “\u003c/span>\u003ca href=\"https://www.archives.gov/education/lessons/indian-relocation.html\">\u003cspan style=\"font-weight: 400\">Urban relocation program\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” on Rightnowish \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13894961/rightnowish-jackie-keliiaa\">\u003cspan style=\"font-weight: 400\">before\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> but, for those unfamiliar… It was a federal policy passed in 1952 that tried to assimilate American Indians living on the Rez or Pueblos by incentivising them to move to urban cities like L.A., Detroit, Chicago, Oakland and San Francisco.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And with all these Native folks arriving in the Bay during a time of red lining, racial discrimination, and low wage jobs for people of color… American Indians felt enough was enough, and a movement started to grow. In 1969, a group of activists organized a historic takeover of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">one\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> of the City’s abandoned islands that would be known as the Alcatraz Occupation. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\">Over 100 American Indians occupied the defunct prison and surrounding island to establish a sovereign Native space. It was an effort to push the Federal government to honor a \u003c/span>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/22/529504340/richard-oakes-who-occupied-alcatraz-for-native-rights-gets-a-birthday-honor\">\u003cspan style=\"font-weight: 400\">1868 treaty with the Sioux Nation\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">… that promised to return out-of-use land to Native groups. Here’s Richard Oakes, one of the lead organizers, speaking to news cameras: \u003c/span>\u003c/p>\n\u003cp>\u003cb>Archival Clip: \u003c/b>\u003cspan style=\"font-weight: 400\">“We wish to be fair and honorable in our dealings with the Caucasian inhabitants of this land and hereby offer the follow treaty: we purchase said alcatraz island for $24, glass beads, and red cloth, a precedent by white mans’ purchase of a similar island 300 years ago” \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> But even before the Alcatraz occupation, American Indians were organizing in San Francisco. The Mission District was a hub for political organizing, cultural activity, and social services \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">by and for \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Native folks.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Which is where today’s cultural district comes in… because it’s about preserving that activist and cultural history that began in the ‘50s… continuing through today, and is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">foundational\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to this city’s DNA. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> To dig deeper into urban Native history in the Bay, Marisol’s going to take us to a few of the sites that are culturally significant within the district. But, first let’s \u003c/span>\u003ca href=\"https://americanindianculturaldistrict.org/cultural-district-map\">\u003cspan style=\"font-weight: 400\">situate you on the map\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s more than just the area surrounding Mission Dolores Church, right? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Right! Get yourself to Dolores Park. Walk down 16th to Mission street. And cool fact: the park was known as “\u003c/span>\u003ca href=\"https://americanindianculturaldistrict.org/cultural-district-map\">\u003cspan style=\"font-weight: 400\">Chutchui\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” by the Ramatush Ohlone pre-Spanish colonization. It was a central gathering spot back then! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s still a central gathering spot, looks totally different now.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, and to be honest, it’s been a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">long\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> time coming for the city of San Francisco to recognize Native contributions… \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">at this scale\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. So, let’s buckle up. We got learning to do. \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[street noise, quiet traffic, and sounds of chatter]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Let’s begin our tour near 16th & Mission street, just a block up from the BART station. We’re in front of a gray painted stucco building. It’s a pretty plain looking bar right next to a popular Indian & Pakistani restaurant. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Mary-Traves Allan, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">Hi, my name’s Mary Travis Allen. I am \u003c/span>\u003cspan style=\"font-weight: 400\">Mayagna, Chortega, and Seneca. I am\u003c/span>\u003cspan style=\"font-weight: 400\"> the advisory board president for the American Indian Cultural District. Right now, we’re standing in front of 379 16th Street, which currently is a bar, Bond Bar. But its historical merit to us in our community is that it was the former location of Warren’s Slaughterhouse Bar, and that was a meeting location for us back in the ‘60s and ‘70s and helped foundationally bringing our community together.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With people coming from all over the states and different reservations, they were able to socialize, but more importantly, discuss the similarities of the struggles that they were having because what people were experiencing here was a failure of yet another promise by the government to move our communities into the city and assimilate into America. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They struggled for employment, and they found that there really wasn’t the resource or the realization of this American dream that had been promised to them. Right down the street was the American Indian Center. So, you know, a lot of the resources and conversations that existed there kind of came over to this area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Those conversations, in addition to identifying, you know, social needs, employment opportunities… there was a hiring hall right down the street at the Redstone building. So there was union organization that was going on there. You know, a lot of it that cascaded over into this location. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Richard Oakes you know, this was one of his 1st employments here. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">This area at the time that you’re talking about was referred to as the “Red Ghetto,” who called it that and why was it called that?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Mary-Traves Allan:\u003c/b>\u003cspan style=\"font-weight: 400\"> In this area, you know, was single occupancy housing, low income housing, the lack of other resources, it was redlined. It was the least desirable place where people would want to live and also the loans weren’t being given. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so, with our concentration of our people in our community here, we came to be known as the “Red Power” movement here. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">And so the term “Red Ghetto,” you know, was applied to this area because it was a ghetto. It was underserved economically, but it was also the hub and existence of our community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[traffic sounds continue]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Mary-Traves Allan:\u003c/b>\u003cspan style=\"font-weight: 400\"> I remember kind of because I was a kid at the time. There were dances, ya know. There were people that were meeting and getting together because this urban environment took away a lot of our cultural norms, you know, from the reservations from our cultures and got blended together here. The other thing it presented and I have to speak to is, is the police. The police amped up its patrols around here. Our people were getting arrested. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">Ya know,\u003c/span> \u003cspan style=\"font-weight: 400\">a report that came out in the ‘70s, the late ‘70s that said that our people were being targeted by stereotyping and profiling, and they were being arrested 4x higher than any other ethnic group in this city, you know. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So in our struggles to exist here in the city, we had locations, you know, like Warren, where we could go and gather and talk about these things, ya know. Instead of it making us weaker, it made us stronger because that collective thinking, that thought, that process and that advocacy… that happened here. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[sounds of chatter and cars passing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">A few blocks from the bar, I met up with Debbie Santiago and her mother Alberta Snyder at one of the former sites of the American Indian Cultural Centers. They stood shoulder to shoulder, each with walking canes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Alberta Snyder, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m Alberta Snyder, Washoe and Rode Washoe member of the California Nevada tribe from Carson, actually the Carson Valley area. And I was born and raised here in San Francisco. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Debbie Santiago, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hi, I’m Debbie Santiago, and I am an enrolled member of the Washoe tribe of Nevada, California, and I’m on my mother’s side and I’m also Osage from my father’s from Oklahoma. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> And can one of you tell us where we’re standing today? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Debbie Santiago:\u003c/b>\u003cspan style=\"font-weight: 400\"> This is the old Indian center that opened in the early 1970s. So all my memories are from the center here… We had a women’s basketball team which was called Eagle Shawl, and we would have tournaments and playing in different areas from California all the way to Nevada. It was pretty awesome to be around my own people when we won.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here at the bottom… we had social services: job training. And then upstairs we had a little event area with the stage, dance class, drum class, bead making classes, shawl classes. My mother was a big part of that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Today, it’s a nondescript office building. \u003c/span>\u003ca href=\"https://www.sfheritage.org/news/the-american-indian-center-in-san-francisco/\">\u003cspan style=\"font-weight: 400\">A bright mural showing tepees belonging to Plains Indian\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is no longer. It’s now a canvas for graf writers. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Debbie’s mom Alberta eventually became a teacher at the center. It was a hub of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">so\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> much cultural and education activity. They reminisced about the days when Valencia street was transformed into pow wow grounds… \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[sounds of powwow drums and jingle dancers]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">…which really struck me because nowadays if you want to go to a public powwow you gotta make the trek to an elite college campus like UC Berkeley, Stanford, or Santa Clara. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Debbie Santiago: \u003c/b>\u003cspan style=\"font-weight: 400\">So many people from all over, big time dancers would come down all over the place and booth vendors. And, but this day, when we had that street fair closed and that was the biggest I’ve ever seen here in Valencia Street in front of the center.\u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">The American Indian Center is no longer at this building, and the one that came after closed due to lack of funding.\u003c/span>\u003ca href=\"https://www.aiccsf.org/our-creation-story\">\u003cspan style=\"font-weight: 400\"> So, today they’re a virtual organization\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. I asked Debbie and Alberta about this. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Y\u003c/span>\u003cspan style=\"font-weight: 400\">ou don’t have a physical space? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Debbie Santiago:\u003c/b>\u003cspan style=\"font-weight: 400\"> No. We need a center and we need it now. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Alberta Snyder:\u003c/b>\u003cspan style=\"font-weight: 400\"> The reason we want a physical space is because it gives us a chance to gather, for families to see each other because many of us are spread out within the San Francisco community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And it also gives us, the elders, a chance to get out and be with family. You know, we’ve discovered that there are many elders that are alone. They are in their rooms and you know, they don’t get a chance to be around people. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some of them don’t eat, but maybe once a day, so we could have them there for lunch and dinner. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Cultural centers aren’t just active when folks are making art, or there for an event… They can also be gathering places for people to simply be in community with each other – which is vital in a City that can render living American Indians as invisible. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Debbie Santiago: \u003c/b>\u003cspan style=\"font-weight: 400\">Our people here, is… after a long period of time is been overlooked and unseen. People come up to me and say, Oh, you don’t exist. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Alberta Snyder:\u003c/b>\u003cspan style=\"font-weight: 400\"> I didn’t know there is any American Indian people still living here in the Bay Area and I… And so we have to laugh and tell them I’m American Indian number one and I’ve lived here in the Bay Area all my life. And I said, and there’s a big community of American Indian people from different tribes that was relocated into the Bay Area.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So… to me.. it’s always funny that they’re they’re thinking, you know, that we’re gone in with the cowboys or whatever. [laughs]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">At the end of our conversation, we parted ways. Then, I headed over to a building on Julian Way and 15th street. For the last 50 years it’s been the “Friendship House,” the oldest social service organization in the United States run \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">by and for\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> American Indians… I’m here to meet another community leader…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Karen Wakazoo, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">Karen Wakazoo, my role at Friendship House is data and contract specialist and I am Lakota. I am from Standing Rock and Rosebud. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Karen is the daughter of one of Friendship House’s \u003c/span>\u003ca href=\"https://www.friendshiphousesf.org/helens-story-1\">\u003cspan style=\"font-weight: 400\">founder\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Helen Wakazoo.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Karen Wakazoo: \u003c/b>\u003cspan style=\"font-weight: 400\">My mom came out around early 60s … She was taken from her family by the U.S. government to go to a boarding school.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But while she was here she saw that there was so much alcoholism and there was no place for Native Americans to go for that…That is when she started this program. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">And the… alcoholism that your mom was seeing didn’t happen out of nowhere, right? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Karen Wakazoo: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes, completely! So, Natives face all the same issues as when my mom first came here: housing, jobs, health, mental health care, suicide prevention, substance abuse treatment…\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My mom would always say it’s a shame that Natives are homeless on their own land. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The unique thing about Friendship House is that it provides these services in a very culturally specific way, which is important to our Native people. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">There can be a deep seated level of distrust in government services because of that being separated from your family, can cause hurt and pain and that…\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Karen tells me, there’s a plan to rename the street where Friendship House is located… from Julian Ave to Wakazoo Way in honor of her mother, who passed away in 2021. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Karen Wakazoo: \u003c/b>\u003cspan style=\"font-weight: 400\">Ya know I was thinking about her the other day, how her office would.. was right there and she would come down and it was like she was a celebrity. You know, people wanted to hug her and be around her… she just made you feel special. \u003c/span>\u003cspan style=\"font-weight: 400\">But her vision to continue going into the future was “The Village” \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">The street renaming — will accompany a new 6 story building named “The Village” that would offer even more health services, temporary supportive housing, job training, and a rooftop farm for cultivating plant and food medicine. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When your mom was running this space, uh… did she have to pressure the city government to recognize the work people were doing here and to, like, fund it or? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Karen Wakazoo: \u003c/b>\u003cspan style=\"font-weight: 400\">There were times that she just got her coat on and went down to City Hall and knocked on the door until somebody let her in. She wasn’t scared of going and getting what she needed done. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Is there a similar kind of battle today to get the city to fund the resources you all provide? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Karen Wakazoo:\u003c/b>\u003cspan style=\"font-weight: 400\"> We always kind of have to show that we’re still here. You know, we always kind of have to show that, you know, we’re not gone. \u003c/span>\u003cspan style=\"font-weight: 400\">We are the only group that has to prove our blood quantum. You know, who else does to do that? Horses and dogs? Yeah, it’s crazy, huh? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah…\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">When Julian Avenue gets renamed after your mother, more people will know her name… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Karen Wakazoo: \u003c/b>\u003cspan style=\"font-weight: 400\">That is the one thing, you know, I want to get The Village built and we’re going to have a statue of her, and I just look forward to that day. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She never quit. She worked from a secretary all the way up to a CEO. It was difficult, but she made it and she didn’t quit. And that’s something I’m trying to follow in her footsteps with.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[sounds of waves on a beach, seagulls calling]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sharaya Souza, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">Everywhere you walk in San Francisco, you’re on Native land. But I think in the modern terms, in the legislative terms of having a cultural district is really visibility. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Last but not least, our tour ends with, who we met at the start of this episode. She’s Executive Director and Co-Founder of the American Indian Cultural District. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sharaya Souza: \u003c/b>\u003cspan style=\"font-weight: 400\">I feel like it’s always been a dream. The more I hear from our elders of something that they wanted here, you know, when we think about the occupation of Alcatraz was a call for a space. And so we didn’t just get a space. You know, we got an entire legislated space on a map. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco to me, I’ve only been here 3 years, I’m from Sacramento. I always thought of San Francisco as the home of the, you know, Alcatraz occupation. Oh my gosh, they must be like, that’s where the American Indian Film Festival happens. They’re so liberal they must really care about American Indians. And when I got here, it was really disappointing to learn that we don’t have any American Indians on the Board of Supervisors. We don’t have any American Indians in the human rights commissions. We don’t have any American Indians in really high positions within our city government. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of the biggest things that I’ve noticed coming into San Francisco, aside from the fact that we don’t have tribal liaisons like we do in the governor’s office or at state institutions, is that this city is predicated on equity and racial equity, and that’s our big push in the city. Yet we have the lowest graduation rates, the highest suicide rates, the lowest employment rates, the second lowest income, the lowest homeownership rates. Our funding for our youth is completely disproportionate.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And it’s not about competing with each other for resources. It’s really just understanding how we’ve constantly turned a blind eye to American Indians. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">Just recently, we were able to work with the mayor’s office to really edit the stats that were not 0.3% of the population or 1.1 % of the population. And after again, the 2020 redistricting stats, we actually came out as 2.1 % of the population, with over 17,956 American Indians that identified as American Indian plus another race and 6,475 that identified as Single Race American Indians. So we are here. We’ve been here. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> The American Indian Cultural DIstrict has their office \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in Fort Mason, not the Mission district because this area is also significant to urban native folks. In case you didn’t know, the annual 2spirit powwow is held here. Put on by Bay Area American Indian Two-Spirits. And the Alcatraz occupation happened just a stone’s throw away from here. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sharaya Souza: \u003c/b>\u003cspan style=\"font-weight: 400\">Every day that I see Alcatraz outside, it inspires me because the people that came here to Alcatraz came to bring visibility to relocation, termination – the federal government policies in the 1950s, which meant to terminate American Indians and urbanized them and move them into cities in order to assimilate them. But what it ended up doing is it ended up making stronger. Instead, we built inter-tribal communities here, and what Alcatraz did was it was really a catalyst. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was sort of the first cultural district before cultural districts were born because folks basically looked at the different treaty rights and they said based off of the fact that this is, you know, federal land and it is unoccupied, you know, given them the rules that go along with the federal government, this could potentially be Indian land. And so they occupied it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So for me, it’s it’s a reminder of the work that was done before me. It’s the reminder that that work needs to keep continuing. And it’s a reminder that Alcatraz is a living movement and it’s still an inspiration to many people today and that those people who occupied are still here. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">That is why I think the district is so symbolic… is because you can’t deny that we’re here anymore. You can’t say that we don’t exist. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you to the American Indian Cultural District team who worked with me to make this story happen. That’s Paloma Flores and Tal \u003c/span>\u003cspan style=\"font-weight: 400\">Quetone. \u003c/span>\u003cspan style=\"font-weight: 400\">Also, special thanks to Janeen Antoine for connecting us. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For more info on the cultural district look them up \u003c/span>\u003ca href=\"https://americanindianculturaldistrict.org/\">\u003cspan style=\"font-weight: 400\">https://americanindianculturaldistrict.org/\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And if you want to know more about Oakland during urban relocation, you can go listen to our episode with comedian Jackie Kelliaa. Thanks!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Pendarvis Harshaw: The producer and host of this episode is Marisol Medina-Cadena. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was edited by Jessica Placzek, Kyana Moghadam and Jen Chien. \u003c/span>\u003cspan style=\"font-weight: 400\">Our engineer is Ceil Muller. \u003c/span>\u003cspan style=\"font-weight: 400\">Corey Antonio Rose is our production intern. \u003c/span>\u003cspan style=\"font-weight: 400\">Our engagement team is made up of Justin Ebramhemi, and Ria Garewal. \u003c/span>\u003cspan style=\"font-weight: 400\">Kyana Moghadam is the senior producer of podcasts. \u003c/span>\u003cspan style=\"font-weight: 400\">KQED execs are David Markus, Holly Kernan and Jen Chien. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m Pendarvis Harshaw and I will be back in the host seat next week… In the meantime go to the Mission and visit the cultural district for yourself. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "'Indigenizing' San Francisco (Yelamu): The Cultural District Honoring Native History | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>In Indigenous protocol, we’re beginning this week’s episode honoring the original stewards of this land that many of us in Frisco now occupy — the ancestral homeland of the \u003ca href=\"https://www.ramaytush.org/terminology.html\">Ramaytush Ohlone\u003c/a>.\u003c/p>\n\u003cp>Now, let’s take a trip down Valencia Street to La Misión.\u003c/p>\n\u003cp>The neighborhood is home to not one, but two rich cultural districts. \u003ca href=\"https://www.calle24sf.org/\">Calle 24\u003c/a> Latino Cultural District was first established in 1999. More recently, in 2020, it was joined by the\u003ca href=\"https://americanindianculturaldistrict.org/\"> American Indian Cultural District —\u003c/a> a home base for the Urban Native community. Its aim is to uplift the culture, history, and continuing contributions of American Indians in San Francisco and beyond.\u003c/p>\n\u003cp>On this week’s Rightnowish, we introduce you to some of the people behind this cultural district that’s the first of its kind in the Golden State.\u003c/p>\n\u003cp>Mary Travis-Allen (Mayagna, Chortega, Seneca) is the President of the District’s Advisory Board and recalls memories of “\u003ca href=\"https://www.sfheritage.org/community/community-voices-preserving-american-indian-culture-in-san-francisco/\">Little Rez\u003c/a>” along 16th Street. Debbie Santiago (\u003cspan style=\"font-weight: 400\">Washoe, Osage) \u003c/span>and her mother, Alberta Snyder (\u003cspan style=\"font-weight: 400\">Washoe) share their memories about the SFUSD’s \u003ca href=\"https://www.sfheritage.org/cultural-districts/the-history-of-the-indian-education-program-in-san-francisco/\">Indian Education Program\u003c/a> that ran out of the \u003ca href=\"https://www.aiccsf.org/\">American Indian Cultural Center\u003c/a> on Valencia Street in the 70s and 80s. \u003c/span>\u003cspan style=\"font-weight: 400\">Karen Waukazoo (Lakota) remembers her late mother and local hero, Helen Waukazoo, who co-founded \u003ca href=\"https://www.friendshiphousesf.org/\">Friendship House,\u003c/a> the oldest social service organization in the United States run by and for American Indians. Last but not least, we venture to the waterfront at Fort Mason to talk with Sharaya Souza (Taos Pueblo, Ute, Kiowa), the Executive Director of the \u003ca href=\"https://americanindianculturaldistrict.org/\">American Indian Cultural District \u003c/a>about the legacy of the Alcatraz occupation. \u003c/span>\u003c/p>\n\u003cp>There are so many Native stories alive in La Misión — we hope this is just the start to more of us hearing about them.\u003c/p>\n\u003cp>\u003cem>This story was originally published July 22, 2022.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Below are photos along with some lightly edited excerpts from the episode.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13916489\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916489 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS54254_20220310-IMG_5523-800x576.jpg\" alt=\"\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54254_20220310-IMG_5523-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54254_20220310-IMG_5523-1020x735.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54254_20220310-IMG_5523-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54254_20220310-IMG_5523-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54254_20220310-IMG_5523-1536x1106.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54254_20220310-IMG_5523-1920x1383.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54254_20220310-IMG_5523.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary Travis-Allen poses for a portrait in front of Bond Bar in San Francisco, Calif., on Mar. 10, 2022. Travis-Allen remembers Bond Bar, formerly known as Warren’s Slaughterhouse Bar, as a gathering hub for Native Americans during the 60s and 70s. (Amaya Edwards)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">\u003cstrong>Mary Travis-Allen\u003c/strong>: \u003c/span>\u003cspan style=\"font-weight: 400\">Warren’s Slaughterhouse Bar … was a meeting location for us back in the 60s and 70s, and helped foundationally bring our community together.\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">With people coming from all over the states and different reservations, they were able to socialize — but more importantly, discuss the similarities of the struggles that they were having… \u003c/span>\u003cspan style=\"font-weight: 400\">because what people were experiencing here was a failure of yet another promise by the government to move our communities into the city and assimilate into America. \u003c/span>\u003cspan style=\"font-weight: 400\">They struggled for employment, and they found that there really wasn’t the resource or the realization of this American Dream that had been promised to them.\u003c/span>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13916493\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916493\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS54229_20220310-IMG_5337-800x561.jpg\" alt=\"\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54229_20220310-IMG_5337-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54229_20220310-IMG_5337-1020x715.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54229_20220310-IMG_5337-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54229_20220310-IMG_5337-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54229_20220310-IMG_5337-1536x1076.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54229_20220310-IMG_5337-1920x1345.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54229_20220310-IMG_5337.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Debbie Santiago poses for a portrait with her mother at the Old American Indian Center in the American Indian Cultural District of San Francisco, Calif., on Mar. 10, 2022. (Amaya Edwards)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">\u003cstrong>Debbie Santiago\u003c/strong>: \u003c/span>\u003c/em>\u003cem>\u003cspan style=\"font-weight: 400\">Our people … after a long period of time, have been overlooked and unseen. People come up to me and say, “Oh, you don’t exist.”\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">\u003cstrong>Alberta Snyder\u003c/strong>: “I didn’t know there was any American Indian people still living here in the Bay Area …” \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">And so we have to laugh and tell them, “I’m American Indian, number one, and I’ve lived here in the Bay Area all my life.” … There’s a big community of American Indian people from different tribes that was relocated into the Bay Area. So\u003c/span>\u003cspan style=\"font-weight: 400\"> to me, it’s always funny that they’re thinking, you know, that we’re gone, with the cowboys or whatever.\u003c/span>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13916528\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916528 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS54864_20220321-IMG_7446-qut-800x574.jpg\" alt=\"\" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54864_20220321-IMG_7446-qut-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54864_20220321-IMG_7446-qut-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54864_20220321-IMG_7446-qut-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54864_20220321-IMG_7446-qut-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54864_20220321-IMG_7446-qut-1536x1102.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54864_20220321-IMG_7446-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Old American Indian Center at 225 Valencia St. on Mar. 21 ,2022 \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916491\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916491\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS54242_20220310-IMG_5420-800x520.jpg\" alt=\"\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54242_20220310-IMG_5420-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54242_20220310-IMG_5420-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54242_20220310-IMG_5420-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54242_20220310-IMG_5420-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54242_20220310-IMG_5420-1536x998.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54242_20220310-IMG_5420-1920x1248.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54242_20220310-IMG_5420.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Friendship House American Indian Healing Center on Mar. 10, 2022. (Amaya Edwards)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Karen Waukazoo\u003c/strong>: \u003cspan style=\"font-weight: 400\">My mom came out around early 60s … She was taken from her family by the U.S. government to go to a boarding school. … \u003c/span>\u003cspan style=\"font-weight: 400\">While she was here [in San Francisco] she saw that there was so much alcoholism, and there was no place for Native Americans to go for that. That is when she started this program. \u003c/span>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13916490\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS54244_20220310-IMG_5424-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54244_20220310-IMG_5424-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54244_20220310-IMG_5424-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54244_20220310-IMG_5424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54244_20220310-IMG_5424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54244_20220310-IMG_5424-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54244_20220310-IMG_5424-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54244_20220310-IMG_5424.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abalone shells and sage lay in a brick shrine at the Friendship House American Indian Healing Center on Mar. 10, 2022. (Amaya Edwards)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">\u003cstrong>Marisol Medina-Cadena\u003c/strong>: And the alcoholism that your mom was seeing didn’t happen out of nowhere, right? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">\u003cstrong>Karen Waukazoo\u003c/strong>: Yes, completely! So, Natives face all the same issues as when my mom first came here: housing, jobs, health, mental health care, suicide prevention, substance abuse treatment… \u003c/span>My mom would always say it’s a shame that Natives are homeless on their own land. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13916492\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916492 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS54235_20220310-IMG_5380-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54235_20220310-IMG_5380-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54235_20220310-IMG_5380-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54235_20220310-IMG_5380-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54235_20220310-IMG_5380-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54235_20220310-IMG_5380-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54235_20220310-IMG_5380-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS54235_20220310-IMG_5380.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karen Waukazoo (right) poses for portraits with Dauwila Harrison at the Friendship House in San Francisco, on Mar. 10, 2022. Waukazoo reminisces on memories of her late mother, Helen Waukazoo, highlighting her mother’s unwavering determination to provide social services for the Native American community in San Francisco. (Amaya Edwards)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">\u003cstrong>Karen Waukazoo\u003c/strong>: The unique thing about Friendship House is that it provides these services in a very culturally specific way, which is important to our Native people. \u003c/span>\u003cspan style=\"font-weight: 400\">There can be a deep-seated level of distrust in government services because … being separated from your family can cause hurt and pain…\u003c/span>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20220310-IMG_5535-qut-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20220310-IMG_5535-qut-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20220310-IMG_5535-qut-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20220310-IMG_5535-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20220310-IMG_5535-qut-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20220310-IMG_5535-qut-1536x1019.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20220310-IMG_5535-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A “Visions of the Future” board in the American Indian Cultural District office at Fort Mason in San Francisco. The board is covered in post-it notes with “visions” written on them. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">\u003cstrong>Sharaya Souza\u003c/strong>: What people don’t know is that at one point, the Mission district was called the “Red Ghetto.” At one point, it was a thriving, bustling area of American Indian businesses, organizations and community members. And today, when we look at the data that comes from a map, we still see many of our members actually reside in the cultural district. …It is a continuing history. It is a living history. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">One of the biggest things that I’ve noticed coming into San Francisco — aside from the fact that we don’t have tribal liaisons like we do in the governor’s office or at state institutions — is that this city is predicated on equity and racial equity … yet [American Indians] have the lowest graduation rates, the highest suicide rates, the lowest employment rates, the second lowest income, the lowest homeownership rates. Our funding for our youth is completely disproportionate. \u003c/span>\u003cspan style=\"font-weight: 400\">And it’s not about competing with each other for resources. It’s really just understanding how we’ve constantly turned a blind eye to American Indians. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4399537508&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/div>",
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"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena, co-host: \u003c/b>\u003cspan style=\"font-weight: 400\">What up y’all?! I don’t know about you but November flew by. Scratch that, it zoomed by. Scorpio season did a number on me, and from my point of view, it also did one on our global community. This month also happens to be Native American Heritage Month. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maybe last week, you had a feast with your fam, or a lovely Friendsgiving. \u003c/span>\u003cspan style=\"font-weight: 400\">For many Native families, the American holiday is considered “A Day of Mourning.” Because for them, it symbolizes the \u003c/span>\u003cspan style=\"font-weight: 400\">betrayal and bloodshed \u003c/span>\u003cspan style=\"font-weight: 400\">by the “pilgrims”… or “settlers” if we wanna be historically accurate. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I know, I dropped a lot on you. So, let’s take a deep breath and exhale together. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[breath]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For this week’s episode, the Rightnowish team decided to throw it back to an episode we made last year: where we took you to meet culture-keepers in Frisco’s Mission district, who are fighting Indigenous erasure. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And since we reported this story, there’s been some cool developments. Visual markers like, colorful murals, sleek pole banners and official street signs have been installed… The goal: to remind us that we’re still on “Native Land.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Okay, here we go… \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[street noise, quiet traffic, and sounds of chatter]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sharaya Souza, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">So as American Indian people, it’s always protocol to acknowledge whose land you’re on. And today, no matter where you go in the city and county of San Francisco, you’re on Ramaytush Ohlone land. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, co-host: \u003c/b>\u003cspan style=\"font-weight: 400\">Hello, wassup world it’s Pendarvis Harshaw, host of Rightnowish… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">And I’m Marisol Medina-Cadena, the Rightnowish Producer. And we’re coming to you from KQED’s studios on unceded \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=dvEaoZyi03k\">\u003cspan style=\"font-weight: 400\">Ramaytush\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> Ohlone land… originally known as Yelamu.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah and that voice you heard earlier is that of Sharaya Souza.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sharaya Souza:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hello everyone, my name is Sharaya Souza, Taos Pueblo, Ute, and Kiowa, and I’m the executive director and co-founder of the American Indian Cultural District. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Two years ago, San Francisco became the home of the \u003c/span>\u003cspan style=\"font-weight: 400\">first\u003c/span>\u003cspan style=\"font-weight: 400\"> American Indian Cultural District of its kind in California. What makes it so special… is that it is a hub honoring the multiplicity of urban Native groups that reside in the Bay, in addition to the Ramaytush [ram-uh-tush] Ohlone. It’s located in the Mission District…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sharaya Souza: \u003c/b>\u003cspan style=\"font-weight: 400\">What people don’t know is that at one point, the Mission district was called the “Red Ghetto.”At one point, it was a thriving, bustling area of American Indian businesses, organizations and community members. And today, when we look at the data that comes from a map, we still see many of our members actually reside in the cultural district // and that it is a continuing history. It is a living history. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">We’ve talked about the “\u003c/span>\u003ca href=\"https://www.archives.gov/education/lessons/indian-relocation.html\">\u003cspan style=\"font-weight: 400\">Urban relocation program\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” on Rightnowish \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13894961/rightnowish-jackie-keliiaa\">\u003cspan style=\"font-weight: 400\">before\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> but, for those unfamiliar… It was a federal policy passed in 1952 that tried to assimilate American Indians living on the Rez or Pueblos by incentivising them to move to urban cities like L.A., Detroit, Chicago, Oakland and San Francisco.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And with all these Native folks arriving in the Bay during a time of red lining, racial discrimination, and low wage jobs for people of color… American Indians felt enough was enough, and a movement started to grow. In 1969, a group of activists organized a historic takeover of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">one\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> of the City’s abandoned islands that would be known as the Alcatraz Occupation. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\">Over 100 American Indians occupied the defunct prison and surrounding island to establish a sovereign Native space. It was an effort to push the Federal government to honor a \u003c/span>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/22/529504340/richard-oakes-who-occupied-alcatraz-for-native-rights-gets-a-birthday-honor\">\u003cspan style=\"font-weight: 400\">1868 treaty with the Sioux Nation\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">… that promised to return out-of-use land to Native groups. Here’s Richard Oakes, one of the lead organizers, speaking to news cameras: \u003c/span>\u003c/p>\n\u003cp>\u003cb>Archival Clip: \u003c/b>\u003cspan style=\"font-weight: 400\">“We wish to be fair and honorable in our dealings with the Caucasian inhabitants of this land and hereby offer the follow treaty: we purchase said alcatraz island for $24, glass beads, and red cloth, a precedent by white mans’ purchase of a similar island 300 years ago” \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> But even before the Alcatraz occupation, American Indians were organizing in San Francisco. The Mission District was a hub for political organizing, cultural activity, and social services \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">by and for \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Native folks.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Which is where today’s cultural district comes in… because it’s about preserving that activist and cultural history that began in the ‘50s… continuing through today, and is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">foundational\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to this city’s DNA. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> To dig deeper into urban Native history in the Bay, Marisol’s going to take us to a few of the sites that are culturally significant within the district. But, first let’s \u003c/span>\u003ca href=\"https://americanindianculturaldistrict.org/cultural-district-map\">\u003cspan style=\"font-weight: 400\">situate you on the map\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s more than just the area surrounding Mission Dolores Church, right? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Right! Get yourself to Dolores Park. Walk down 16th to Mission street. And cool fact: the park was known as “\u003c/span>\u003ca href=\"https://americanindianculturaldistrict.org/cultural-district-map\">\u003cspan style=\"font-weight: 400\">Chutchui\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” by the Ramatush Ohlone pre-Spanish colonization. It was a central gathering spot back then! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s still a central gathering spot, looks totally different now.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, and to be honest, it’s been a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">long\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> time coming for the city of San Francisco to recognize Native contributions… \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">at this scale\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. So, let’s buckle up. We got learning to do. \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[street noise, quiet traffic, and sounds of chatter]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Let’s begin our tour near 16th & Mission street, just a block up from the BART station. We’re in front of a gray painted stucco building. It’s a pretty plain looking bar right next to a popular Indian & Pakistani restaurant. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Mary-Traves Allan, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">Hi, my name’s Mary Travis Allen. I am \u003c/span>\u003cspan style=\"font-weight: 400\">Mayagna, Chortega, and Seneca. I am\u003c/span>\u003cspan style=\"font-weight: 400\"> the advisory board president for the American Indian Cultural District. Right now, we’re standing in front of 379 16th Street, which currently is a bar, Bond Bar. But its historical merit to us in our community is that it was the former location of Warren’s Slaughterhouse Bar, and that was a meeting location for us back in the ‘60s and ‘70s and helped foundationally bringing our community together.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With people coming from all over the states and different reservations, they were able to socialize, but more importantly, discuss the similarities of the struggles that they were having because what people were experiencing here was a failure of yet another promise by the government to move our communities into the city and assimilate into America. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They struggled for employment, and they found that there really wasn’t the resource or the realization of this American dream that had been promised to them. Right down the street was the American Indian Center. So, you know, a lot of the resources and conversations that existed there kind of came over to this area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Those conversations, in addition to identifying, you know, social needs, employment opportunities… there was a hiring hall right down the street at the Redstone building. So there was union organization that was going on there. You know, a lot of it that cascaded over into this location. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Richard Oakes you know, this was one of his 1st employments here. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">This area at the time that you’re talking about was referred to as the “Red Ghetto,” who called it that and why was it called that?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Mary-Traves Allan:\u003c/b>\u003cspan style=\"font-weight: 400\"> In this area, you know, was single occupancy housing, low income housing, the lack of other resources, it was redlined. It was the least desirable place where people would want to live and also the loans weren’t being given. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so, with our concentration of our people in our community here, we came to be known as the “Red Power” movement here. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">And so the term “Red Ghetto,” you know, was applied to this area because it was a ghetto. It was underserved economically, but it was also the hub and existence of our community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[traffic sounds continue]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Mary-Traves Allan:\u003c/b>\u003cspan style=\"font-weight: 400\"> I remember kind of because I was a kid at the time. There were dances, ya know. There were people that were meeting and getting together because this urban environment took away a lot of our cultural norms, you know, from the reservations from our cultures and got blended together here. The other thing it presented and I have to speak to is, is the police. The police amped up its patrols around here. Our people were getting arrested. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">Ya know,\u003c/span> \u003cspan style=\"font-weight: 400\">a report that came out in the ‘70s, the late ‘70s that said that our people were being targeted by stereotyping and profiling, and they were being arrested 4x higher than any other ethnic group in this city, you know. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So in our struggles to exist here in the city, we had locations, you know, like Warren, where we could go and gather and talk about these things, ya know. Instead of it making us weaker, it made us stronger because that collective thinking, that thought, that process and that advocacy… that happened here. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[sounds of chatter and cars passing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">A few blocks from the bar, I met up with Debbie Santiago and her mother Alberta Snyder at one of the former sites of the American Indian Cultural Centers. They stood shoulder to shoulder, each with walking canes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Alberta Snyder, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m Alberta Snyder, Washoe and Rode Washoe member of the California Nevada tribe from Carson, actually the Carson Valley area. And I was born and raised here in San Francisco. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Debbie Santiago, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hi, I’m Debbie Santiago, and I am an enrolled member of the Washoe tribe of Nevada, California, and I’m on my mother’s side and I’m also Osage from my father’s from Oklahoma. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> And can one of you tell us where we’re standing today? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Debbie Santiago:\u003c/b>\u003cspan style=\"font-weight: 400\"> This is the old Indian center that opened in the early 1970s. So all my memories are from the center here… We had a women’s basketball team which was called Eagle Shawl, and we would have tournaments and playing in different areas from California all the way to Nevada. It was pretty awesome to be around my own people when we won.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here at the bottom… we had social services: job training. And then upstairs we had a little event area with the stage, dance class, drum class, bead making classes, shawl classes. My mother was a big part of that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Today, it’s a nondescript office building. \u003c/span>\u003ca href=\"https://www.sfheritage.org/news/the-american-indian-center-in-san-francisco/\">\u003cspan style=\"font-weight: 400\">A bright mural showing tepees belonging to Plains Indian\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is no longer. It’s now a canvas for graf writers. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Debbie’s mom Alberta eventually became a teacher at the center. It was a hub of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">so\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> much cultural and education activity. They reminisced about the days when Valencia street was transformed into pow wow grounds… \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[sounds of powwow drums and jingle dancers]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">…which really struck me because nowadays if you want to go to a public powwow you gotta make the trek to an elite college campus like UC Berkeley, Stanford, or Santa Clara. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Debbie Santiago: \u003c/b>\u003cspan style=\"font-weight: 400\">So many people from all over, big time dancers would come down all over the place and booth vendors. And, but this day, when we had that street fair closed and that was the biggest I’ve ever seen here in Valencia Street in front of the center.\u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">The American Indian Center is no longer at this building, and the one that came after closed due to lack of funding.\u003c/span>\u003ca href=\"https://www.aiccsf.org/our-creation-story\">\u003cspan style=\"font-weight: 400\"> So, today they’re a virtual organization\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. I asked Debbie and Alberta about this. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Y\u003c/span>\u003cspan style=\"font-weight: 400\">ou don’t have a physical space? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Debbie Santiago:\u003c/b>\u003cspan style=\"font-weight: 400\"> No. We need a center and we need it now. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Alberta Snyder:\u003c/b>\u003cspan style=\"font-weight: 400\"> The reason we want a physical space is because it gives us a chance to gather, for families to see each other because many of us are spread out within the San Francisco community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And it also gives us, the elders, a chance to get out and be with family. You know, we’ve discovered that there are many elders that are alone. They are in their rooms and you know, they don’t get a chance to be around people. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some of them don’t eat, but maybe once a day, so we could have them there for lunch and dinner. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Cultural centers aren’t just active when folks are making art, or there for an event… They can also be gathering places for people to simply be in community with each other – which is vital in a City that can render living American Indians as invisible. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Debbie Santiago: \u003c/b>\u003cspan style=\"font-weight: 400\">Our people here, is… after a long period of time is been overlooked and unseen. People come up to me and say, Oh, you don’t exist. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Alberta Snyder:\u003c/b>\u003cspan style=\"font-weight: 400\"> I didn’t know there is any American Indian people still living here in the Bay Area and I… And so we have to laugh and tell them I’m American Indian number one and I’ve lived here in the Bay Area all my life. And I said, and there’s a big community of American Indian people from different tribes that was relocated into the Bay Area.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So… to me.. it’s always funny that they’re they’re thinking, you know, that we’re gone in with the cowboys or whatever. [laughs]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">At the end of our conversation, we parted ways. Then, I headed over to a building on Julian Way and 15th street. For the last 50 years it’s been the “Friendship House,” the oldest social service organization in the United States run \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">by and for\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> American Indians… I’m here to meet another community leader…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Karen Wakazoo, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">Karen Wakazoo, my role at Friendship House is data and contract specialist and I am Lakota. I am from Standing Rock and Rosebud. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Karen is the daughter of one of Friendship House’s \u003c/span>\u003ca href=\"https://www.friendshiphousesf.org/helens-story-1\">\u003cspan style=\"font-weight: 400\">founder\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Helen Wakazoo.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Karen Wakazoo: \u003c/b>\u003cspan style=\"font-weight: 400\">My mom came out around early 60s … She was taken from her family by the U.S. government to go to a boarding school.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But while she was here she saw that there was so much alcoholism and there was no place for Native Americans to go for that…That is when she started this program. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">And the… alcoholism that your mom was seeing didn’t happen out of nowhere, right? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Karen Wakazoo: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes, completely! So, Natives face all the same issues as when my mom first came here: housing, jobs, health, mental health care, suicide prevention, substance abuse treatment…\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My mom would always say it’s a shame that Natives are homeless on their own land. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The unique thing about Friendship House is that it provides these services in a very culturally specific way, which is important to our Native people. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">There can be a deep seated level of distrust in government services because of that being separated from your family, can cause hurt and pain and that…\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Karen tells me, there’s a plan to rename the street where Friendship House is located… from Julian Ave to Wakazoo Way in honor of her mother, who passed away in 2021. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Karen Wakazoo: \u003c/b>\u003cspan style=\"font-weight: 400\">Ya know I was thinking about her the other day, how her office would.. was right there and she would come down and it was like she was a celebrity. You know, people wanted to hug her and be around her… she just made you feel special. \u003c/span>\u003cspan style=\"font-weight: 400\">But her vision to continue going into the future was “The Village” \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">The street renaming — will accompany a new 6 story building named “The Village” that would offer even more health services, temporary supportive housing, job training, and a rooftop farm for cultivating plant and food medicine. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When your mom was running this space, uh… did she have to pressure the city government to recognize the work people were doing here and to, like, fund it or? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Karen Wakazoo: \u003c/b>\u003cspan style=\"font-weight: 400\">There were times that she just got her coat on and went down to City Hall and knocked on the door until somebody let her in. She wasn’t scared of going and getting what she needed done. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Is there a similar kind of battle today to get the city to fund the resources you all provide? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Karen Wakazoo:\u003c/b>\u003cspan style=\"font-weight: 400\"> We always kind of have to show that we’re still here. You know, we always kind of have to show that, you know, we’re not gone. \u003c/span>\u003cspan style=\"font-weight: 400\">We are the only group that has to prove our blood quantum. You know, who else does to do that? Horses and dogs? Yeah, it’s crazy, huh? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah…\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">When Julian Avenue gets renamed after your mother, more people will know her name… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Karen Wakazoo: \u003c/b>\u003cspan style=\"font-weight: 400\">That is the one thing, you know, I want to get The Village built and we’re going to have a statue of her, and I just look forward to that day. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She never quit. She worked from a secretary all the way up to a CEO. It was difficult, but she made it and she didn’t quit. And that’s something I’m trying to follow in her footsteps with.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[sounds of waves on a beach, seagulls calling]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sharaya Souza, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">Everywhere you walk in San Francisco, you’re on Native land. But I think in the modern terms, in the legislative terms of having a cultural district is really visibility. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Last but not least, our tour ends with, who we met at the start of this episode. She’s Executive Director and Co-Founder of the American Indian Cultural District. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sharaya Souza: \u003c/b>\u003cspan style=\"font-weight: 400\">I feel like it’s always been a dream. The more I hear from our elders of something that they wanted here, you know, when we think about the occupation of Alcatraz was a call for a space. And so we didn’t just get a space. You know, we got an entire legislated space on a map. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco to me, I’ve only been here 3 years, I’m from Sacramento. I always thought of San Francisco as the home of the, you know, Alcatraz occupation. Oh my gosh, they must be like, that’s where the American Indian Film Festival happens. They’re so liberal they must really care about American Indians. And when I got here, it was really disappointing to learn that we don’t have any American Indians on the Board of Supervisors. We don’t have any American Indians in the human rights commissions. We don’t have any American Indians in really high positions within our city government. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of the biggest things that I’ve noticed coming into San Francisco, aside from the fact that we don’t have tribal liaisons like we do in the governor’s office or at state institutions, is that this city is predicated on equity and racial equity, and that’s our big push in the city. Yet we have the lowest graduation rates, the highest suicide rates, the lowest employment rates, the second lowest income, the lowest homeownership rates. Our funding for our youth is completely disproportionate.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And it’s not about competing with each other for resources. It’s really just understanding how we’ve constantly turned a blind eye to American Indians. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">Just recently, we were able to work with the mayor’s office to really edit the stats that were not 0.3% of the population or 1.1 % of the population. And after again, the 2020 redistricting stats, we actually came out as 2.1 % of the population, with over 17,956 American Indians that identified as American Indian plus another race and 6,475 that identified as Single Race American Indians. So we are here. We’ve been here. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> The American Indian Cultural DIstrict has their office \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in Fort Mason, not the Mission district because this area is also significant to urban native folks. In case you didn’t know, the annual 2spirit powwow is held here. Put on by Bay Area American Indian Two-Spirits. And the Alcatraz occupation happened just a stone’s throw away from here. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sharaya Souza: \u003c/b>\u003cspan style=\"font-weight: 400\">Every day that I see Alcatraz outside, it inspires me because the people that came here to Alcatraz came to bring visibility to relocation, termination – the federal government policies in the 1950s, which meant to terminate American Indians and urbanized them and move them into cities in order to assimilate them. But what it ended up doing is it ended up making stronger. Instead, we built inter-tribal communities here, and what Alcatraz did was it was really a catalyst. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was sort of the first cultural district before cultural districts were born because folks basically looked at the different treaty rights and they said based off of the fact that this is, you know, federal land and it is unoccupied, you know, given them the rules that go along with the federal government, this could potentially be Indian land. And so they occupied it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So for me, it’s it’s a reminder of the work that was done before me. It’s the reminder that that work needs to keep continuing. And it’s a reminder that Alcatraz is a living movement and it’s still an inspiration to many people today and that those people who occupied are still here. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">That is why I think the district is so symbolic… is because you can’t deny that we’re here anymore. You can’t say that we don’t exist. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you to the American Indian Cultural District team who worked with me to make this story happen. That’s Paloma Flores and Tal \u003c/span>\u003cspan style=\"font-weight: 400\">Quetone. \u003c/span>\u003cspan style=\"font-weight: 400\">Also, special thanks to Janeen Antoine for connecting us. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For more info on the cultural district look them up \u003c/span>\u003ca href=\"https://americanindianculturaldistrict.org/\">\u003cspan style=\"font-weight: 400\">https://americanindianculturaldistrict.org/\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And if you want to know more about Oakland during urban relocation, you can go listen to our episode with comedian Jackie Kelliaa. Thanks!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Pendarvis Harshaw: The producer and host of this episode is Marisol Medina-Cadena. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was edited by Jessica Placzek, Kyana Moghadam and Jen Chien. \u003c/span>\u003cspan style=\"font-weight: 400\">Our engineer is Ceil Muller. \u003c/span>\u003cspan style=\"font-weight: 400\">Corey Antonio Rose is our production intern. \u003c/span>\u003cspan style=\"font-weight: 400\">Our engagement team is made up of Justin Ebramhemi, and Ria Garewal. \u003c/span>\u003cspan style=\"font-weight: 400\">Kyana Moghadam is the senior producer of podcasts. \u003c/span>\u003cspan style=\"font-weight: 400\">KQED execs are David Markus, Holly Kernan and Jen Chien. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m Pendarvis Harshaw and I will be back in the host seat next week… In the meantime go to the Mission and visit the cultural district for yourself. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>"
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"content": "\u003cp>San Francisco has birthed and lost a ridiculous number of punk rock venues over the years. There are recent favorites like \u003ca href=\"https://www.invisibleoranges.com/rip-pound-sf/\">The Pound\u003c/a> and \u003ca href=\"https://www.sfgate.com/entertainment/article/farewell-cocodrie-north-beach-club-shutting-down-2748469.php\">Club Cocodrie\u003c/a>, both closed in the early 2000s. There are the short-lived little nightclubs of the 1980s, including \u003ca href=\"https://www.dnalounge.com/backstage/log/19xx/AAC-0697.html\">Club Nine\u003c/a> (which later turned into The Stud), \u003ca href=\"https://www.kqed.org/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin\">The Offensive, Club Foot and Attitude\u003c/a>. Most famously of all, there was the legendary \u003ca href=\"https://en.wikipedia.org/wiki/Mabuhay_Gardens\">Mabuhay Gardens\u003c/a>, a home-away-from-home for the most popular punk bands of the ’80s.\u003c/p>\n\u003cp>That same time period also inspired the creation of a handful of venues that were particularly strange and magnificent. Here are five of the most fascinating that we wish still existed today.\u003c/p>\n\u003ch2>The Deaf Club\u003c/h2>\n\u003cp>\u003cstrong>530 Valencia St.\u003c/strong>\u003c/p>\n\u003cp>It may have only lasted 18 months, but the lore of the Mission District’s Deaf Club will live on forever. Its first show was the result of Daphne Hanrahan — then-manager of The Offs — confusing the San Francisco Club of the Deaf with a new punk venue. Soon, by renting out the space herself, she had turned it into one.\u003c/p>\n\u003cp>In February 1979, the \u003cem>San Francisco Examiner\u003c/em> declared:\u003c/p>\n\u003cblockquote>\u003cp>The latest club on the local punk scene is called the Deaf Club. The joke is that the name is no joke … Since December, Walking Dead Productions has sponsored two or three concerts at the club each week, featuring local punk outfits like Crime and the Dils, plus occasional imports from Los Angeles … At the shows, punk followers mingle with the deaf club members.\u003c/p>\u003c/blockquote>\n\u003cp>In \u003ca href=\"https://bookshop.org/p/books/gimme-something-better-the-profound-progressive-and-occasionally-pointless-history-of-bay-area-punk-from-dead-kennedys-to-green-day-jack-boulware/11716732?ean=9780143113805&ref=&source=IndieBound&title=Gimme+Something+Better%3A+The+Profound%2C+Progressive%2C+and+Occasionally+Pointless+History+of+Bay+Area+Punk+from+Dead+Kennedys+to+Green+Day\">\u003cem>Gimme Something Better\u003c/em>\u003c/a>, Jack Boulware and Silke Tudor’s 2009 tome on Bay Area punk, Penelope Houston of The Avengers recalled: “It was kind of amazing. I think [deaf attendees] were dancing to the vibrations. The deaf people were amused that all these punks wanted to come in and rent their room and have these shows.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2004, Dead Kennedys reminded the world of the club’s existence with the release of \u003ca href=\"https://en.wikipedia.org/wiki/Live_at_the_Deaf_Club\">\u003cem>Live at the Deaf Club\u003c/em>\u003c/a>, an album of live material recorded at the second floor venue in March 1979. Nothing, however, quite captures the worlds colliding and camaraderie inside the place quite like Richard Gaikowski’s 1980 film, \u003ca href=\"https://www.imdb.com/title/tt8652820/\">\u003cem>Deaf/Punk\u003c/em>\u003c/a>:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7L4NxRqb6Fk\u003c/p>\n\u003ch2>The Farm\u003c/h2>\n\u003cp>\u003cstrong>1499 Potrero Ave.\u003c/strong>\u003c/p>\n\u003cp>Long before it was \u003ca href=\"https://sfrecpark.org/895/Potrero-del-Sol-Park-La-Raza\">Potrero del Sol Park\u003c/a>, the green expanse around the intersection at Potrero and Cesar Chavez was The Farm — a community center, art space, active farm and, most bizarrely of all, a punk venue. The likes of Bad Brains, 7 Seconds, Black Flag, Circle Jerks, Descendents and DOA all came through here in the early ’80s, much to the delight of the San Francisco underground.\u003c/p>\n\u003cp>[aside postid='arts_13899031']Though the aggressive music seemed totally out of step with the hippie commune vibes that had been cultivated at The Farm throughout the late 1970s, members of its board of directors expressed an openness towards — and fascination with — the bands and fans that came through.\u003c/p>\n\u003cp>“Even when the punks were there, I remember going,” noted artist and board member René Yañez in a documentary about The Farm, “and the toilets were broken and they were hanging this kid out the window and the police coming … But I found it interesting.”\u003c/p>\n\u003cp>At the time, fellow board member Gail Feldman said: “[Folks] see people with hair sticking straight up and they get a little worried. But actually there hasn’t been that much of a problem…”\u003c/p>\n\u003cp>The Farm’s “punk era” can be seen in this documentary about the space, starting from 26:40:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fpfD_3AvH8Y\u003c/p>\n\u003ch2>Valencia Tool & Die\u003c/h2>\n\u003cp>\u003cstrong>974 Valencia St.\u003c/strong>\u003c/p>\n\u003cp>Today, it’s\u003ca href=\"https://www.lolosf.com/\"> Loló\u003c/a>: A restaurant with a noisy ambiance and carnival-inspired decor. This is fairly fitting once you realize that, between 1980 and 1983, 974 Valencia St. was a supremely weird gallery, indie movie theater, performance art space and, yes, excellent punk venue.\u003c/p>\n\u003cp>[aside postid='arts_13894169']During its short tenure, the venue managed to host the likes of Minor Threat, Social Distortion, Hüsker Dü, Fang and even \u003ca href=\"https://www.youtube.com/watch?v=2SCIJlMTR7A\">Allen Ginsberg performing with a New Wave band called The Job\u003c/a>. Performances happened on the street level and in the cellar — a space that was soundproofed with sand, only accessible via trap door and entirely lacking in a stage. Sometimes shows happened on both floors simultaneously. Sometimes they happened on Sunday afternoons. And sometimes (fairly frequently, actually) they happened entirely out of hours, in the middle of the night.\u003c/p>\n\u003cp>In the end, the venue was shut down for a number of violations, including some that were fire code-related. But while it existed, Valencia Tool & Die was a space where musicians could experiment without filter, find community and share ideas. Consider the band in the video below, Faith. No Man. Here they are playing a perfectly good set in Tool & Die’s basement in 1983. A couple of months after this was filmed, however, the rhythm section — bassist Billy Gould and drummer Mike Bordin — decided they could do better. They struck out on their own and formed a little band called Faith No More. So that’s nice.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E6G1bWKNjJY\u003c/p>\n\u003ch2>The Sound of Music\u003c/h2>\n\u003cp>\u003cstrong>162 Turk St.\u003c/strong>\u003c/p>\n\u003cp>Today, it looks like any other nondescript, three-story building in the Tenderloin. But between 1980 and 1987, the Sound of Music was a punk rock venue and nightclub that hosted bands like \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=VxoiN7c2UYU&list=RDEMS9VV4IqCH_18L_Bgf2Xxew&start_radio=1\">Boy Trouble\u003c/a> and, later on, Romeo Void. (Agnostic Front also once played the tiny club after their show at Mabuhay Gardens got canceled at the last minute.)\u003c/p>\n\u003cp>[aside postid='arts_13902953']Owned by Celso Ruperto — a photographer best known for \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/c8jh3tvx/\">documenting the dancers of North Beach’s strip clubs\u003c/a> — the club was only-partially-controlled chaos. It also had a reputation for being very lackadaisical when it came to checking IDs; Frightwig guitarist Mia d’Bruzzi started bartending there when she was only 17. “Everyone was broke, pissed off about everything and having the time of their lives,” d’Bruzzi told \u003ca href=\"https://hoodline.com/2015/10/punks-tenderloin-roots-and-the-sound-of-music/\">\u003cem>Central City Extra\u003c/em>\u003c/a> in 2015. “If I didn’t like a band, I would throw half-full beer cans at them from the bar.”\u003c/p>\n\u003cp>Ruperto decided to let the venue go in 1986. It was listed for sale in newspapers that year for $65,000. The final show happened there in 1987.\u003c/p>\n\u003cp>“The Sound of Music was a dump,” \u003ca href=\"https://en.wikipedia.org/wiki/White_Trash_Debutantes\">White Trash Debutantes\u003c/a> singer Ginger Coyote recalled in 2015. “The sound system sucked, but it was a club where about anyone could play and most people could get in free or cheap.”\u003c/p>\n\u003cp>Looks like a good time to us…\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HWp79_YFODw\u003c/p>\n\u003ch2>Target Video\u003c/h2>\n\u003cp>\u003cstrong>678 South Van Ness Ave.\u003c/strong>\u003c/p>\n\u003cp>In 1983, two years after it had closed, the \u003cem>Examiner\u003c/em> described Target Video as “a black building on South Van Ness Ave.” and “a national flashpoint of new culture in the making.”\u003c/p>\n\u003cp>[aside postid='arts_13927137']The man behind that cultural earthquake was Joe Rees, a sculptor, videographer and one-man punk archive. Rees videotaped over 500 bands, all over the country, starting in 1976, documenting the underground scene like no one else. And it wasn’t just the sheer volume of footage that made Rees stand out, it was what he did with it. Rees spliced his films of punk shows with news and documentary clips that often added a gravitas — and impending sense of doom — to already intense songs.\u003c/p>\n\u003cp>It made sense for Rees, then, to start his own venue in 1978. He could record bands at \u003ca href=\"https://www.youtube.com/watch?v=cpbeu7szjkE\">Target Video, turn those sets into short films\u003c/a>, then hold screenings of those in the building too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.artforum.com/events/joe-rees-228192/\">An article in \u003cem>Artforum\u003c/em>\u003c/a> once described Rees’ work as “art for TV fans, rather than TV for art fans.” For the punks who frequented Target Video shows, it was simply TV for them — disaffected, angry, with one hell of a soundtrack.\u003c/p>\n\u003cfigure id=\"attachment_13938380\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938380\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-1178248674-scaled.jpg\" alt=\"A group of four young men clamber down a very steep wall, laughing and at strange angles. One of them is holding a pool cue. Two of them are holding cans of beer.\" width=\"2560\" height=\"1841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1536x1105.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-2048x1473.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1920x1381.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Let’s close this out with a photo of Flipper — a band that played literally all of these venues — on a San Francisco railway embankment in 1981. Just because. \u003ccite>(Ruby Ray/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco has birthed and lost a ridiculous number of punk rock venues over the years. There are recent favorites like \u003ca href=\"https://www.invisibleoranges.com/rip-pound-sf/\">The Pound\u003c/a> and \u003ca href=\"https://www.sfgate.com/entertainment/article/farewell-cocodrie-north-beach-club-shutting-down-2748469.php\">Club Cocodrie\u003c/a>, both closed in the early 2000s. There are the short-lived little nightclubs of the 1980s, including \u003ca href=\"https://www.dnalounge.com/backstage/log/19xx/AAC-0697.html\">Club Nine\u003c/a> (which later turned into The Stud), \u003ca href=\"https://www.kqed.org/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin\">The Offensive, Club Foot and Attitude\u003c/a>. Most famously of all, there was the legendary \u003ca href=\"https://en.wikipedia.org/wiki/Mabuhay_Gardens\">Mabuhay Gardens\u003c/a>, a home-away-from-home for the most popular punk bands of the ’80s.\u003c/p>\n\u003cp>That same time period also inspired the creation of a handful of venues that were particularly strange and magnificent. Here are five of the most fascinating that we wish still existed today.\u003c/p>\n\u003ch2>The Deaf Club\u003c/h2>\n\u003cp>\u003cstrong>530 Valencia St.\u003c/strong>\u003c/p>\n\u003cp>It may have only lasted 18 months, but the lore of the Mission District’s Deaf Club will live on forever. Its first show was the result of Daphne Hanrahan — then-manager of The Offs — confusing the San Francisco Club of the Deaf with a new punk venue. Soon, by renting out the space herself, she had turned it into one.\u003c/p>\n\u003cp>In February 1979, the \u003cem>San Francisco Examiner\u003c/em> declared:\u003c/p>\n\u003cblockquote>\u003cp>The latest club on the local punk scene is called the Deaf Club. The joke is that the name is no joke … Since December, Walking Dead Productions has sponsored two or three concerts at the club each week, featuring local punk outfits like Crime and the Dils, plus occasional imports from Los Angeles … At the shows, punk followers mingle with the deaf club members.\u003c/p>\u003c/blockquote>\n\u003cp>In \u003ca href=\"https://bookshop.org/p/books/gimme-something-better-the-profound-progressive-and-occasionally-pointless-history-of-bay-area-punk-from-dead-kennedys-to-green-day-jack-boulware/11716732?ean=9780143113805&ref=&source=IndieBound&title=Gimme+Something+Better%3A+The+Profound%2C+Progressive%2C+and+Occasionally+Pointless+History+of+Bay+Area+Punk+from+Dead+Kennedys+to+Green+Day\">\u003cem>Gimme Something Better\u003c/em>\u003c/a>, Jack Boulware and Silke Tudor’s 2009 tome on Bay Area punk, Penelope Houston of The Avengers recalled: “It was kind of amazing. I think [deaf attendees] were dancing to the vibrations. The deaf people were amused that all these punks wanted to come in and rent their room and have these shows.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2004, Dead Kennedys reminded the world of the club’s existence with the release of \u003ca href=\"https://en.wikipedia.org/wiki/Live_at_the_Deaf_Club\">\u003cem>Live at the Deaf Club\u003c/em>\u003c/a>, an album of live material recorded at the second floor venue in March 1979. Nothing, however, quite captures the worlds colliding and camaraderie inside the place quite like Richard Gaikowski’s 1980 film, \u003ca href=\"https://www.imdb.com/title/tt8652820/\">\u003cem>Deaf/Punk\u003c/em>\u003c/a>:\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/7L4NxRqb6Fk'\n title='//www.youtube.com/embed/7L4NxRqb6Fk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The Farm\u003c/h2>\n\u003cp>\u003cstrong>1499 Potrero Ave.\u003c/strong>\u003c/p>\n\u003cp>Long before it was \u003ca href=\"https://sfrecpark.org/895/Potrero-del-Sol-Park-La-Raza\">Potrero del Sol Park\u003c/a>, the green expanse around the intersection at Potrero and Cesar Chavez was The Farm — a community center, art space, active farm and, most bizarrely of all, a punk venue. The likes of Bad Brains, 7 Seconds, Black Flag, Circle Jerks, Descendents and DOA all came through here in the early ’80s, much to the delight of the San Francisco underground.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though the aggressive music seemed totally out of step with the hippie commune vibes that had been cultivated at The Farm throughout the late 1970s, members of its board of directors expressed an openness towards — and fascination with — the bands and fans that came through.\u003c/p>\n\u003cp>“Even when the punks were there, I remember going,” noted artist and board member René Yañez in a documentary about The Farm, “and the toilets were broken and they were hanging this kid out the window and the police coming … But I found it interesting.”\u003c/p>\n\u003cp>At the time, fellow board member Gail Feldman said: “[Folks] see people with hair sticking straight up and they get a little worried. But actually there hasn’t been that much of a problem…”\u003c/p>\n\u003cp>The Farm’s “punk era” can be seen in this documentary about the space, starting from 26:40:\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/fpfD_3AvH8Y'\n title='//www.youtube.com/embed/fpfD_3AvH8Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Valencia Tool & Die\u003c/h2>\n\u003cp>\u003cstrong>974 Valencia St.\u003c/strong>\u003c/p>\n\u003cp>Today, it’s\u003ca href=\"https://www.lolosf.com/\"> Loló\u003c/a>: A restaurant with a noisy ambiance and carnival-inspired decor. This is fairly fitting once you realize that, between 1980 and 1983, 974 Valencia St. was a supremely weird gallery, indie movie theater, performance art space and, yes, excellent punk venue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During its short tenure, the venue managed to host the likes of Minor Threat, Social Distortion, Hüsker Dü, Fang and even \u003ca href=\"https://www.youtube.com/watch?v=2SCIJlMTR7A\">Allen Ginsberg performing with a New Wave band called The Job\u003c/a>. Performances happened on the street level and in the cellar — a space that was soundproofed with sand, only accessible via trap door and entirely lacking in a stage. Sometimes shows happened on both floors simultaneously. Sometimes they happened on Sunday afternoons. And sometimes (fairly frequently, actually) they happened entirely out of hours, in the middle of the night.\u003c/p>\n\u003cp>In the end, the venue was shut down for a number of violations, including some that were fire code-related. But while it existed, Valencia Tool & Die was a space where musicians could experiment without filter, find community and share ideas. Consider the band in the video below, Faith. No Man. Here they are playing a perfectly good set in Tool & Die’s basement in 1983. A couple of months after this was filmed, however, the rhythm section — bassist Billy Gould and drummer Mike Bordin — decided they could do better. They struck out on their own and formed a little band called Faith No More. So that’s nice.\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/E6G1bWKNjJY'\n title='//www.youtube.com/embed/E6G1bWKNjJY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The Sound of Music\u003c/h2>\n\u003cp>\u003cstrong>162 Turk St.\u003c/strong>\u003c/p>\n\u003cp>Today, it looks like any other nondescript, three-story building in the Tenderloin. But between 1980 and 1987, the Sound of Music was a punk rock venue and nightclub that hosted bands like \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=VxoiN7c2UYU&list=RDEMS9VV4IqCH_18L_Bgf2Xxew&start_radio=1\">Boy Trouble\u003c/a> and, later on, Romeo Void. (Agnostic Front also once played the tiny club after their show at Mabuhay Gardens got canceled at the last minute.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Owned by Celso Ruperto — a photographer best known for \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/c8jh3tvx/\">documenting the dancers of North Beach’s strip clubs\u003c/a> — the club was only-partially-controlled chaos. It also had a reputation for being very lackadaisical when it came to checking IDs; Frightwig guitarist Mia d’Bruzzi started bartending there when she was only 17. “Everyone was broke, pissed off about everything and having the time of their lives,” d’Bruzzi told \u003ca href=\"https://hoodline.com/2015/10/punks-tenderloin-roots-and-the-sound-of-music/\">\u003cem>Central City Extra\u003c/em>\u003c/a> in 2015. “If I didn’t like a band, I would throw half-full beer cans at them from the bar.”\u003c/p>\n\u003cp>Ruperto decided to let the venue go in 1986. It was listed for sale in newspapers that year for $65,000. The final show happened there in 1987.\u003c/p>\n\u003cp>“The Sound of Music was a dump,” \u003ca href=\"https://en.wikipedia.org/wiki/White_Trash_Debutantes\">White Trash Debutantes\u003c/a> singer Ginger Coyote recalled in 2015. “The sound system sucked, but it was a club where about anyone could play and most people could get in free or cheap.”\u003c/p>\n\u003cp>Looks like a good time to us…\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/HWp79_YFODw'\n title='//www.youtube.com/embed/HWp79_YFODw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Target Video\u003c/h2>\n\u003cp>\u003cstrong>678 South Van Ness Ave.\u003c/strong>\u003c/p>\n\u003cp>In 1983, two years after it had closed, the \u003cem>Examiner\u003c/em> described Target Video as “a black building on South Van Ness Ave.” and “a national flashpoint of new culture in the making.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The man behind that cultural earthquake was Joe Rees, a sculptor, videographer and one-man punk archive. Rees videotaped over 500 bands, all over the country, starting in 1976, documenting the underground scene like no one else. And it wasn’t just the sheer volume of footage that made Rees stand out, it was what he did with it. Rees spliced his films of punk shows with news and documentary clips that often added a gravitas — and impending sense of doom — to already intense songs.\u003c/p>\n\u003cp>It made sense for Rees, then, to start his own venue in 1978. He could record bands at \u003ca href=\"https://www.youtube.com/watch?v=cpbeu7szjkE\">Target Video, turn those sets into short films\u003c/a>, then hold screenings of those in the building too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.artforum.com/events/joe-rees-228192/\">An article in \u003cem>Artforum\u003c/em>\u003c/a> once described Rees’ work as “art for TV fans, rather than TV for art fans.” For the punks who frequented Target Video shows, it was simply TV for them — disaffected, angry, with one hell of a soundtrack.\u003c/p>\n\u003cfigure id=\"attachment_13938380\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938380\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-1178248674-scaled.jpg\" alt=\"A group of four young men clamber down a very steep wall, laughing and at strange angles. One of them is holding a pool cue. Two of them are holding cans of beer.\" width=\"2560\" height=\"1841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1536x1105.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-2048x1473.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1920x1381.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Let’s close this out with a photo of Flipper — a band that played literally all of these venues — on a San Francisco railway embankment in 1981. Just because. \u003ccite>(Ruby Ray/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Nov. 13, 1856, witnesses on San Francisco’s shoreline were astonished by the sight of a pregnant 19-year-old girl guiding a grand, 216-foot-long clipper ship into port. Mary Ann Patten had spent the previous two months leading the crew and cargo of the Neptune’s Car to safety from Chile’s Cape Horn. It was a role the young woman stepped up and took on after her husband — respected captain and master mariner, Joshua Adams Patten — contracted \u003ca href=\"https://www.ncbi.nlm.nih.gov/books/NBK541015/#:~:text=Tuberculous%20meningitis%20(TBM)%20is%20caused,to%20be%20infected%20with%20MTB.\">tuberculous meningitis\u003c/a> and pneumonia, rendering him blind, incoherent and bedridden.\u003c/p>\n\u003cp>That Mary had successfully overseen the ship’s safe passage — even while nursing her ailing husband — made her an instant celebrity. That she was the first American woman to captain a merchant vessel made her a nautical legend.\u003c/p>\n\u003cp>[aside postid='arts_13932525']The end of the Pattens’ journey on Neptune’s Car in many ways stands as a testament to their partnership. Joshua and Mary were married when she was just 16. The refined and intelligent girl was born in East Boston to immigrant parents from England, and always had a passion for learning. Joshua was widely viewed as a man of strong principles and good character. Though he was ten years Mary’s senior, the pair quickly developed a deep dedication to one another that was rooted in mutual respect.\u003c/p>\n\u003cp>That dedication was in evidence after the original captain of the Neptune’s Car became ill and Joshua was asked to take his place on an 18-month around-the world voyage. Keen to accept the business opportunity but loathe to leave Mary for so long, Joshua contacted New York’s Foster & Nickerson shipping company and said that he would accept the job only under one unusual condition — that his wife be allowed to go with him. His bosses agreed.\u003c/p>\n\u003cfigure id=\"attachment_13937748\" class=\"wp-caption aligncenter\" style=\"max-width: 1596px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM.png\" alt=\"A 19th century painting of a vast clipper ship at sea.\" width=\"1596\" height=\"1130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM.png 1596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-800x566.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-1020x722.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-768x544.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-1536x1088.png 1536w\" sizes=\"auto, (max-width: 1596px) 100vw, 1596px\">\u003cfigcaption class=\"wp-caption-text\">Neptune’s Car, the ship that Mary Ann Patten would later captain, as seen in Hong Kong Harbor in the early 1850s.\u003c/figcaption>\u003c/figure>\n\u003cp>Conditions aboard clipper ships in the 1850s were far from romantic. Everyday life was cold, wet and grueling. Food rations were limited, illness was common on long journeys and, though sick sailors were isolated as soon as possible, it wasn’t unusual for disease to spread in the tight living quarters. Despite what was sure to be a challenging environment, Mary had no fear about joining Joshua on the epic journey. Having been born into a family of seafarers, she held a reverence and love for the open ocean.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For her first year aboard Neptune’s Car, Mary spent her time wisely and constructively. She studied marinery in Joshua’s library. She assisted her husband with his duties, even keeping the captain’s log. She also took the time to learn how to use the ship’s chronometers — tools to aid celestial navigation. Thanks to her curious mind and diligent personality, by the time Joshua fell ill, Mary had a solid understanding of how to run the ship effectively. It’s a good thing: If she hadn’t, the fate of Neptune’s Car would have been much bleaker.\u003c/p>\n\u003cp>[aside postid='arts_13892514']The reason it was left to Mary to captain the vessel was because the ship’s first and second mates were incapable of doing so themselves. The second mate had never learned how to navigate, and the first — a man named Keeler — was grossly incompetent to the point of dangerous. (Keeler was a hasty replacement for the original first mate, who had broken his leg just before Neptune’s Car set sail.) Keeler was such a liability that he was removed from duty while Joshua was still in charge. One 1877 newspaper article even reported that Keeler was “put in irons” after trying to start a mutiny.\u003c/p>\n\u003cp>Soon after Mary took over, Keeler wrote her a letter from the brig to try and persuade her that she was ill-equipped to take charge of the ship. He, rather absurdly, suggested that he might take the job instead. Mary responded simply that her husband had not trusted Keeler, so she wasn’t inclined to either. Mary already knew that she had the trust of the rest of the crew, who had adapted remarkably quickly to taking orders from a woman — a diminutive one at that.\u003c/p>\n\u003cp>In March 1857, the \u003cem>Star of the North\u003c/em> newspaper reported:\u003c/p>\n\u003cblockquote>\u003cp>The rough sailors all obeyed the ‘little woman’ as they called her, with a will, and eyed her curiously and affectionately through the cabin windows while deep in the calculations on which her life and theirs depended … Her time was spent between the bedside of her delirious husband and the writing desk, working up the intricate calculations incident to nautical observations, making entries in the log book in her own delicate penmanship and tracing out with accuracy the position of the ship from the charts in the cabin.\u003c/p>\u003c/blockquote>\n\u003cp>When Neptune’s Car finally arrived in San Francisco safely, Mary’s first priority was getting Joshua home and to medical attention. Because he was a member of their fraternal organization, the California Masonic Temple quickly arranged travel for Joshua and Mary back to Boston.\u003c/p>\n\u003cp>[aside postid='arts_13908327']Soon, news broke that Foster & Nickerson were refusing to pay Joshua’s wages. The resulting public outcry was so great that the New York Board of Underwriters awarded Mary $1,000 and the companies whose cargo she had safely delivered gave her an additional $1,500. (All told, that adds up to around $90,000 in 2023 money.)\u003c/p>\n\u003cp>After receiving the money, Mary responded with a humble and widely circulated letter. In it, she wrote: “I … endeavored to perform that which seemed to me, under the circumstances, only the plain duty of a wife towards a good husband.”\u003c/p>\n\u003cp>Sadly, just eight months after the Pattens’ return home, and four months after Mary had given birth to their son, Joshua finally succumbed to his long illness at the McLean Asylum in Somerville, Massachusetts. An obituary published July 25, 1857 stated:\u003c/p>\n\u003cblockquote>\u003cp>Deaf and blind and sick as he has been for months past, [Joshua’s] heroic wife refused to surrender him to the care of strangers. It was not until Friday, when it was apparent that his reason was gone and he was utterly unmanageable, that she consented to his removal to the Asylum. Mary had a fever herself at the time. The patience in suffering and the energy in emergencies which she has hitherto displayed may carry her over this, which she regards as the greatest of her sorrows.\u003c/p>\u003c/blockquote>\n\u003cp>Mary was not long without Joshua. She died of tuberculosis just one month before her 24th birthday, leaving her son, Joshua Jr., to be raised by his maternal grandmother. Today, Mary and Joshua are buried side-by-side in Woodlawn Cemetery, Massachusetts.\u003c/p>\n\u003cp>Nearby, there is a white stone etched with the words: “Are there seas in heaven, Joshua? And is there such a vessel as our Neptune’s Car? If there is, wait for me and we shall explore the vast and boundless reaches of eternity.”\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>On Nov. 13, 1856, witnesses on San Francisco’s shoreline were astonished by the sight of a pregnant 19-year-old girl guiding a grand, 216-foot-long clipper ship into port. Mary Ann Patten had spent the previous two months leading the crew and cargo of the Neptune’s Car to safety from Chile’s Cape Horn. It was a role the young woman stepped up and took on after her husband — respected captain and master mariner, Joshua Adams Patten — contracted \u003ca href=\"https://www.ncbi.nlm.nih.gov/books/NBK541015/#:~:text=Tuberculous%20meningitis%20(TBM)%20is%20caused,to%20be%20infected%20with%20MTB.\">tuberculous meningitis\u003c/a> and pneumonia, rendering him blind, incoherent and bedridden.\u003c/p>\n\u003cp>That Mary had successfully overseen the ship’s safe passage — even while nursing her ailing husband — made her an instant celebrity. That she was the first American woman to captain a merchant vessel made her a nautical legend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The end of the Pattens’ journey on Neptune’s Car in many ways stands as a testament to their partnership. Joshua and Mary were married when she was just 16. The refined and intelligent girl was born in East Boston to immigrant parents from England, and always had a passion for learning. Joshua was widely viewed as a man of strong principles and good character. Though he was ten years Mary’s senior, the pair quickly developed a deep dedication to one another that was rooted in mutual respect.\u003c/p>\n\u003cp>That dedication was in evidence after the original captain of the Neptune’s Car became ill and Joshua was asked to take his place on an 18-month around-the world voyage. Keen to accept the business opportunity but loathe to leave Mary for so long, Joshua contacted New York’s Foster & Nickerson shipping company and said that he would accept the job only under one unusual condition — that his wife be allowed to go with him. His bosses agreed.\u003c/p>\n\u003cfigure id=\"attachment_13937748\" class=\"wp-caption aligncenter\" style=\"max-width: 1596px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM.png\" alt=\"A 19th century painting of a vast clipper ship at sea.\" width=\"1596\" height=\"1130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM.png 1596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-800x566.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-1020x722.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-768x544.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.15.33-PM-1536x1088.png 1536w\" sizes=\"auto, (max-width: 1596px) 100vw, 1596px\">\u003cfigcaption class=\"wp-caption-text\">Neptune’s Car, the ship that Mary Ann Patten would later captain, as seen in Hong Kong Harbor in the early 1850s.\u003c/figcaption>\u003c/figure>\n\u003cp>Conditions aboard clipper ships in the 1850s were far from romantic. Everyday life was cold, wet and grueling. Food rations were limited, illness was common on long journeys and, though sick sailors were isolated as soon as possible, it wasn’t unusual for disease to spread in the tight living quarters. Despite what was sure to be a challenging environment, Mary had no fear about joining Joshua on the epic journey. Having been born into a family of seafarers, she held a reverence and love for the open ocean.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For her first year aboard Neptune’s Car, Mary spent her time wisely and constructively. She studied marinery in Joshua’s library. She assisted her husband with his duties, even keeping the captain’s log. She also took the time to learn how to use the ship’s chronometers — tools to aid celestial navigation. Thanks to her curious mind and diligent personality, by the time Joshua fell ill, Mary had a solid understanding of how to run the ship effectively. It’s a good thing: If she hadn’t, the fate of Neptune’s Car would have been much bleaker.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The reason it was left to Mary to captain the vessel was because the ship’s first and second mates were incapable of doing so themselves. The second mate had never learned how to navigate, and the first — a man named Keeler — was grossly incompetent to the point of dangerous. (Keeler was a hasty replacement for the original first mate, who had broken his leg just before Neptune’s Car set sail.) Keeler was such a liability that he was removed from duty while Joshua was still in charge. One 1877 newspaper article even reported that Keeler was “put in irons” after trying to start a mutiny.\u003c/p>\n\u003cp>Soon after Mary took over, Keeler wrote her a letter from the brig to try and persuade her that she was ill-equipped to take charge of the ship. He, rather absurdly, suggested that he might take the job instead. Mary responded simply that her husband had not trusted Keeler, so she wasn’t inclined to either. Mary already knew that she had the trust of the rest of the crew, who had adapted remarkably quickly to taking orders from a woman — a diminutive one at that.\u003c/p>\n\u003cp>In March 1857, the \u003cem>Star of the North\u003c/em> newspaper reported:\u003c/p>\n\u003cblockquote>\u003cp>The rough sailors all obeyed the ‘little woman’ as they called her, with a will, and eyed her curiously and affectionately through the cabin windows while deep in the calculations on which her life and theirs depended … Her time was spent between the bedside of her delirious husband and the writing desk, working up the intricate calculations incident to nautical observations, making entries in the log book in her own delicate penmanship and tracing out with accuracy the position of the ship from the charts in the cabin.\u003c/p>\u003c/blockquote>\n\u003cp>When Neptune’s Car finally arrived in San Francisco safely, Mary’s first priority was getting Joshua home and to medical attention. Because he was a member of their fraternal organization, the California Masonic Temple quickly arranged travel for Joshua and Mary back to Boston.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Soon, news broke that Foster & Nickerson were refusing to pay Joshua’s wages. The resulting public outcry was so great that the New York Board of Underwriters awarded Mary $1,000 and the companies whose cargo she had safely delivered gave her an additional $1,500. (All told, that adds up to around $90,000 in 2023 money.)\u003c/p>\n\u003cp>After receiving the money, Mary responded with a humble and widely circulated letter. In it, she wrote: “I … endeavored to perform that which seemed to me, under the circumstances, only the plain duty of a wife towards a good husband.”\u003c/p>\n\u003cp>Sadly, just eight months after the Pattens’ return home, and four months after Mary had given birth to their son, Joshua finally succumbed to his long illness at the McLean Asylum in Somerville, Massachusetts. An obituary published July 25, 1857 stated:\u003c/p>\n\u003cblockquote>\u003cp>Deaf and blind and sick as he has been for months past, [Joshua’s] heroic wife refused to surrender him to the care of strangers. It was not until Friday, when it was apparent that his reason was gone and he was utterly unmanageable, that she consented to his removal to the Asylum. Mary had a fever herself at the time. The patience in suffering and the energy in emergencies which she has hitherto displayed may carry her over this, which she regards as the greatest of her sorrows.\u003c/p>\u003c/blockquote>\n\u003cp>Mary was not long without Joshua. She died of tuberculosis just one month before her 24th birthday, leaving her son, Joshua Jr., to be raised by his maternal grandmother. Today, Mary and Joshua are buried side-by-side in Woodlawn Cemetery, Massachusetts.\u003c/p>\n\u003cp>Nearby, there is a white stone etched with the words: “Are there seas in heaven, Joshua? And is there such a vessel as our Neptune’s Car? If there is, wait for me and we shall explore the vast and boundless reaches of eternity.”\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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"title": "Inside the Weird and Delightful Origins of the Jungle Gym, Which Just Turned 100",
"headTitle": "Inside the Weird and Delightful Origins of the Jungle Gym, Which Just Turned 100 | KQED",
"content": "\u003cp>This story starts in the fourth dimension.\u003c/p>\n\u003cp>Or, more specifically, with a British mathematician who, in the late 1800s, was intrigued by the fourth dimension and how to teach disinterested children about it.\u003c/p>\n\u003cp>Charles Hinton wore a lot of hats. He wrote sci-fi stories before there was sci-fi — he called them “scientific romances.” At Princeton, where he worked for a time as mathematics instructor, he invented a baseball pitching machine powered by gunpowder. He also practiced polygamy, which was against both the mores and laws of his native England. And when he was convicted of bigamy in the 1880s, he was forced to move his young family to Japan where he found work teaching mathematics.\u003c/p>\n\u003cp>We will save all of that for the biopic, because for the purposes of \u003cem>this \u003c/em>story, Hinton was the unintentional inspiration behind the jungle gym — the patent for which has just turned 100.\u003c/p>\n\u003cp>It turns out that the history of the jungle gym, and its sibling the monkey bars, is full of weird and delightful twists and sub-plots that take us from Japan to suburban Chicago and touch on child development theories and, yes, theoretical math.\u003c/p>\n\u003ch3>Imagining dimensions — in bamboo\u003c/h3>\n\u003cp>Hinton was a mathematician who explored the concept of the fourth dimension and how to represent it. His model of a tesseract as a way to represent the fourth dimension in geometrical space has since inspired a long lineage of science fiction writing and movies — from \u003ca href=\"https://www.youtube.com/watch?v=MHJBdfmeCss\">\u003cem>A Wrinkle in Time\u003c/em>\u003c/a> to \u003ca href=\"https://www.youtube.com/watch?v=iJio07EtKYc\">\u003cem>Interstellar\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet it was while living in Japan that Hinton struggled to get his students to adequately wrestle with the concept of the fourth dimension.\u003c/p>\n\u003cp>“He said, you know, the reason these students can’t grasp the fourth dimension is because they were never exposed to the \u003cem>third \u003c/em>dimension as children,” says Luke Fannin, a primatologist and Ph.D. candidate at Dartmouth College, who became obsessed with finding out where the term “monkey bars” came from (more on that later) and ended up \u003ca href=\"https://www.smithsonianmag.com/history/history-monkey-bars-180981556/\">becoming something of a Hinton family expert\u003c/a>.\u003c/p>\n\u003cp>Hinton theorized that since we spend so much of our lives simply walking in straight lines, and not using all of the three-dimensional space around us, we have an even harder time making the mental leap to fourth dimension.\u003c/p>\n\u003cp>[aside postid='arts_13934227']His solution was to train young children, namely his own kids, to internalize the third dimension. To pull this off, Hinton built his children a series of stacked bamboo cubes. He labeled the bamboo in all three directions, Fannin says: “Where the junctions would be, he would put X, Y, Z coordinates.” Then he attempted to turn these stacked cubes into a game. “He would say, ‘X2, Y4, Z3 — go! And all the kids would race each other towards the correct coordinate,'” says Fannin.\u003c/p>\n\u003cp>If that does not sound like a fun game to you, you are not alone. And those bamboo cubes never amounted to much. But years later, Hinton’s son Sebastian would recall how much fun it was to climb and swing on them.\u003c/p>\n\u003cp>“And he goes, ‘That’s what I remember. I don’t remember anything about the math, but I remember that it was so fun,'” says Fannin.\u003c/p>\n\u003cp>By now it was the early 1920s, and the junior Hinton had moved to Winnetka, Illinois where he worked as a patent lawyer. He dreamed of recreating the bamboo climbing structure of his youth — minus the not very fun math games — and he started describing his plans at a dinner party one night.\u003c/p>\n\u003cp>Winnetka at this time was a hotbed for progressive education. The village was taken with the educational philosophy of John Dewey, which called for “whole child education.” This meant not just teaching reading, writing and arithmetic, but also how to be healthy and active humans.\u003c/p>\n\u003cp>So, as Hinton was describing his dream climbing structure, the dinner party was stacked with educators, including the superintendent of the Winnetka City Schools, Carleton Washburne. Fannin says he imagines Washburne’s eyes widening before telling Hinton, “We need to build this in the schools!”\u003c/p>\n\u003cp>[aside postid='arts_13906656']Soon after, Hinton began filing his early patents for the design, which he registered to something he called JungleGym Inc. And the rest, as they say, is history.\u003c/p>\n\u003cp>If that dinner party had taken place anywhere else in the world, this iconic piece of equipment may never have existed. Or, as Fannin says, “It only stays in Hinton’s backyard. It never becomes sort of the cultural mainstay that is now ubiquitous on most playgrounds.”\u003c/p>\n\u003ch3>The difference between monkeys and apes\u003c/h3>\n\u003cp>From the outside, there’s nothing remarkable about the old Victorian home at 411 Linden Street in Winnetka, Illinois, which these days serves as the headquarters for the town’s historical society.\u003c/p>\n\u003cp>Inside, the 30,000 artifacts range from typewriters to vacuum cleaners. But for visitors who walk through a small gate into the back yard, surrounded by 20-foot tall conifers, there’s a little bit of a hidden treasure, says Mary Treishman, the executive director of the Winnetka Historical Society.\u003c/p>\n\u003cp>“We currently don’t have a historical plaque on it,” she says. “We just have this laminated sign that says, ‘Please do not climb on this artifact. It’s not safe.'”\u003c/p>\n\u003cp>That artifact is a 100-year-old jungle gym — the first real version.\u003c/p>\n\u003cfigure id=\"attachment_13937784\" class=\"wp-caption aligncenter\" style=\"max-width: 1518px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937784\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM.png\" alt=\"A scaffolding-like play structure in the shape of a cube. Two children stand on top of it.\" width=\"1518\" height=\"1180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM.png 1518w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM-800x622.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM-1020x793.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM-160x124.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM-768x597.png 768w\" sizes=\"(max-width: 1518px) 100vw, 1518px\">\u003cfigcaption class=\"wp-caption-text\">Hinton’s original jungle gym, pictured here in the 1930s at the Horace Mann School before it was moved to the Winnetka Historical Society. \u003ccite>(Courtesy of Winnetka Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To this day, kids sometimes still stumble across it, and Treishman has to politely tell them to stay off.\u003c/p>\n\u003cp>“I’ve seen adults come back here and really want to climb it because it reminds them of their childhood,” she says, adding that something about the classic bars really animates people. “The memories of this climbing structure are very deep. This is what everyone played on.”\u003c/p>\n\u003cp>Few things last 100 years. Children’s toys seem particularly fickle. Pet rocks, pogo sticks and scooters have all had full boom and bust cycles while the jungle gym — unflashy, workman-like, no fuss — keeps children coming back. Why is that?\u003c/p>\n\u003cp>It may be that the act of swinging and climbing in the jungle gym contains\u003cem> just enough \u003c/em>risk, says Ellen Sandseter — a professor at the Department of Physical Education and Health at Norway’s Queen Maud University College, and an expert on risky play.\u003c/p>\n\u003cp>[aside postid='arts_13886018']Sandseter says the jungle gym, and its sibling the monkey bars, offer a lot of challenging and also risky play, which is a good thing. She says it helps kids’ physical development — think motor skills — and their mental health, by building courage and self-confidence while reducing anxiety.\u003c/p>\n\u003cp>What’s more, unlike a lot of newer equipment that tells kids how it’s supposed to be used, Sandseter says the beauty of the jungle gym is in its simplicity.\u003c/p>\n\u003cp>“A monkey bar could be used in many different ways. And it, therefore, also affords creativity among children,” she says.\u003c/p>\n\u003cp>This all may help explain why the jungle gym has endured 100 years. But what about Fannin’s original question: how did the monkey bars get their name? Well, in the original 1923 patent for the jungle gym, Hinton seems to imagine children playing on it in language that has an ethereal quality of dreaming, of imagination:\u003c/p>\n\u003cp>\u003cem>“I have designed a climbing apparatus, so proportioned and constructed that it provides a kind of forest top through which a troop of children may play in a manner somewhat similar to that of a troop of monkeys through the treetops in a jungle.”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13937785\" class=\"wp-caption aligncenter\" style=\"max-width: 1552px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937785\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM.png\" alt=\"Blueprints for the first jungle gym play structure.\" width=\"1552\" height=\"1140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM.png 1552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-800x588.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-1020x749.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-768x564.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-1536x1128.png 1536w\" sizes=\"(max-width: 1552px) 100vw, 1552px\">\u003cfigcaption class=\"wp-caption-text\">Hinton’s plans for the jungle gym, as outlined in his patent application. \u003ccite>(United States Patent and Trademark Office, Sebastian Hinton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s an illustration of it in the last patent he had approved. It basically is a jungle gym, and then adhered next to it is the ‘Accessory monkey runway,'” says Fannin. AKA, the monkey bars.\u003c/p>\n\u003cp>It’s worth remembering, Hinton was a patent lawyer, not a primatologist. And that behavior — swinging by your arms — is \u003cem>ape \u003c/em>behavior, not what monkeys do. So should they be called ape bars?\u003c/p>\n\u003cp>[aside postid='arts_13883118']“If you want to be pedantic about it,” says Fannin. “But I love the term monkey bars.”\u003c/p>\n\u003cp>Sadly, Sebastian Hinton never saw his invention get the U.S. Patent Office’s stamp of approval. He died in April of 1923, just six months before his patent was officially approved.\u003c/p>\n\u003cp>Much has changed since then: safety concerns have softened materials and rounded edges in playgrounds. But Hinton’s simple design that doesn’t dictate behavior, but facilitates it, has endured.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Perhaps it’s precisely because of this freedom that jungle gyms have afforded children the chance to dream for the last century. And maybe some of them will even dream about new dimensions.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Inside+the+weird+and+delightful+origins+of+the+jungle+gym%2C+which+just+turned+100&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This story starts in the fourth dimension.\u003c/p>\n\u003cp>Or, more specifically, with a British mathematician who, in the late 1800s, was intrigued by the fourth dimension and how to teach disinterested children about it.\u003c/p>\n\u003cp>Charles Hinton wore a lot of hats. He wrote sci-fi stories before there was sci-fi — he called them “scientific romances.” At Princeton, where he worked for a time as mathematics instructor, he invented a baseball pitching machine powered by gunpowder. He also practiced polygamy, which was against both the mores and laws of his native England. And when he was convicted of bigamy in the 1880s, he was forced to move his young family to Japan where he found work teaching mathematics.\u003c/p>\n\u003cp>We will save all of that for the biopic, because for the purposes of \u003cem>this \u003c/em>story, Hinton was the unintentional inspiration behind the jungle gym — the patent for which has just turned 100.\u003c/p>\n\u003cp>It turns out that the history of the jungle gym, and its sibling the monkey bars, is full of weird and delightful twists and sub-plots that take us from Japan to suburban Chicago and touch on child development theories and, yes, theoretical math.\u003c/p>\n\u003ch3>Imagining dimensions — in bamboo\u003c/h3>\n\u003cp>Hinton was a mathematician who explored the concept of the fourth dimension and how to represent it. His model of a tesseract as a way to represent the fourth dimension in geometrical space has since inspired a long lineage of science fiction writing and movies — from \u003ca href=\"https://www.youtube.com/watch?v=MHJBdfmeCss\">\u003cem>A Wrinkle in Time\u003c/em>\u003c/a> to \u003ca href=\"https://www.youtube.com/watch?v=iJio07EtKYc\">\u003cem>Interstellar\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet it was while living in Japan that Hinton struggled to get his students to adequately wrestle with the concept of the fourth dimension.\u003c/p>\n\u003cp>“He said, you know, the reason these students can’t grasp the fourth dimension is because they were never exposed to the \u003cem>third \u003c/em>dimension as children,” says Luke Fannin, a primatologist and Ph.D. candidate at Dartmouth College, who became obsessed with finding out where the term “monkey bars” came from (more on that later) and ended up \u003ca href=\"https://www.smithsonianmag.com/history/history-monkey-bars-180981556/\">becoming something of a Hinton family expert\u003c/a>.\u003c/p>\n\u003cp>Hinton theorized that since we spend so much of our lives simply walking in straight lines, and not using all of the three-dimensional space around us, we have an even harder time making the mental leap to fourth dimension.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>His solution was to train young children, namely his own kids, to internalize the third dimension. To pull this off, Hinton built his children a series of stacked bamboo cubes. He labeled the bamboo in all three directions, Fannin says: “Where the junctions would be, he would put X, Y, Z coordinates.” Then he attempted to turn these stacked cubes into a game. “He would say, ‘X2, Y4, Z3 — go! And all the kids would race each other towards the correct coordinate,'” says Fannin.\u003c/p>\n\u003cp>If that does not sound like a fun game to you, you are not alone. And those bamboo cubes never amounted to much. But years later, Hinton’s son Sebastian would recall how much fun it was to climb and swing on them.\u003c/p>\n\u003cp>“And he goes, ‘That’s what I remember. I don’t remember anything about the math, but I remember that it was so fun,'” says Fannin.\u003c/p>\n\u003cp>By now it was the early 1920s, and the junior Hinton had moved to Winnetka, Illinois where he worked as a patent lawyer. He dreamed of recreating the bamboo climbing structure of his youth — minus the not very fun math games — and he started describing his plans at a dinner party one night.\u003c/p>\n\u003cp>Winnetka at this time was a hotbed for progressive education. The village was taken with the educational philosophy of John Dewey, which called for “whole child education.” This meant not just teaching reading, writing and arithmetic, but also how to be healthy and active humans.\u003c/p>\n\u003cp>So, as Hinton was describing his dream climbing structure, the dinner party was stacked with educators, including the superintendent of the Winnetka City Schools, Carleton Washburne. Fannin says he imagines Washburne’s eyes widening before telling Hinton, “We need to build this in the schools!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Soon after, Hinton began filing his early patents for the design, which he registered to something he called JungleGym Inc. And the rest, as they say, is history.\u003c/p>\n\u003cp>If that dinner party had taken place anywhere else in the world, this iconic piece of equipment may never have existed. Or, as Fannin says, “It only stays in Hinton’s backyard. It never becomes sort of the cultural mainstay that is now ubiquitous on most playgrounds.”\u003c/p>\n\u003ch3>The difference between monkeys and apes\u003c/h3>\n\u003cp>From the outside, there’s nothing remarkable about the old Victorian home at 411 Linden Street in Winnetka, Illinois, which these days serves as the headquarters for the town’s historical society.\u003c/p>\n\u003cp>Inside, the 30,000 artifacts range from typewriters to vacuum cleaners. But for visitors who walk through a small gate into the back yard, surrounded by 20-foot tall conifers, there’s a little bit of a hidden treasure, says Mary Treishman, the executive director of the Winnetka Historical Society.\u003c/p>\n\u003cp>“We currently don’t have a historical plaque on it,” she says. “We just have this laminated sign that says, ‘Please do not climb on this artifact. It’s not safe.'”\u003c/p>\n\u003cp>That artifact is a 100-year-old jungle gym — the first real version.\u003c/p>\n\u003cfigure id=\"attachment_13937784\" class=\"wp-caption aligncenter\" style=\"max-width: 1518px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937784\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM.png\" alt=\"A scaffolding-like play structure in the shape of a cube. Two children stand on top of it.\" width=\"1518\" height=\"1180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM.png 1518w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM-800x622.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM-1020x793.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM-160x124.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM-768x597.png 768w\" sizes=\"(max-width: 1518px) 100vw, 1518px\">\u003cfigcaption class=\"wp-caption-text\">Hinton’s original jungle gym, pictured here in the 1930s at the Horace Mann School before it was moved to the Winnetka Historical Society. \u003ccite>(Courtesy of Winnetka Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To this day, kids sometimes still stumble across it, and Treishman has to politely tell them to stay off.\u003c/p>\n\u003cp>“I’ve seen adults come back here and really want to climb it because it reminds them of their childhood,” she says, adding that something about the classic bars really animates people. “The memories of this climbing structure are very deep. This is what everyone played on.”\u003c/p>\n\u003cp>Few things last 100 years. Children’s toys seem particularly fickle. Pet rocks, pogo sticks and scooters have all had full boom and bust cycles while the jungle gym — unflashy, workman-like, no fuss — keeps children coming back. Why is that?\u003c/p>\n\u003cp>It may be that the act of swinging and climbing in the jungle gym contains\u003cem> just enough \u003c/em>risk, says Ellen Sandseter — a professor at the Department of Physical Education and Health at Norway’s Queen Maud University College, and an expert on risky play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sandseter says the jungle gym, and its sibling the monkey bars, offer a lot of challenging and also risky play, which is a good thing. She says it helps kids’ physical development — think motor skills — and their mental health, by building courage and self-confidence while reducing anxiety.\u003c/p>\n\u003cp>What’s more, unlike a lot of newer equipment that tells kids how it’s supposed to be used, Sandseter says the beauty of the jungle gym is in its simplicity.\u003c/p>\n\u003cp>“A monkey bar could be used in many different ways. And it, therefore, also affords creativity among children,” she says.\u003c/p>\n\u003cp>This all may help explain why the jungle gym has endured 100 years. But what about Fannin’s original question: how did the monkey bars get their name? Well, in the original 1923 patent for the jungle gym, Hinton seems to imagine children playing on it in language that has an ethereal quality of dreaming, of imagination:\u003c/p>\n\u003cp>\u003cem>“I have designed a climbing apparatus, so proportioned and constructed that it provides a kind of forest top through which a troop of children may play in a manner somewhat similar to that of a troop of monkeys through the treetops in a jungle.”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13937785\" class=\"wp-caption aligncenter\" style=\"max-width: 1552px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937785\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM.png\" alt=\"Blueprints for the first jungle gym play structure.\" width=\"1552\" height=\"1140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM.png 1552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-800x588.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-1020x749.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-768x564.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-1536x1128.png 1536w\" sizes=\"(max-width: 1552px) 100vw, 1552px\">\u003cfigcaption class=\"wp-caption-text\">Hinton’s plans for the jungle gym, as outlined in his patent application. \u003ccite>(United States Patent and Trademark Office, Sebastian Hinton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s an illustration of it in the last patent he had approved. It basically is a jungle gym, and then adhered next to it is the ‘Accessory monkey runway,'” says Fannin. AKA, the monkey bars.\u003c/p>\n\u003cp>It’s worth remembering, Hinton was a patent lawyer, not a primatologist. And that behavior — swinging by your arms — is \u003cem>ape \u003c/em>behavior, not what monkeys do. So should they be called ape bars?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“If you want to be pedantic about it,” says Fannin. “But I love the term monkey bars.”\u003c/p>\n\u003cp>Sadly, Sebastian Hinton never saw his invention get the U.S. Patent Office’s stamp of approval. He died in April of 1923, just six months before his patent was officially approved.\u003c/p>\n\u003cp>Much has changed since then: safety concerns have softened materials and rounded edges in playgrounds. But Hinton’s simple design that doesn’t dictate behavior, but facilitates it, has endured.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps it’s precisely because of this freedom that jungle gyms have afforded children the chance to dream for the last century. And maybe some of them will even dream about new dimensions.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Inside+the+weird+and+delightful+origins+of+the+jungle+gym%2C+which+just+turned+100&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[dropcap]R[/dropcap]ose Kilgore didn’t know Kelsey Fourdyce in life, but she talks about her all the time.\u003c/p>\n\u003cp>“She was amazing,” she says after leading a tour group around the Financial District, North Beach and Chinatown in San Francisco, sitting on the steps of a church that’s built from the rubble of the 1906 quake. “She spoke three languages, she had a master’s from [Switzerland].”\u003c/p>\n\u003cp>Kilgore knows this because, before incorporating Kelsey’s story into her ghost tour for \u003ca href=\"https://thehauntghosttours.com/tours/san-francisco/?gclid=CjwKCAjw-eKpBhAbEiwAqFL0ms-Vo0ut7LRO6UCGK6ZqAhx_tonq9w36-Q23tbb6GeZ0zpfbHFKHoxoC89AQAvD_BwE\">The Haunt\u003c/a>, she went down a “deep-dive, rabbit-hole” researching Fourdyce’s life, not her death. In 2015, Fourdyce’s body was found in the Great Star Theater in Chinatown, an event splashed across headlines in the Bay Area. The story comes up during Kilgore’s four-minute segment on the Great Star, said to house numerous hauntings (none of them seem to be Fourdyce, though).\u003c/p>\n\u003cp>Kilgore felt that if she was going to recount Fourdyce’s death to tourists and local paranormal enthusiasts, she should learn a little more about who she was beyond the grisly details that remain online.\u003c/p>\n\u003cp>“I thought it was a responsibility [for] me to know about this woman if I’m going to be talking about her all the time,” Kilgore says.\u003c/p>\n\u003cfigure id=\"attachment_13936966\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936966\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/The-Haunt-ghost-tour-Estefany-Gonzalez-001-qut.jpg\" alt=\"A ghost tour guide wearing a microphone holds up an iPad in front of a guest.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-Haunt-ghost-tour-Estefany-Gonzalez-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-Haunt-ghost-tour-Estefany-Gonzalez-001-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-Haunt-ghost-tour-Estefany-Gonzalez-001-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-Haunt-ghost-tour-Estefany-Gonzalez-001-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-Haunt-ghost-tour-Estefany-Gonzalez-001-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-Haunt-ghost-tour-Estefany-Gonzalez-001-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rose Kilgore, tour guide for The Haunt, checks guest in for a ghost tour in San Francisco on Saturday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kilgore’s sensitive approach is indicative of how ghost tours — once silly, campy affairs with jump scares — are changing in San Francisco as culture evolves. Ghost tours tell stories about real people who met gruesome ends, and can drift into true crime. And as true crime comes under increasing criticism for turning the worst moments of peoples’ lives into entertainment, ghost tour guides have begun putting more care into how they treat their subject matter. Instead of sensationalizing murders, many are adding historical context and using the paranormal to explore San Francisco’s fascinating, turbulent past. [aside label='More Ghost Stories' postid='news_11930135,arts_13904118,news_11963206']\u003c/p>\n\u003cp>Longtime ghost tour guide Christian Cagigal has seen the industry evolve firsthand. He began working for the city’s first ghost tour, \u003ca href=\"https://www.sfghosthunt.com/\">San Francisco Ghost Hunt\u003c/a>, in 1998, and took over the business from its original owner in 2016. He’s watched ghost tours grow from a small niche into a pillar of the tourism economy in San Francisco and many major U.S. cities.\u003c/p>\n\u003cp>When Cagigal started, ghost tours rose from a mid-’90s fascination with the strange and unexplainable. “There was kind of, like, \u003cem>Unsolved Mysteries\u003c/em>, that led to \u003cem>X-Files\u003c/em>, that led to [a] pop culture [where] it didn’t matter if you were a believer in ghosts or vampires or monsters or whatnot.”\u003c/p>\n\u003cp>Back then, Cagigal’s audiences were largely made up of women. But lately, America has found itself in another spooky moment — \u003cem>Stranger Things\u003c/em>, true crime podcasts, \u003ca href=\"https://www.npr.org/2023/07/27/1190390376/ufo-hearing-non-human-biologics-uaps\">congressional hearings on aliens\u003c/a> — and ghost tours now attract far more diverse groups than in years past.\u003c/p>\n\u003cp>“Now it’s across the board,” he says. “It’s the girlfriend buying the ticket for the boyfriend cause he’s really into it. It’s the little boy in the family who dragged the whole family of six cause he really wanted to go on this. So I feel like it’s spread across genders. It’s spreading across whether you believe in ghosts or not.”\u003c/p>\n\u003cfigure id=\"attachment_13936167\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936167\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-02-KQED.jpg\" alt=\"A person holds to long metal rods while surrounded by a group of people in an outdoor urban setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-02-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-02-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-02-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-02-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-02-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tour guide Rose Kilgore (left) shows Colin Rodrigues how to use dowsing rods to attempt communication with spirits during The Haunt ghost tour on Saturday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]T[/dropcap]hat broadening of ghost-tour audiences is also shifting the way the guides deal with decades-old stories in 2023. Historically, horror has leaned heavily on tropes, some of which we now recognize as harmful: the house built on a cursed Native American burial ground, the haunted asylum. Along with a new softening of the more problematic aspects of true crime, tour guides find themselves doing what they can to counteract stereotypes while still providing thrills and chills.\u003c/p>\n\u003cp>For Kilgore, historical context does the trick. Her tour starts in the Financial District, right under the Transamerica Pyramid. On a warm, recent Saturday night, as she takes her group from North Beach to Chinatown, she takes a few minutes to explain racist city policies carried out against \u003ca href=\"https://www.kqed.org/news/11891987/chinese-immigrants-were-forced-out-of-eureka-in-1885-heres-how-locals-are-making-that-history-known\">Chinese immigrants in the 1800s\u003c/a>. And as we pause again, she makes sure to demarcate the area’s rough-and-tumble early years from its vibrant present.\u003c/p>\n\u003cp>“We tend to talk more about the sinister side of the neighborhood’s history,” Kilgore adds, “and we want to tell you it does not represent the neighborhood to this day, a place we absolutely recommend you stick around for. So after this tour, check it out.”\u003c/p>\n\u003cfigure id=\"attachment_13936170\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-05-KQED.jpg\" alt=\"A group of people across the street from a brightly lit building in an outdoor urban setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The The Haunt ghost tour stops in front of the Great Star Theater in San Francisco on Saturday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kilgore is a second-generation ghost hunter who started out investigating Civil War battlefields with her father. Her tours tend to focus on turn-of-the-century life in San Francisco, rather than convincing guests there are specters around every corner or playing up grisly details for gasps. “[There’s some] people who just wanna glamorize it…like really exaggerate it, in a way,” she says of some ghost-hunting enterprises. “And a lot of these things [that are supposedly hauntings] are just scientific phenomena.”\u003c/p>\n\u003cp>Cagigal, too, tries not to let himself get too wrapped up in the pursuit of a good ghost story if there just isn’t one there. This helps keep his tour grounded in history, and keeps him open to interrogating his own work. “History is a living entity,” he says. “I have a number of biographies that I’m telling, and there was a certain way we would tell them 25 years ago, and now we know better.”\u003c/p>\n\u003cp>He encounters this the most when it comes to his 15-minute opener on \u003ca href=\"https://www.kqed.org/news/11793099/the-secret-history-of-mary-ellen-pleasant\">Mary Ellen Pleasant\u003c/a>, an abolitionist and businesswoman of early San Francisco who is said to haunt the site of her former mansion. “I’m a non-Black male telling a story of a maligned Black woman,” he says. “In 2016, as I was telling the story every single night, I was still telling the old version of the story, the old script I had in my head, because it was just the easiest to do. But as I would hear my own words, I’d be going, ‘Hmm, let me rethink that one for a bit.’”\u003c/p>\n\u003cfigure id=\"attachment_13936166\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936166\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-01-KQED.jpg\" alt=\"Two people close their eyes in the center of a group of people across the street from a brightly lit building in an outdoor urban setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Levi Peterson (center) and Pamela Price participate in a cleansing ritual as part of The Haunt ghost tour on Saturday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the \u003ca href=\"https://www.hauntedhaight.com/\">Haunted Haight Pub Crawl\u003c/a> incorporates ghost-hunting elements — participants are issued electromagnetic frequency readers, devices said to sense spirits — owner and tour guide Tommy Netzband primarily sees ghost stories as a conduit for a city’s history. “History and ghosts, they go hand in hand,” he says while he waits for tonight’s tour group of eight, backlit by the garishly-decorated smoke shop behind him.\u003c/p>\n\u003cp>His aim with all his tours isn’t to put on a dazzling performance — though he does, to a lot of laughs and wisecracks from the audience. He makes side-eyed observations about psychics (“They never have a last name, do they?”), gives out raffle prizes and attempts to summon lost souls through his friend’s invention called a miracle box (the strange, hushed noises that come out of it are actually eerie). But his goal is mostly to help guests feel more connected to the city by telling the stories of people he can prove lived — and died — here.\u003c/p>\n\u003cp>“I think it’s important that history be the focal point of whether a ghost is real or not. I love all this equipment, but history is history. You know?”\u003c/p>\n\u003cfigure id=\"attachment_13936169\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936169\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-04-KQED.jpg\" alt=\"A person holds a device in their hands and looks intently towards a building in an outdoor urban setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-04-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-04-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-04-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-04-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-04-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pamela Price uses an EMF meter to test for ghostly activity during The Haunt ghost tour in San Francisco on Saturday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]B[/dropcap]ut that history sometimes straddles the line between flashlight-under-the-chin campfire tale and gratuitous gore. Halfway through the tour, he proffers a trigger warning before telling the story of two women brutally attacked and killed on Waller Street in the late ‘60s.\u003c/p>\n\u003cp>The ethics of recounting such horrific details is something Netzband mulled over before including this story on his tour. “I grappled with, ‘Did I wanna include this?’” he says. “I told their story because I really believe that you’re not truly dead until you’re forgotten. So I don’t want [that to happen to] these women, who suffered from the hands of these killers. Some didn’t even get justice. … I really grappled with it, but I’m happy I did, because I think I’m letting these women’s story be told.”[ad fullwidth]\u003c/p>\n\u003cp>That’s a common refrain among true crime fans — that telling victims’ stories may bring about justice. But some critics take issue with podcasts and Netflix specials profiting from the worst moments of a person’s life, no matter how long ago they lived. While ghost tours are, at heart, built on such a thing, this crop of guides is updating the local folklore canon with a newfound studiousness and sensitivity — an approach that, considering our history of being socially ahead of the curve, feels very San Franciscan.\u003c/p>\n\u003cp>“You know, you become very empathic in this line of work,” says Netzband. “Hopefully I’ll change peoples’ perceptions on ghosts. That is my goal.”\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003ca href=\"https://thehauntghosttours.com/\">The Haunt\u003c/a> offers ghost tours daily. \u003ca href=\"https://www.sfghosthunt.com/\">San Francisco Ghost Hunt\u003c/a>‘s tours take place Tuesdays-Sundays, with a special VIP magic experience happening Oct. 28-31. \u003ca href=\"https://www.hauntedhaight.com/san-francisco-ghost-tours\">The Haunted Haight Pub Crawl\u003c/a> takes place Oct. 27-31, with new tours coming soon.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Instead of cheap thrills and sensationalism, ghost hunters are using the paranormal as a lens into the past. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">R\u003c/span>\u003c/p>\u003cp>ose Kilgore didn’t know Kelsey Fourdyce in life, but she talks about her all the time.\u003c/p>\n\u003cp>“She was amazing,” she says after leading a tour group around the Financial District, North Beach and Chinatown in San Francisco, sitting on the steps of a church that’s built from the rubble of the 1906 quake. “She spoke three languages, she had a master’s from [Switzerland].”\u003c/p>\n\u003cp>Kilgore knows this because, before incorporating Kelsey’s story into her ghost tour for \u003ca href=\"https://thehauntghosttours.com/tours/san-francisco/?gclid=CjwKCAjw-eKpBhAbEiwAqFL0ms-Vo0ut7LRO6UCGK6ZqAhx_tonq9w36-Q23tbb6GeZ0zpfbHFKHoxoC89AQAvD_BwE\">The Haunt\u003c/a>, she went down a “deep-dive, rabbit-hole” researching Fourdyce’s life, not her death. In 2015, Fourdyce’s body was found in the Great Star Theater in Chinatown, an event splashed across headlines in the Bay Area. The story comes up during Kilgore’s four-minute segment on the Great Star, said to house numerous hauntings (none of them seem to be Fourdyce, though).\u003c/p>\n\u003cp>Kilgore felt that if she was going to recount Fourdyce’s death to tourists and local paranormal enthusiasts, she should learn a little more about who she was beyond the grisly details that remain online.\u003c/p>\n\u003cp>“I thought it was a responsibility [for] me to know about this woman if I’m going to be talking about her all the time,” Kilgore says.\u003c/p>\n\u003cfigure id=\"attachment_13936966\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936966\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/The-Haunt-ghost-tour-Estefany-Gonzalez-001-qut.jpg\" alt=\"A ghost tour guide wearing a microphone holds up an iPad in front of a guest.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-Haunt-ghost-tour-Estefany-Gonzalez-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-Haunt-ghost-tour-Estefany-Gonzalez-001-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-Haunt-ghost-tour-Estefany-Gonzalez-001-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-Haunt-ghost-tour-Estefany-Gonzalez-001-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-Haunt-ghost-tour-Estefany-Gonzalez-001-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-Haunt-ghost-tour-Estefany-Gonzalez-001-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rose Kilgore, tour guide for The Haunt, checks guest in for a ghost tour in San Francisco on Saturday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kilgore’s sensitive approach is indicative of how ghost tours — once silly, campy affairs with jump scares — are changing in San Francisco as culture evolves. Ghost tours tell stories about real people who met gruesome ends, and can drift into true crime. And as true crime comes under increasing criticism for turning the worst moments of peoples’ lives into entertainment, ghost tour guides have begun putting more care into how they treat their subject matter. Instead of sensationalizing murders, many are adding historical context and using the paranormal to explore San Francisco’s fascinating, turbulent past. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Longtime ghost tour guide Christian Cagigal has seen the industry evolve firsthand. He began working for the city’s first ghost tour, \u003ca href=\"https://www.sfghosthunt.com/\">San Francisco Ghost Hunt\u003c/a>, in 1998, and took over the business from its original owner in 2016. He’s watched ghost tours grow from a small niche into a pillar of the tourism economy in San Francisco and many major U.S. cities.\u003c/p>\n\u003cp>When Cagigal started, ghost tours rose from a mid-’90s fascination with the strange and unexplainable. “There was kind of, like, \u003cem>Unsolved Mysteries\u003c/em>, that led to \u003cem>X-Files\u003c/em>, that led to [a] pop culture [where] it didn’t matter if you were a believer in ghosts or vampires or monsters or whatnot.”\u003c/p>\n\u003cp>Back then, Cagigal’s audiences were largely made up of women. But lately, America has found itself in another spooky moment — \u003cem>Stranger Things\u003c/em>, true crime podcasts, \u003ca href=\"https://www.npr.org/2023/07/27/1190390376/ufo-hearing-non-human-biologics-uaps\">congressional hearings on aliens\u003c/a> — and ghost tours now attract far more diverse groups than in years past.\u003c/p>\n\u003cp>“Now it’s across the board,” he says. “It’s the girlfriend buying the ticket for the boyfriend cause he’s really into it. It’s the little boy in the family who dragged the whole family of six cause he really wanted to go on this. So I feel like it’s spread across genders. It’s spreading across whether you believe in ghosts or not.”\u003c/p>\n\u003cfigure id=\"attachment_13936167\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936167\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-02-KQED.jpg\" alt=\"A person holds to long metal rods while surrounded by a group of people in an outdoor urban setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-02-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-02-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-02-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-02-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-02-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tour guide Rose Kilgore (left) shows Colin Rodrigues how to use dowsing rods to attempt communication with spirits during The Haunt ghost tour on Saturday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>hat broadening of ghost-tour audiences is also shifting the way the guides deal with decades-old stories in 2023. Historically, horror has leaned heavily on tropes, some of which we now recognize as harmful: the house built on a cursed Native American burial ground, the haunted asylum. Along with a new softening of the more problematic aspects of true crime, tour guides find themselves doing what they can to counteract stereotypes while still providing thrills and chills.\u003c/p>\n\u003cp>For Kilgore, historical context does the trick. Her tour starts in the Financial District, right under the Transamerica Pyramid. On a warm, recent Saturday night, as she takes her group from North Beach to Chinatown, she takes a few minutes to explain racist city policies carried out against \u003ca href=\"https://www.kqed.org/news/11891987/chinese-immigrants-were-forced-out-of-eureka-in-1885-heres-how-locals-are-making-that-history-known\">Chinese immigrants in the 1800s\u003c/a>. And as we pause again, she makes sure to demarcate the area’s rough-and-tumble early years from its vibrant present.\u003c/p>\n\u003cp>“We tend to talk more about the sinister side of the neighborhood’s history,” Kilgore adds, “and we want to tell you it does not represent the neighborhood to this day, a place we absolutely recommend you stick around for. So after this tour, check it out.”\u003c/p>\n\u003cfigure id=\"attachment_13936170\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-05-KQED.jpg\" alt=\"A group of people across the street from a brightly lit building in an outdoor urban setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The The Haunt ghost tour stops in front of the Great Star Theater in San Francisco on Saturday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kilgore is a second-generation ghost hunter who started out investigating Civil War battlefields with her father. Her tours tend to focus on turn-of-the-century life in San Francisco, rather than convincing guests there are specters around every corner or playing up grisly details for gasps. “[There’s some] people who just wanna glamorize it…like really exaggerate it, in a way,” she says of some ghost-hunting enterprises. “And a lot of these things [that are supposedly hauntings] are just scientific phenomena.”\u003c/p>\n\u003cp>Cagigal, too, tries not to let himself get too wrapped up in the pursuit of a good ghost story if there just isn’t one there. This helps keep his tour grounded in history, and keeps him open to interrogating his own work. “History is a living entity,” he says. “I have a number of biographies that I’m telling, and there was a certain way we would tell them 25 years ago, and now we know better.”\u003c/p>\n\u003cp>He encounters this the most when it comes to his 15-minute opener on \u003ca href=\"https://www.kqed.org/news/11793099/the-secret-history-of-mary-ellen-pleasant\">Mary Ellen Pleasant\u003c/a>, an abolitionist and businesswoman of early San Francisco who is said to haunt the site of her former mansion. “I’m a non-Black male telling a story of a maligned Black woman,” he says. “In 2016, as I was telling the story every single night, I was still telling the old version of the story, the old script I had in my head, because it was just the easiest to do. But as I would hear my own words, I’d be going, ‘Hmm, let me rethink that one for a bit.’”\u003c/p>\n\u003cfigure id=\"attachment_13936166\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936166\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-01-KQED.jpg\" alt=\"Two people close their eyes in the center of a group of people across the street from a brightly lit building in an outdoor urban setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Levi Peterson (center) and Pamela Price participate in a cleansing ritual as part of The Haunt ghost tour on Saturday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the \u003ca href=\"https://www.hauntedhaight.com/\">Haunted Haight Pub Crawl\u003c/a> incorporates ghost-hunting elements — participants are issued electromagnetic frequency readers, devices said to sense spirits — owner and tour guide Tommy Netzband primarily sees ghost stories as a conduit for a city’s history. “History and ghosts, they go hand in hand,” he says while he waits for tonight’s tour group of eight, backlit by the garishly-decorated smoke shop behind him.\u003c/p>\n\u003cp>His aim with all his tours isn’t to put on a dazzling performance — though he does, to a lot of laughs and wisecracks from the audience. He makes side-eyed observations about psychics (“They never have a last name, do they?”), gives out raffle prizes and attempts to summon lost souls through his friend’s invention called a miracle box (the strange, hushed noises that come out of it are actually eerie). But his goal is mostly to help guests feel more connected to the city by telling the stories of people he can prove lived — and died — here.\u003c/p>\n\u003cp>“I think it’s important that history be the focal point of whether a ghost is real or not. I love all this equipment, but history is history. You know?”\u003c/p>\n\u003cfigure id=\"attachment_13936169\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936169\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-04-KQED.jpg\" alt=\"A person holds a device in their hands and looks intently towards a building in an outdoor urban setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-04-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-04-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-04-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-04-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231007-GHOST-TOUR-EG-04-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pamela Price uses an EMF meter to test for ghostly activity during The Haunt ghost tour in San Francisco on Saturday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>ut that history sometimes straddles the line between flashlight-under-the-chin campfire tale and gratuitous gore. Halfway through the tour, he proffers a trigger warning before telling the story of two women brutally attacked and killed on Waller Street in the late ‘60s.\u003c/p>\n\u003cp>The ethics of recounting such horrific details is something Netzband mulled over before including this story on his tour. “I grappled with, ‘Did I wanna include this?’” he says. “I told their story because I really believe that you’re not truly dead until you’re forgotten. So I don’t want [that to happen to] these women, who suffered from the hands of these killers. Some didn’t even get justice. … I really grappled with it, but I’m happy I did, because I think I’m letting these women’s story be told.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s a common refrain among true crime fans — that telling victims’ stories may bring about justice. But some critics take issue with podcasts and Netflix specials profiting from the worst moments of a person’s life, no matter how long ago they lived. While ghost tours are, at heart, built on such a thing, this crop of guides is updating the local folklore canon with a newfound studiousness and sensitivity — an approach that, considering our history of being socially ahead of the curve, feels very San Franciscan.\u003c/p>\n\u003cp>“You know, you become very empathic in this line of work,” says Netzband. “Hopefully I’ll change peoples’ perceptions on ghosts. That is my goal.”\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003ca href=\"https://thehauntghosttours.com/\">The Haunt\u003c/a> offers ghost tours daily. \u003ca href=\"https://www.sfghosthunt.com/\">San Francisco Ghost Hunt\u003c/a>‘s tours take place Tuesdays-Sundays, with a special VIP magic experience happening Oct. 28-31. \u003ca href=\"https://www.hauntedhaight.com/san-francisco-ghost-tours\">The Haunted Haight Pub Crawl\u003c/a> takes place Oct. 27-31, with new tours coming soon.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-hip-hop-photographer-who-makes-guests-feel-at-home",
"title": "The Hip-Hop Photographer Who Makes Guests Feel At Home",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003cem>View the full episode transcript.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Inside of a classic Queen Anne Victorian in West Oakland, photographer \u003ca href=\"https://www.instagram.com/tracibartlow/\" target=\"_blank\" rel=\"noopener noreferrer\">Traci Bartlow\u003c/a> displays beautifully framed images of the people who shaped hip-hop culture here in the Bay Area, and across the nation.\u003c/p>\n\u003cp>Her exhibition, \u003cem>Oakland Picture Lady: Tales of the 90’s Girl\u003c/em>, features photos of Outkast and Queen Latifah, Busta Rhymes and ODB, alongside images of the Luniz and Shock-G, as well as E-40 and The Click.\u003c/p>\n\u003cp>While the photos tell a story about what life was like in growing up in Oakland, it’s her house that tells \u003ca href=\"https://www.instagram.com/p/CxjCC5Uv62l/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA==\">the complex story of multiple generations of Black folks\u003c/a>, land ownership and community appreciation.\u003c/p>\n\u003cp>Traci is the owner of \u003ca href=\"https://www.b-lovesguesthouse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">B-Love’s Guesthouse\u003c/a>, which is a photography museum and a boutique hotel. With its picturesque front porch and flourishing garden in the back, the building features seven different rooms that folks can rent.\u003c/p>\n\u003cfigure id=\"attachment_13920339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920339\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04426-800x535.jpg\" alt=\"Traci Bartlow holds up an image of the wash house her mother once owned in East Oakland. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow holds up an image of the washhouse her mother once owned in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An \u003ca href=\"https://www.alvinailey.org/school\">Ailey School\u003c/a> graduate turned \u003ca href=\"https://www.youtube.com/watch?v=LjBa6yqRau4\">Emmy-winning dancer\u003c/a> and choreographer, Traci fell in love with the arts through what she experienced in her neighborhood as a child. Block parties and family functions introduced her to her love of dance.\u003c/p>\n\u003cp>Born and raised in East Oakland, she also saw firsthand the importance of a neighborhood hub by watching the multiple ways people would use her mother’s washhouse. It wasn’t just a laundromat but a corner store, a place to get your prom dress made or pick up your Avon order.\u003c/p>\n\u003cp>She acquired her current home from the late Eddie Mae Holmes, a Black woman who once owned multiple properties in West Oakland. And Traci envisioned using the space for the purposes of artistic expression and community gatherings, including showcasing her work. Now B-Love’s Guesthouse stands as a home for hip-hop history and a safe haven for folks to come together.\u003c/p>\n\u003cfigure id=\"attachment_13920342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13920342 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04446-800x535.jpg\" alt=\"Traci Bartlow.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow sits on the stairwell of her Queen Ann Victorian home in West Oakland \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3179587234&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>This episode originally aired on October 14, 2022 .\u003c/em>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena, Producer: \u003c/b>\u003cspan style=\"font-weight: 400\">Hey Rightnowish listeners, it’s Marisol Medina-Cadena. As we continue to honor 50 Years of Hip-Hop, we’re bringing you an episode from our archive featuring dancer and photographer Traci Bartlow.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Traci documented Bay Area dancers, rappers, and dj’s in the 90’s and still hasn’t put the camera down. \u003c/span>\u003cspan style=\"font-weight: 400\">This summer, the inaugural Bay Area Hip Hop Archives honored Traci Bartlow for her contributions to the region’s Hip Hop scene. \u003c/span>\u003cspan style=\"font-weight: 400\">And Pendarvis Harshaw is gonna take it from here, enjoy. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">] \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Mic, mic check one, mic check two. Are we here? All right we’re here…Rightnowish. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Street ambience ]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Do you know what type of tree it is?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s called a bottle brush tree.Usually it’s full of these bright red flowers with skinny pistils and the hummingbirds love it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> Why start here on your tour? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s in the shade and it’s a moment to get a feel for the house and the neighborhood. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hey y’all, what’s happening? You’re listening to Rightnowish, a podcast about arts and culture in the bay area. I’m your partna Pen…Pendarvis Harshaw. And today, we’re gonna spend some time in West Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The neighborhood looks hella different than it did when I was coming up, but all is not lost. There’s still places and people that have weathered the market forces to maintain the character of the area. \u003c/span>\u003cspan style=\"font-weight: 400\">Like this Victorian house I’m standing in front of with today’s guest, Traci Bartlow. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> This is a Queen Anne Victorian house and it was built in 1895. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s painted white with a mix of soft yellow and sky blue accents. Potted roses and succulents line the stairwell.. and it’s got this half arch that extends from the porch and frames the door, almost like a house you’d see in a storybook. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> It seems like they wanted to make it look like a castle! You know, like with the high ceilings, this beautiful arc, all of this really unique molding on the house. Everything is really grand. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Traci’s home is also a boutique hotel called B-Love’s Guesthouse, where you can rent a room for a day or two. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> B-Love’s Guesthouse has served as a healing space and a respite in many different ways. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s also a photography museum where you could spend an hour or two just soaking up the rich history. This month, Traci is exhibiting photos she shot of the Town, including images that graced the pages of historic magazines like The Source and Rap Pages.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> This image here is the Hobo Junction. And I love this image because they’re selling their tapes out of a box on Telegraph Avenue. In front of the record store! That’s how we did in the nineties.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> She had a front row seat to the artists who shaped both the Bay Area hip hop scene and the national hip hop scene. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow: \u003c/b>\u003cspan style=\"font-weight: 400\">These pictures are fun! Busta Rhymes and ODB. This was on the set of Busta’s music video. “Woo-ha! Got You All In Check.” \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Okay yeah.. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes, so he shot the video in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">San Francisco, and so I came out to capture photographs and… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> What?\u003c/span> \u003cspan style=\"font-weight: 400\">That’s tight as hell. I didn’t know that.. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yep! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s Isha B doing ODB’s hair?! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Isha B did ODB’s hair?? What?? That’s crazy!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b> \u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Yep, classic history!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Woah, okay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, today we’re focused on Traci Bartlow’s dope photo archive and the story behind the place where these photos are housed. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So wipe your kicks at the door, hang up your coat, relax your shoulders,\u003c/span> \u003cspan style=\"font-weight: 400\">and take a deep breath: we’re posting up at B-Love’s Guesthouse. Right after this…\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\"> [Outdoor Ambience]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Just a few blocks from the women of the Black Panther Party mural and west Oakland Bart station is Traci Bartlow’s home and hotel. It’s a residential street with lots of history… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> I acquired this house in 2007 and I acquired the house from a team of people that would buy houses, flip them, and then sell them. They bought the house from a woman named Eddie Mae Holmes. And Ms. Holmes was an African-American woman that came to West Oakland when she was 14 years old. And, um, through her family ownership, she acquired this house, the house I now own, this house on the corner. And in 1965, she had that apartment building around the corner built and on the lower level of the apartment building, she had Holmes Barber Shop. So Ms.Holmes is one of those black women in the community that was providing in so many different ways for everyone. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ms. Holmes was my friend! I used to make ginger tea and go sit in the kitchen in her house and we would watch The View in the mornings. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cem>\u003cspan style=\"font-weight: 400\">[Laughs\u003c/span>\u003c/em>\u003cspan style=\"font-weight: 400\">\u003cem>]\u003c/em> Okay! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> She was my partna! And she was just really amazed by me like, ‘Oh, this is who bought the house?’ And so she was really encouraging to me as a property owner. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">About 15 years ago, Traci converted her home into a guesthouse. People can choose from one of seven rooms for an overnight stay. And at the same time, folks can enjoy the framed photos from Traci’s archives. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Okay here is B-Love’s Guesthouse.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Traci leads me to the kitchenette of the downstairs guest house. Above a small dining room table they’re framed black and white images of kids. I see little girls with barrettes in their hair. In another image, the camera is pointed toward a window sill where a boy with a D.A.R.E. t-shirt is joined by family members, as he looks directly into the camera while eating his cup of noodles. In the background of these images are the streets and structures of the houses in East Oakland– they too are featured characters in the composition of these images. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> This photo collection. Ah, this all from the neighborhood? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> These are from my neighborhood.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The brick cell phone? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I mean, the hairdo, of course, in the fashion. But the brick cell phone and the leaning like “Talk to me and Imma talk back.” That’s what she looks like. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow: \u003c/b>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">laughs\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> This one. This one as well with the cross colors and then this Benz and even the Lack behind it\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\"> [Music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The photos are a time machine, instantly transporting me back to the East Oakland that I knew as a youth. Outfits that my sister used to rock. And facial expressions looking like kids I used to kick it with. Squinting, I look for a familiar face or two.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> These are people that I grew up with. You know, we went to middle school and high school together. My mother owned the laundromat on 98th and Birch, and so everyone would come and do their laundry at my mom’s laundromat. And her business wasn’t just where you can do your laundry. It was like a community center \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> where my mom had a sewing machine in the corner and she would do alterations and she would make prom dresses and make outfits for people. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> She also sold Avon, and um we had a little store in the back where you could buy candy and chips and sandwiches, and I would make homemade cookies and we would have those ghetto Icees, you know, like Kool-Aid in a cup. So people were always coming to the laundromat. They were like, Miss Bartlow, did you? Can you hem the skirt? And is my Avon ready? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Taken by the beauty of her community and the joy of capturing it on film, Traci started a photography business, shooting people’s portraits and printing them for $2. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> And if I didn’t see people in the neighborhood, when I would bring them, I would be like, ‘Oh, stop by the wash house and pick up your order of photos.’ \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Even before she got into photography, Traci was already into the arts. At age 19, Traci was awarded a scholarship to study dance at New York’s Alvin Ailey Dance Center. A dancer since a kid, she was inspired by both the entertainers she saw on TV and the way folks moved in her community– the family gatherings and community kickbacks–so, this was a dream come true. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> This is a picture of my mom escorting me to audition for the Alvin Ailey School when I was 19 years old. We’re at the 34th Street Station in New York City. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> And she’s beaming. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> She’s beaming! Yes! My mom was very supportive of my dance career.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> After finishing the two year professional dance training program, she took performing gigs across the globe. One thing led to another and Traci dabbled in modeling before picking up the camera herself. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> I would also find myself at modeling shoots and just be like, ‘What kind of light is that? Oh, that’s a diffuser? What does that do?’ So I was interested in the hardware of photography. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> It was just like this natural progression of me knowing about photography and wanting to learn more and also the way I would study magazine layouts. Then I had this eye for how I wanted to capture a photograph. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Traci made her way back to Oakland and this time she \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">really\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> picked up the film camera. She saw the beauty and life in her neighbors and wanted to document that with the same eye and artfulness that fashion magazine photographers did. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> My neighbors were amused with me. \u003c/span>\u003cspan style=\"font-weight: 400\">Like, ‘You’ve been living in New York City. Oh you want us to pose?’ Like, so I would always have my camera. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">If it was a holiday, a cook, a cookout, kind of holiday. Memorial Day, 4th of July. I would just come outside and take pictures and hang out. So when they saw me, they’re like, ‘Heyyyy! \u003c/span>\u003cspan style=\"font-weight: 400\">Picture time! Yeah, here come the photo lady, l\u003c/span>\u003cspan style=\"font-weight: 400\">et’s get ready. She’s going to take our picture!’ \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Traci’s background in dance soon became the focus of her photography. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m self-taught, so I started photographing other dancers. And you’ll see many images from this photo shoot, because this was an assignment I gave myself to practice with high speed film. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> We make our way from guest room to guest room, photos hung everywhere. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s this one black and white image of teenage b-boy dancers in throwback gear: one is rocking a visor, another in a pair of Marvin the martian shorts– just dripping with youthful 90s flavor. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In front of a brick wall, one guy is doing a crazy handstand and the other is seen jumping 3 feet off the ground hitting a pose. In spite of all the movement, everything is captured in crisp detail, no blur. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> And the dancers are two of the members of Housing Authority. And Housing Authority was this bad ass crew of all male dancers from Oakland and Richmond, Black and brown men. And they were running things in the nineties. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> One of the dancers in the photo is Fly Styles who went on to be a successful backup dancer and choreographer for musicians like Usher and Missy Elliot. Same goes for other Town folks that Traci has photographed in the 90s. Most are now thriving in the entertainment world or powerhouses in the local arts and culture scene. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> This is Aisha Bilal, Layla Jenkins, Asha Karima and Ingrid Best. We were at \u003c/span>\u003cspan style=\"font-weight: 400\">DeFremery Park \u003c/span>\u003cspan style=\"font-weight: 400\">at an event there. This is 1997. We were having a conversation. And in that moment, I just stepped back from the cipher and leaned down and captured this photograph of them. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Black and white, the posture, arms across, you know, like stoic for the most part and angled up. You’re like looking up at them. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> My tentative title for this one is “Giant” because of how larger than life these women are, not only in the photograph, but in real life. They have all been just very powerful and dynamic in their lives, in their families, in their communities, in business. It’s really amazing just to see who these women are even today. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Look, she really has a house full of anecdotal stories about artists at every turn. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Here we are… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Entering the next room. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> So this is one of the rooms that I rent out for B-Love’s Guesthouse, and people are just, like, rejuvenated and just excited to have a good night’s rest in this comfortable plush queen bed surrounded by all this art, these high ceilings, chandelier, and just this big picture window that brings so much morning sunlight into the room.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You’ve got some legends in here. Like, that’s a portrait of Shock G, the late. And this is the Luniz it looks like. That’s fresh out of high school Luniz. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b> \u003ci>\u003cspan style=\"font-weight: 400\"> [laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">That picture was taken backstage as Summer Jam… mhmmm \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cspan style=\"font-weight: 400\"> This is ’97. So this is yeah, post “I Got Five On It.”\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> They are still riding that wave. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b> \u003cspan style=\"font-weight: 400\">Mm. Mm mm.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> O\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">ne of the things I would do as a photographer in starting out and being self-taught is, I would get a great photo of an artist. I would look on the liner notes of their album and find out who the management was, send them the photo with the cover letter and introduce myself. Sometimes I would write with a ballpoint pen on the back of the photo, like “photo by Tracy Barlow. Copyright 1994.” \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> To break into the industry, Traci had to put herself out there. And with all those portraits that she shot of her neighbors, dancer friends, and hip hop artists on the rise– that became her portfolio of work that she carried with her in a Walgreens photo album just waiting for that right moment when she’d have to pull it out.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> And so I talked my way into Chi Modu’s office! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The late Chi Modu is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">thee\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> late ‘90s hip-hop photographer. He famously photographed Biggie, Eazy-E, Mobb Deep, Nas, members of the Wu Tang Clan, and Tupac. His artwork is culture visualized. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> And I said, ‘I’m from Oakland, and if I get pictures of the scene in Oakland, then maybe you could publish them in your magazine?’\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And he looked at this portfolio with all these faces from deep East Oakland, and he was like, ‘You have a good eye.’ He said, ‘Let’s do it. You capture photos of the scene. Maybe we’ll publish them.’ And the first photo that was published was this image of Hiero at Hip Hop on the Green, and this was published in the Source Magazine. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music ] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">Hip Hop On the Green was this dope outdoor concert that was held in the East Bay throughout the 90s. And Traci was there to document it! Her photos of the event helped spread awareness of Bay Area Hip Hop Culture to the rest of the country. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\">From Hip Hop On the Green…look at E-40. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Oh, Mail Man time. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\">Yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Mail Man! Okay, Slurricane. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, the Mossie. B-legit.\u003c/span> \u003cspan style=\"font-weight: 400\">Suga-T\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">Oooh, look at the finger waves. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes and the Cross Colours. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Nice! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It should be noted that while Traci is fully in community with folks, she’s largely doing this on her own: Her photos. Her home. Her idea. And her actualization. She’s not waiting around for someone to give her a platform or to recognize her contributions to the culture, she’s just doing it herself.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And in a place where Black folks have been under-resourced, overpoliced, locked-up and pushed out of the Town for decades, for her to hold space for herself, her work and her community? Cmon, man, we’ve gotta recognize the power in that. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b> \u003cspan style=\"font-weight: 400\">I’m amazed that I survived foreclosure. There was many moments of just the spirit of detachment. This may not work out. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> I would come home. Those notices were posted on my front door. This house is up for auction on the county courthouse steps at 6 a.m.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> After surviving foreclosure, Traci opened up her space, allowing people to rent out rooms. The guests? It started with her network of artist friends… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow: \u003c/b>\u003cspan style=\"font-weight: 400\">And I was like, Well, I think I’m going to start renting out rooms to people that I know that are coming to town for residencies, for conferences, for events, for direct actions. Like these are people that I know come to the Bay Area for these different things. I know all the African dance festivals. I know the B Boys, I know the film festivals, I know the National Poetry Slams. Like, that’s my life! Artists and activism is my life. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">That’s beautiful… to have it come almost naturally, like from your experience is poured into you and also it benefits the larger community. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, there are people in this neighborhood that have been here for a long time, as well as a mix of new people that are coming in. So to honor this history of the black experience in West Oakland is really important to me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The house itself is preserving history. And then within the house you have history on the walls. And it’s not all historical, it’s forward moving, like you have people coming through in real time\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">…who are \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">culture makers, people, cultural icons, you know. And so I just wanted to get a sense of some of the people who’ve come through here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes!!! Norma Miller, the queen of swing! The Lindy Hop champion! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">S\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">he’ll be like,’ Nope, I don’t want to be at the Marriott.’ She’s like, ‘I want to be at B-Love’s Guesthouse.’\u003c/span>\u003cspan style=\"font-weight: 400\"> Because it was like she wanted to be immersed in Black culture.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">B-Girl FaTara from New York. She came out for a breaking event here in Oakland. And she said, ‘I’ve stayed at so many AirBnbs, but this is like a Black house, like the incense you have burning, the beans you got cooking, like it smells and feels like the house of an African American person.’\u003c/span> \u003cspan style=\"font-weight: 400\">So people are coming here and they may be in this gentrified neighborhood, but they’re like, Oh, but this is I, this is the Black lady’s house! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> ‘Thank you’ doesn’t do justice, man. I want to offer my sincere appreciation to Traci Bartlow. Thank you for your art, your hospitality and for your time. Also, thanks for being a pleasant community member, just a delightful person to see at an event and around the Town. Thank you. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can find more information at b-lovesguesthouse.com or \u003c/span>\u003ca href=\"https://www.instagram.com/blovesguesthouse/#\">\u003cspan style=\"font-weight: 400\">blovesguesthouse on Instagram. \u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Traci’s instagram is tracibartlow and we’ll add a link to more information on her photo exhibit to the show notes. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Time to give credit where it’s due:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Marisol Medina-Cadena came with me and Traci on this tour, and then produced this joint. Thank you Marisol. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Suzie Racho and Jen Chien edited this one, \u003c/span>\u003cspan style=\"font-weight: 400\">Christopher Beal engineered this one. \u003c/span>\u003cspan style=\"font-weight: 400\">Ryce Stoughtenborough is our engagement intern and Justin Ebramehimi and Ria Garewal are the engagement leads. \u003c/span>\u003cspan style=\"font-weight: 400\">Ethan Toven Lindsey, Jen Chien and Holly Kernan are the KQED execs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m your host Pendarvis Harshaw! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thanks! Much love and peace to you. Till’ next time.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Traci Bartlow's home is a showcase for her work and holds the history of her West Oakland neighborhood.",
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"title": "The Hip-Hop Photographer Who Makes Guests Feel At Home | KQED",
"description": "Inside of a classic Queen Anne Victorian in West Oakland, photographer Traci Bartlow displays beautifully framed images of the people who shaped hip-hop culture here in the Bay Area, and across the nation. While the photos tell a story about what life was like in growing up in Oakland, it's her house, which is a photography museum and a boutique hotel, that tells the complex story of multiple generations of Black folks, land ownership and community appreciation.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003cem>View the full episode transcript.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Inside of a classic Queen Anne Victorian in West Oakland, photographer \u003ca href=\"https://www.instagram.com/tracibartlow/\" target=\"_blank\" rel=\"noopener noreferrer\">Traci Bartlow\u003c/a> displays beautifully framed images of the people who shaped hip-hop culture here in the Bay Area, and across the nation.\u003c/p>\n\u003cp>Her exhibition, \u003cem>Oakland Picture Lady: Tales of the 90’s Girl\u003c/em>, features photos of Outkast and Queen Latifah, Busta Rhymes and ODB, alongside images of the Luniz and Shock-G, as well as E-40 and The Click.\u003c/p>\n\u003cp>While the photos tell a story about what life was like in growing up in Oakland, it’s her house that tells \u003ca href=\"https://www.instagram.com/p/CxjCC5Uv62l/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA==\">the complex story of multiple generations of Black folks\u003c/a>, land ownership and community appreciation.\u003c/p>\n\u003cp>Traci is the owner of \u003ca href=\"https://www.b-lovesguesthouse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">B-Love’s Guesthouse\u003c/a>, which is a photography museum and a boutique hotel. With its picturesque front porch and flourishing garden in the back, the building features seven different rooms that folks can rent.\u003c/p>\n\u003cfigure id=\"attachment_13920339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920339\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04426-800x535.jpg\" alt=\"Traci Bartlow holds up an image of the wash house her mother once owned in East Oakland. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow holds up an image of the washhouse her mother once owned in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An \u003ca href=\"https://www.alvinailey.org/school\">Ailey School\u003c/a> graduate turned \u003ca href=\"https://www.youtube.com/watch?v=LjBa6yqRau4\">Emmy-winning dancer\u003c/a> and choreographer, Traci fell in love with the arts through what she experienced in her neighborhood as a child. Block parties and family functions introduced her to her love of dance.\u003c/p>\n\u003cp>Born and raised in East Oakland, she also saw firsthand the importance of a neighborhood hub by watching the multiple ways people would use her mother’s washhouse. It wasn’t just a laundromat but a corner store, a place to get your prom dress made or pick up your Avon order.\u003c/p>\n\u003cp>She acquired her current home from the late Eddie Mae Holmes, a Black woman who once owned multiple properties in West Oakland. And Traci envisioned using the space for the purposes of artistic expression and community gatherings, including showcasing her work. Now B-Love’s Guesthouse stands as a home for hip-hop history and a safe haven for folks to come together.\u003c/p>\n\u003cfigure id=\"attachment_13920342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13920342 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04446-800x535.jpg\" alt=\"Traci Bartlow.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow sits on the stairwell of her Queen Ann Victorian home in West Oakland \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3179587234&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>This episode originally aired on October 14, 2022 .\u003c/em>\u003c/div>",
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"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena, Producer: \u003c/b>\u003cspan style=\"font-weight: 400\">Hey Rightnowish listeners, it’s Marisol Medina-Cadena. As we continue to honor 50 Years of Hip-Hop, we’re bringing you an episode from our archive featuring dancer and photographer Traci Bartlow.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Traci documented Bay Area dancers, rappers, and dj’s in the 90’s and still hasn’t put the camera down. \u003c/span>\u003cspan style=\"font-weight: 400\">This summer, the inaugural Bay Area Hip Hop Archives honored Traci Bartlow for her contributions to the region’s Hip Hop scene. \u003c/span>\u003cspan style=\"font-weight: 400\">And Pendarvis Harshaw is gonna take it from here, enjoy. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">] \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Mic, mic check one, mic check two. Are we here? All right we’re here…Rightnowish. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Street ambience ]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Do you know what type of tree it is?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s called a bottle brush tree.Usually it’s full of these bright red flowers with skinny pistils and the hummingbirds love it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> Why start here on your tour? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s in the shade and it’s a moment to get a feel for the house and the neighborhood. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hey y’all, what’s happening? You’re listening to Rightnowish, a podcast about arts and culture in the bay area. I’m your partna Pen…Pendarvis Harshaw. And today, we’re gonna spend some time in West Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The neighborhood looks hella different than it did when I was coming up, but all is not lost. There’s still places and people that have weathered the market forces to maintain the character of the area. \u003c/span>\u003cspan style=\"font-weight: 400\">Like this Victorian house I’m standing in front of with today’s guest, Traci Bartlow. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> This is a Queen Anne Victorian house and it was built in 1895. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s painted white with a mix of soft yellow and sky blue accents. Potted roses and succulents line the stairwell.. and it’s got this half arch that extends from the porch and frames the door, almost like a house you’d see in a storybook. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> It seems like they wanted to make it look like a castle! You know, like with the high ceilings, this beautiful arc, all of this really unique molding on the house. Everything is really grand. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Traci’s home is also a boutique hotel called B-Love’s Guesthouse, where you can rent a room for a day or two. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> B-Love’s Guesthouse has served as a healing space and a respite in many different ways. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s also a photography museum where you could spend an hour or two just soaking up the rich history. This month, Traci is exhibiting photos she shot of the Town, including images that graced the pages of historic magazines like The Source and Rap Pages.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> This image here is the Hobo Junction. And I love this image because they’re selling their tapes out of a box on Telegraph Avenue. In front of the record store! That’s how we did in the nineties.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> She had a front row seat to the artists who shaped both the Bay Area hip hop scene and the national hip hop scene. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow: \u003c/b>\u003cspan style=\"font-weight: 400\">These pictures are fun! Busta Rhymes and ODB. This was on the set of Busta’s music video. “Woo-ha! Got You All In Check.” \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Okay yeah.. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes, so he shot the video in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">San Francisco, and so I came out to capture photographs and… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> What?\u003c/span> \u003cspan style=\"font-weight: 400\">That’s tight as hell. I didn’t know that.. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yep! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s Isha B doing ODB’s hair?! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Isha B did ODB’s hair?? What?? That’s crazy!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b> \u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Yep, classic history!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Woah, okay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, today we’re focused on Traci Bartlow’s dope photo archive and the story behind the place where these photos are housed. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So wipe your kicks at the door, hang up your coat, relax your shoulders,\u003c/span> \u003cspan style=\"font-weight: 400\">and take a deep breath: we’re posting up at B-Love’s Guesthouse. Right after this…\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\"> [Outdoor Ambience]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Just a few blocks from the women of the Black Panther Party mural and west Oakland Bart station is Traci Bartlow’s home and hotel. It’s a residential street with lots of history… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> I acquired this house in 2007 and I acquired the house from a team of people that would buy houses, flip them, and then sell them. They bought the house from a woman named Eddie Mae Holmes. And Ms. Holmes was an African-American woman that came to West Oakland when she was 14 years old. And, um, through her family ownership, she acquired this house, the house I now own, this house on the corner. And in 1965, she had that apartment building around the corner built and on the lower level of the apartment building, she had Holmes Barber Shop. So Ms.Holmes is one of those black women in the community that was providing in so many different ways for everyone. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ms. Holmes was my friend! I used to make ginger tea and go sit in the kitchen in her house and we would watch The View in the mornings. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cem>\u003cspan style=\"font-weight: 400\">[Laughs\u003c/span>\u003c/em>\u003cspan style=\"font-weight: 400\">\u003cem>]\u003c/em> Okay! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> She was my partna! And she was just really amazed by me like, ‘Oh, this is who bought the house?’ And so she was really encouraging to me as a property owner. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">About 15 years ago, Traci converted her home into a guesthouse. People can choose from one of seven rooms for an overnight stay. And at the same time, folks can enjoy the framed photos from Traci’s archives. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Okay here is B-Love’s Guesthouse.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Traci leads me to the kitchenette of the downstairs guest house. Above a small dining room table they’re framed black and white images of kids. I see little girls with barrettes in their hair. In another image, the camera is pointed toward a window sill where a boy with a D.A.R.E. t-shirt is joined by family members, as he looks directly into the camera while eating his cup of noodles. In the background of these images are the streets and structures of the houses in East Oakland– they too are featured characters in the composition of these images. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> This photo collection. Ah, this all from the neighborhood? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> These are from my neighborhood.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The brick cell phone? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I mean, the hairdo, of course, in the fashion. But the brick cell phone and the leaning like “Talk to me and Imma talk back.” That’s what she looks like. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow: \u003c/b>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">laughs\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> This one. This one as well with the cross colors and then this Benz and even the Lack behind it\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\"> [Music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The photos are a time machine, instantly transporting me back to the East Oakland that I knew as a youth. Outfits that my sister used to rock. And facial expressions looking like kids I used to kick it with. Squinting, I look for a familiar face or two.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> These are people that I grew up with. You know, we went to middle school and high school together. My mother owned the laundromat on 98th and Birch, and so everyone would come and do their laundry at my mom’s laundromat. And her business wasn’t just where you can do your laundry. It was like a community center \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> where my mom had a sewing machine in the corner and she would do alterations and she would make prom dresses and make outfits for people. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> She also sold Avon, and um we had a little store in the back where you could buy candy and chips and sandwiches, and I would make homemade cookies and we would have those ghetto Icees, you know, like Kool-Aid in a cup. So people were always coming to the laundromat. They were like, Miss Bartlow, did you? Can you hem the skirt? And is my Avon ready? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Taken by the beauty of her community and the joy of capturing it on film, Traci started a photography business, shooting people’s portraits and printing them for $2. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> And if I didn’t see people in the neighborhood, when I would bring them, I would be like, ‘Oh, stop by the wash house and pick up your order of photos.’ \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Even before she got into photography, Traci was already into the arts. At age 19, Traci was awarded a scholarship to study dance at New York’s Alvin Ailey Dance Center. A dancer since a kid, she was inspired by both the entertainers she saw on TV and the way folks moved in her community– the family gatherings and community kickbacks–so, this was a dream come true. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> This is a picture of my mom escorting me to audition for the Alvin Ailey School when I was 19 years old. We’re at the 34th Street Station in New York City. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> And she’s beaming. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> She’s beaming! Yes! My mom was very supportive of my dance career.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> After finishing the two year professional dance training program, she took performing gigs across the globe. One thing led to another and Traci dabbled in modeling before picking up the camera herself. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> I would also find myself at modeling shoots and just be like, ‘What kind of light is that? Oh, that’s a diffuser? What does that do?’ So I was interested in the hardware of photography. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> It was just like this natural progression of me knowing about photography and wanting to learn more and also the way I would study magazine layouts. Then I had this eye for how I wanted to capture a photograph. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Traci made her way back to Oakland and this time she \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">really\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> picked up the film camera. She saw the beauty and life in her neighbors and wanted to document that with the same eye and artfulness that fashion magazine photographers did. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> My neighbors were amused with me. \u003c/span>\u003cspan style=\"font-weight: 400\">Like, ‘You’ve been living in New York City. Oh you want us to pose?’ Like, so I would always have my camera. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">If it was a holiday, a cook, a cookout, kind of holiday. Memorial Day, 4th of July. I would just come outside and take pictures and hang out. So when they saw me, they’re like, ‘Heyyyy! \u003c/span>\u003cspan style=\"font-weight: 400\">Picture time! Yeah, here come the photo lady, l\u003c/span>\u003cspan style=\"font-weight: 400\">et’s get ready. She’s going to take our picture!’ \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Traci’s background in dance soon became the focus of her photography. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m self-taught, so I started photographing other dancers. And you’ll see many images from this photo shoot, because this was an assignment I gave myself to practice with high speed film. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> We make our way from guest room to guest room, photos hung everywhere. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s this one black and white image of teenage b-boy dancers in throwback gear: one is rocking a visor, another in a pair of Marvin the martian shorts– just dripping with youthful 90s flavor. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In front of a brick wall, one guy is doing a crazy handstand and the other is seen jumping 3 feet off the ground hitting a pose. In spite of all the movement, everything is captured in crisp detail, no blur. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> And the dancers are two of the members of Housing Authority. And Housing Authority was this bad ass crew of all male dancers from Oakland and Richmond, Black and brown men. And they were running things in the nineties. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> One of the dancers in the photo is Fly Styles who went on to be a successful backup dancer and choreographer for musicians like Usher and Missy Elliot. Same goes for other Town folks that Traci has photographed in the 90s. Most are now thriving in the entertainment world or powerhouses in the local arts and culture scene. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> This is Aisha Bilal, Layla Jenkins, Asha Karima and Ingrid Best. We were at \u003c/span>\u003cspan style=\"font-weight: 400\">DeFremery Park \u003c/span>\u003cspan style=\"font-weight: 400\">at an event there. This is 1997. We were having a conversation. And in that moment, I just stepped back from the cipher and leaned down and captured this photograph of them. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Black and white, the posture, arms across, you know, like stoic for the most part and angled up. You’re like looking up at them. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> My tentative title for this one is “Giant” because of how larger than life these women are, not only in the photograph, but in real life. They have all been just very powerful and dynamic in their lives, in their families, in their communities, in business. It’s really amazing just to see who these women are even today. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Look, she really has a house full of anecdotal stories about artists at every turn. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Here we are… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Entering the next room. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> So this is one of the rooms that I rent out for B-Love’s Guesthouse, and people are just, like, rejuvenated and just excited to have a good night’s rest in this comfortable plush queen bed surrounded by all this art, these high ceilings, chandelier, and just this big picture window that brings so much morning sunlight into the room.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You’ve got some legends in here. Like, that’s a portrait of Shock G, the late. And this is the Luniz it looks like. That’s fresh out of high school Luniz. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b> \u003ci>\u003cspan style=\"font-weight: 400\"> [laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">That picture was taken backstage as Summer Jam… mhmmm \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cspan style=\"font-weight: 400\"> This is ’97. So this is yeah, post “I Got Five On It.”\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> They are still riding that wave. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b> \u003cspan style=\"font-weight: 400\">Mm. Mm mm.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> O\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">ne of the things I would do as a photographer in starting out and being self-taught is, I would get a great photo of an artist. I would look on the liner notes of their album and find out who the management was, send them the photo with the cover letter and introduce myself. Sometimes I would write with a ballpoint pen on the back of the photo, like “photo by Tracy Barlow. Copyright 1994.” \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> To break into the industry, Traci had to put herself out there. And with all those portraits that she shot of her neighbors, dancer friends, and hip hop artists on the rise– that became her portfolio of work that she carried with her in a Walgreens photo album just waiting for that right moment when she’d have to pull it out.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> And so I talked my way into Chi Modu’s office! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The late Chi Modu is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">thee\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> late ‘90s hip-hop photographer. He famously photographed Biggie, Eazy-E, Mobb Deep, Nas, members of the Wu Tang Clan, and Tupac. His artwork is culture visualized. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> And I said, ‘I’m from Oakland, and if I get pictures of the scene in Oakland, then maybe you could publish them in your magazine?’\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And he looked at this portfolio with all these faces from deep East Oakland, and he was like, ‘You have a good eye.’ He said, ‘Let’s do it. You capture photos of the scene. Maybe we’ll publish them.’ And the first photo that was published was this image of Hiero at Hip Hop on the Green, and this was published in the Source Magazine. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music ] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">Hip Hop On the Green was this dope outdoor concert that was held in the East Bay throughout the 90s. And Traci was there to document it! Her photos of the event helped spread awareness of Bay Area Hip Hop Culture to the rest of the country. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\">From Hip Hop On the Green…look at E-40. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Oh, Mail Man time. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\">Yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Mail Man! Okay, Slurricane. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, the Mossie. B-legit.\u003c/span> \u003cspan style=\"font-weight: 400\">Suga-T\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">Oooh, look at the finger waves. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes and the Cross Colours. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Nice! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It should be noted that while Traci is fully in community with folks, she’s largely doing this on her own: Her photos. Her home. Her idea. And her actualization. She’s not waiting around for someone to give her a platform or to recognize her contributions to the culture, she’s just doing it herself.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And in a place where Black folks have been under-resourced, overpoliced, locked-up and pushed out of the Town for decades, for her to hold space for herself, her work and her community? Cmon, man, we’ve gotta recognize the power in that. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b> \u003cspan style=\"font-weight: 400\">I’m amazed that I survived foreclosure. There was many moments of just the spirit of detachment. This may not work out. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> I would come home. Those notices were posted on my front door. This house is up for auction on the county courthouse steps at 6 a.m.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> After surviving foreclosure, Traci opened up her space, allowing people to rent out rooms. The guests? It started with her network of artist friends… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow: \u003c/b>\u003cspan style=\"font-weight: 400\">And I was like, Well, I think I’m going to start renting out rooms to people that I know that are coming to town for residencies, for conferences, for events, for direct actions. Like these are people that I know come to the Bay Area for these different things. I know all the African dance festivals. I know the B Boys, I know the film festivals, I know the National Poetry Slams. Like, that’s my life! Artists and activism is my life. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">That’s beautiful… to have it come almost naturally, like from your experience is poured into you and also it benefits the larger community. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, there are people in this neighborhood that have been here for a long time, as well as a mix of new people that are coming in. So to honor this history of the black experience in West Oakland is really important to me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The house itself is preserving history. And then within the house you have history on the walls. And it’s not all historical, it’s forward moving, like you have people coming through in real time\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">…who are \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">culture makers, people, cultural icons, you know. And so I just wanted to get a sense of some of the people who’ve come through here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes!!! Norma Miller, the queen of swing! The Lindy Hop champion! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">S\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">he’ll be like,’ Nope, I don’t want to be at the Marriott.’ She’s like, ‘I want to be at B-Love’s Guesthouse.’\u003c/span>\u003cspan style=\"font-weight: 400\"> Because it was like she wanted to be immersed in Black culture.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">B-Girl FaTara from New York. She came out for a breaking event here in Oakland. And she said, ‘I’ve stayed at so many AirBnbs, but this is like a Black house, like the incense you have burning, the beans you got cooking, like it smells and feels like the house of an African American person.’\u003c/span> \u003cspan style=\"font-weight: 400\">So people are coming here and they may be in this gentrified neighborhood, but they’re like, Oh, but this is I, this is the Black lady’s house! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> ‘Thank you’ doesn’t do justice, man. I want to offer my sincere appreciation to Traci Bartlow. Thank you for your art, your hospitality and for your time. Also, thanks for being a pleasant community member, just a delightful person to see at an event and around the Town. Thank you. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can find more information at b-lovesguesthouse.com or \u003c/span>\u003ca href=\"https://www.instagram.com/blovesguesthouse/#\">\u003cspan style=\"font-weight: 400\">blovesguesthouse on Instagram. \u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Traci’s instagram is tracibartlow and we’ll add a link to more information on her photo exhibit to the show notes. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Time to give credit where it’s due:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Marisol Medina-Cadena came with me and Traci on this tour, and then produced this joint. Thank you Marisol. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Suzie Racho and Jen Chien edited this one, \u003c/span>\u003cspan style=\"font-weight: 400\">Christopher Beal engineered this one. \u003c/span>\u003cspan style=\"font-weight: 400\">Ryce Stoughtenborough is our engagement intern and Justin Ebramehimi and Ria Garewal are the engagement leads. \u003c/span>\u003cspan style=\"font-weight: 400\">Ethan Toven Lindsey, Jen Chien and Holly Kernan are the KQED execs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m your host Pendarvis Harshaw! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thanks! Much love and peace to you. Till’ next time.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>"
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"title": "Scorsese’s ‘Killers of the Flower Moon’ is a Sweeping Tale of Greed, Richly Told",
"headTitle": "Scorsese’s ‘Killers of the Flower Moon’ is a Sweeping Tale of Greed, Richly Told | KQED",
"content": "\u003cp>There tends to be lots of fast talking and fast moving in Martin Scorsese films, often from shifty types trying to get away with something. Or sometimes, simply because the master filmmaker has so much to pack in.\u003c/p>\n\u003cp>[aside postid='arts_13935897']But in \u003cem>Killers of the Flower Moon\u003c/em>, everything seems to slow down, and especially when the camera lands on Lily Gladstone. As Mollie, the Osage woman at the heart of this sprawling, real-life tale of greed and treachery on a scale both broad and intimate, Gladstone is the quiet, powerful center — taking her time, letting her eyes do the work, and unafraid of silence.\u003c/p>\n\u003cp>It’s a beautifully cadenced performance, all the more impressive because Gladstone’s sharing the screen with two of our most celebrated actors. Leonardo DiCaprio and Robert De Niro both turn in superb work for their legendary director, appearing together for the first time in 30 years. But Gladstone, in the rare Scorsese film that gives center stage to a female character, is the emotional core here, and it’s her face that stays etched in our memory.\u003c/p>\n\u003cfigure id=\"attachment_13936630\" class=\"wp-caption aligncenter\" style=\"max-width: 1362px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM.png\" alt=\"An Indigenous woman wearing traditional textiles sits next to a white man in a suit at a dining table. They are inside a dimly lit house.\" width=\"1362\" height=\"886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM.png 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-768x500.png 768w\" sizes=\"(max-width: 1362px) 100vw, 1362px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone and Leonardo DiCaprio in a scene from ‘Killers of the Flower Moon.’ \u003ccite>(Melinda Sue Gordon/ Apple TV+ via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Based on David Grann’s gripping whodunit set among the Osage in 1920s Oklahoma, \u003cem>Killers\u003c/em> is a departure in other ways for the 80-year-old filmmaker. It’s his first Western, a genre he’s long wanted to explore — albeit a uniquely Scorsese Western, with an upended world of heroes and villains. And in telling this Osage story, he focuses on a people he’s never depicted before, deeply mindful of honoring their experience and their rituals, beliefs and customs.\u003c/p>\n\u003cp>It surely won’t surprise anyone that Scorsese brings his full wealth of artistic resources to this endeavor, along with his brilliant cinematographer, Rodrigo Prieto, and inspired production designer, Jack Fisk. Together, on location in Oklahoma, they’ve created an oil boomtown astonishing in its precision, detail and spirit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It may also not surprise anyone that Scorsese has taken three and a half hours (albeit three minutes less than \u003cem>The Irishman\u003c/em>) to tell his tale. This may be a source of debate, but it’s hard to argue that a story this hefty — a chronicle of a dark chapter in American history and a shocking true crime tale, all framed in a fraught love story — doesn’t deserve the length, considering the craft in every shot. And with some scenes — a boisterous prairie wedding, or a dance on a boomtown main drag — you feel you could have stayed longer still.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EP34Yoxs3FQ\u003c/p>\n\u003cp>We begin with a late 19th-century ceremony, one of many portrayals of Osage spiritual life. Then, in a memorable image, there’s a whoosh from underground: Oil, spurting from land that was supposed to be worthless.\u003c/p>\n\u003cp>[aside postid='arts_13936363']Thanks to this discovery, we learn in a terrific prologue using silent-movie title cards, the Osage become enormously wealthy. But they’re deemed “incompetent” and appointed white “guardians” who control their assets. This is how we meet Mollie, asking for her own money to pay medical bills.\u003c/p>\n\u003cp>Meanwhile, Ernest Burkhart (DiCaprio) steps off the train, a World War I vet with a taste for women and finer things, but no money, or talent to speak of. Perhaps his uncle can help. William Hale (De Niro) is a cattle rancher but more like a king around these parts — indeed, King’s his nickname — a white man who speaks the Osage language and calls himself their best friend.\u003c/p>\n\u003cp>But it’s clear from the get-go Hale has sinister motives, and De Niro’s just the guy to ooze sinister from every pore as this Godfather-like figure (he commits crimes, and they’re organized). Scorsese and co-writer Eric Roth depart here from Grann’s book, which holds us in suspense as to Hale’s motives. He wants Osage money, and tells Ernest that if he woos and marries Mollie — well, even less-than-brilliant Ernest can do the math.\u003c/p>\n\u003cfigure id=\"attachment_13936631\" class=\"wp-caption aligncenter\" style=\"max-width: 1388px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM.png\" alt=\"An older white man sitting in the passenger seat of a very early model of car taps the arm of a concerned looking younger white man wearing a cowboy hat and woven coat. \" width=\"1388\" height=\"926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM.png 1388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-768x512.png 768w\" sizes=\"(max-width: 1388px) 100vw, 1388px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Leonardo DiCaprio in a scene from ‘Killers of the Flower Moon.’ \u003ccite>(Melinda Sue Gordon/ Apple TV+ via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So can Mollie. Trusting but hardly naive, she knows Ernest covets her wealth, but there’s growing affection between the two, and their marriage, gorgeously rendered, is a happy occasion.\u003c/p>\n\u003cp>But then the Osage start dying, one by one, in suspicious ways — including, eventually, Mollie’s sisters and mother. As for Ernest, he’s no angel, spending time robbing and gambling. But is he doing more? DiCaprio’s mouth settles into a tortured frown as he becomes increasingly torn between marital loyalty and fealty to his venal uncle.\u003c/p>\n\u003cp>Finally, federal agent Tom White (Jesse Plemons, perfectly cast) shows up, working for J. Edgar Hoover in what became the FBI. (It’s White who figured most prominently in Grann’s book, and indeed DiCaprio was once slated to play him.) This last act finds its way to a crackling courtroom scene perhaps only Scorsese could bring together: jittery DiCaprio and menacing De Niro, joined by a bombastic Brendan Fraser and a sputtering John Lithgow.\u003c/p>\n\u003cp>[aside postid='arts_13924870']Indeed, the vast supporting cast includes countless faces you may recognize, as well as cameos of a number of musicians, and dozens of Osage actors in key parts. Scorsese’s late friend Robbie Robertson wrote the memorable score.\u003c/p>\n\u003cp>We won’t spoil the ingenious epilogue in which Scorsese ties up the loose narrative ends — with another significant cameo. But the fact that this epilogue comes after, oh, 200 minutes of expertly sustained tension is just another sign that in the latter years of his career, Scorsese is upping the ante — in terms of scale, yes, but also ambition.\u003c/p>\n\u003cp>He has called his work an offering to the Osage, and to other Native peoples. It also feels like an offering to those who love cinema, allowing us to watch a master of the craft continue to force himself, unlikely as it seems, to stretch and learn. May he keep stretching — himself, and us.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Killers of the Flower Moon’ is out nationwide on Oct. 20, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But in \u003cem>Killers of the Flower Moon\u003c/em>, everything seems to slow down, and especially when the camera lands on Lily Gladstone. As Mollie, the Osage woman at the heart of this sprawling, real-life tale of greed and treachery on a scale both broad and intimate, Gladstone is the quiet, powerful center — taking her time, letting her eyes do the work, and unafraid of silence.\u003c/p>\n\u003cp>It’s a beautifully cadenced performance, all the more impressive because Gladstone’s sharing the screen with two of our most celebrated actors. Leonardo DiCaprio and Robert De Niro both turn in superb work for their legendary director, appearing together for the first time in 30 years. But Gladstone, in the rare Scorsese film that gives center stage to a female character, is the emotional core here, and it’s her face that stays etched in our memory.\u003c/p>\n\u003cfigure id=\"attachment_13936630\" class=\"wp-caption aligncenter\" style=\"max-width: 1362px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM.png\" alt=\"An Indigenous woman wearing traditional textiles sits next to a white man in a suit at a dining table. They are inside a dimly lit house.\" width=\"1362\" height=\"886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM.png 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-768x500.png 768w\" sizes=\"(max-width: 1362px) 100vw, 1362px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone and Leonardo DiCaprio in a scene from ‘Killers of the Flower Moon.’ \u003ccite>(Melinda Sue Gordon/ Apple TV+ via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Based on David Grann’s gripping whodunit set among the Osage in 1920s Oklahoma, \u003cem>Killers\u003c/em> is a departure in other ways for the 80-year-old filmmaker. It’s his first Western, a genre he’s long wanted to explore — albeit a uniquely Scorsese Western, with an upended world of heroes and villains. And in telling this Osage story, he focuses on a people he’s never depicted before, deeply mindful of honoring their experience and their rituals, beliefs and customs.\u003c/p>\n\u003cp>It surely won’t surprise anyone that Scorsese brings his full wealth of artistic resources to this endeavor, along with his brilliant cinematographer, Rodrigo Prieto, and inspired production designer, Jack Fisk. Together, on location in Oklahoma, they’ve created an oil boomtown astonishing in its precision, detail and spirit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It may also not surprise anyone that Scorsese has taken three and a half hours (albeit three minutes less than \u003cem>The Irishman\u003c/em>) to tell his tale. This may be a source of debate, but it’s hard to argue that a story this hefty — a chronicle of a dark chapter in American history and a shocking true crime tale, all framed in a fraught love story — doesn’t deserve the length, considering the craft in every shot. And with some scenes — a boisterous prairie wedding, or a dance on a boomtown main drag — you feel you could have stayed longer still.\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/EP34Yoxs3FQ'\n title='//www.youtube.com/embed/EP34Yoxs3FQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We begin with a late 19th-century ceremony, one of many portrayals of Osage spiritual life. Then, in a memorable image, there’s a whoosh from underground: Oil, spurting from land that was supposed to be worthless.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Thanks to this discovery, we learn in a terrific prologue using silent-movie title cards, the Osage become enormously wealthy. But they’re deemed “incompetent” and appointed white “guardians” who control their assets. This is how we meet Mollie, asking for her own money to pay medical bills.\u003c/p>\n\u003cp>Meanwhile, Ernest Burkhart (DiCaprio) steps off the train, a World War I vet with a taste for women and finer things, but no money, or talent to speak of. Perhaps his uncle can help. William Hale (De Niro) is a cattle rancher but more like a king around these parts — indeed, King’s his nickname — a white man who speaks the Osage language and calls himself their best friend.\u003c/p>\n\u003cp>But it’s clear from the get-go Hale has sinister motives, and De Niro’s just the guy to ooze sinister from every pore as this Godfather-like figure (he commits crimes, and they’re organized). Scorsese and co-writer Eric Roth depart here from Grann’s book, which holds us in suspense as to Hale’s motives. He wants Osage money, and tells Ernest that if he woos and marries Mollie — well, even less-than-brilliant Ernest can do the math.\u003c/p>\n\u003cfigure id=\"attachment_13936631\" class=\"wp-caption aligncenter\" style=\"max-width: 1388px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM.png\" alt=\"An older white man sitting in the passenger seat of a very early model of car taps the arm of a concerned looking younger white man wearing a cowboy hat and woven coat. \" width=\"1388\" height=\"926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM.png 1388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-768x512.png 768w\" sizes=\"(max-width: 1388px) 100vw, 1388px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Leonardo DiCaprio in a scene from ‘Killers of the Flower Moon.’ \u003ccite>(Melinda Sue Gordon/ Apple TV+ via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So can Mollie. Trusting but hardly naive, she knows Ernest covets her wealth, but there’s growing affection between the two, and their marriage, gorgeously rendered, is a happy occasion.\u003c/p>\n\u003cp>But then the Osage start dying, one by one, in suspicious ways — including, eventually, Mollie’s sisters and mother. As for Ernest, he’s no angel, spending time robbing and gambling. But is he doing more? DiCaprio’s mouth settles into a tortured frown as he becomes increasingly torn between marital loyalty and fealty to his venal uncle.\u003c/p>\n\u003cp>Finally, federal agent Tom White (Jesse Plemons, perfectly cast) shows up, working for J. Edgar Hoover in what became the FBI. (It’s White who figured most prominently in Grann’s book, and indeed DiCaprio was once slated to play him.) This last act finds its way to a crackling courtroom scene perhaps only Scorsese could bring together: jittery DiCaprio and menacing De Niro, joined by a bombastic Brendan Fraser and a sputtering John Lithgow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Indeed, the vast supporting cast includes countless faces you may recognize, as well as cameos of a number of musicians, and dozens of Osage actors in key parts. Scorsese’s late friend Robbie Robertson wrote the memorable score.\u003c/p>\n\u003cp>We won’t spoil the ingenious epilogue in which Scorsese ties up the loose narrative ends — with another significant cameo. But the fact that this epilogue comes after, oh, 200 minutes of expertly sustained tension is just another sign that in the latter years of his career, Scorsese is upping the ante — in terms of scale, yes, but also ambition.\u003c/p>\n\u003cp>He has called his work an offering to the Osage, and to other Native peoples. It also feels like an offering to those who love cinema, allowing us to watch a master of the craft continue to force himself, unlikely as it seems, to stretch and learn. May he keep stretching — himself, and us.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Killers of the Flower Moon’ is out nationwide on Oct. 20, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Love Letter to the Tenderloin, In Photographs",
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"content": "\u003cp>Descriptions of the Tenderloin have long been seeped in negativity. This was happening long before the past couple years, when Fox News has reported streets full of “zombies roaming” and the \u003cem>Daily Mail\u003c/em> blamed the TL and Civic Center for making San Francisco “a byword for \u003ca href=\"https://www.kqed.org/news/11952285/from-the-vault-when-the-tenderloins-addiction-crisis-goes-viral\">drug taking\u003c/a> … and associated crime.” Even back in 1977, San Francisco’s own\u003cem> Examiner \u003c/em>newspaper had an entire series that described the Tenderloin as “hell at your doorstep.” That same publication referred to the neighborhood as “the shady part of town” all the way back in 1897.\u003c/p>\n\u003cp>[aside postid='arts_13935330']For the people that regularly frequent, live in and/or still love the Tenderloin and mid-Market neighborhoods, these widely distributed, one-note perceptions of the area are frustrating and frequently worthy of an eye-roll. Outsiders are all too often willing to focus on the worst rather than appreciate the Tenderloin’s small businesses, \u003ca href=\"https://www.kqed.org/arts/13916794/azalina-malaysian-restaurant-reopening-tenderloin\">tasty restaurants\u003c/a>, fun bars, \u003ca href=\"https://www.kqed.org/pop/103422/rebel-girls-from-bay-area-history-ruth-brinker-aids-activist\">long-standing charitable organizations\u003c/a> and interesting \u003ca href=\"https://www.kqed.org/arts/13935933/counterpulse-vivvyanne-forevermore-drag-the-show\">local characters\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13936209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936209\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg\" alt=\"A senior man with white hair and receding hairline pours a drink from behind a small, old-fashioned bar. He is wearing a white short-sleeved shirt and black pants. The bar is full of Christmas lights and lined with mirrors. There are three or four patrons seated at the bar.\" width=\"1920\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1536x1053.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Aunt Charlie’s Lounge, Turk Street, Tenderloin District, San Francisco 2016’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter photographic hero \u003ca href=\"https://www.flickr.com/photos/daveglass/albums\">Dave Glass.\u003c/a> He’s a San Francisco local that has long documented neighborhoods — and, crucially, the mix of people within them — across the city. Glass had the good sense to spend decades documenting the Tenderloin and Civic Center, and his new exhibition, \u003cem>Central City 1960-2016, \u003c/em>reflects an appreciation for those neighborhoods right when it’s needed most. Right when, let’s be frank, so many people have nothing good to say about the area at all.\u003c/p>\n\u003cp>In the exhibition, on view at the \u003ca href=\"http://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a> through the end of the year, Glass only has 14 images on display — nine in black and white, five in color. But each is potent, and the collection is carefully curated to reflect the broad swath of life that has always existed in the neighborhood. Cool kids on street corners, anti-war protesters, a smiling baby in a Volvo driver’s seat, a stoic Polk Street watch repairman. They all exist alongside old neighborhood bars and their patrons, liquor store foot traffic, and cops lined up on Market near Sixth.\u003c/p>\n\u003cfigure id=\"attachment_13936208\" class=\"wp-caption aligncenter\" style=\"max-width: 1842px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png\" alt=\"A line of motorcycle cops block off the entire street. Barricades hold back crowds on the sidewalk behind them. A cinema promises LIVE NUDE GIRLS from its marquee.\" width=\"1842\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png 1842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1536x1024.png 1536w\" sizes=\"(max-width: 1842px) 100vw, 1842px\">\u003cfigcaption class=\"wp-caption-text\">‘Market Street Cinema 1985’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though small, \u003cem>Central City\u003c/em> is a fuller — and fairer — picture of the Tenderloin and mid-Market than most of the country is afforded right now. Glass’ black and white images are the most striking, too, in part because, at a glance, they all appear to be from the same era — despite them spanning 45 years of street life.\u003c/p>\n\u003cp>Through Glass’ lens, the Tenderloin and its surrounding streets become timeless. There is something undeniably beautiful about that — especially while so much of the country is still talking smack about them.\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>‘\u003ca href=\"https://www.tenderloinmuseum.org/dave-glass-central-city-1970-2016\">Dave Glass: Central City 1970-2016\u003c/a>’ is on view at the Tenderloin Museum (398 Eddy St.) until Dec. 30, 2023. Glass will appear in conversation at the museum with \u003ca href=\"http://www.adrianmrtnz.com/\">Adrian Martinez\u003c/a> and \u003ca href=\"https://www.austinleong.com/\">Austin Leong\u003c/a> on at 5:30 p.m. on Dec. 7 .\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Descriptions of the Tenderloin have long been seeped in negativity. This was happening long before the past couple years, when Fox News has reported streets full of “zombies roaming” and the \u003cem>Daily Mail\u003c/em> blamed the TL and Civic Center for making San Francisco “a byword for \u003ca href=\"https://www.kqed.org/news/11952285/from-the-vault-when-the-tenderloins-addiction-crisis-goes-viral\">drug taking\u003c/a> … and associated crime.” Even back in 1977, San Francisco’s own\u003cem> Examiner \u003c/em>newspaper had an entire series that described the Tenderloin as “hell at your doorstep.” That same publication referred to the neighborhood as “the shady part of town” all the way back in 1897.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For the people that regularly frequent, live in and/or still love the Tenderloin and mid-Market neighborhoods, these widely distributed, one-note perceptions of the area are frustrating and frequently worthy of an eye-roll. Outsiders are all too often willing to focus on the worst rather than appreciate the Tenderloin’s small businesses, \u003ca href=\"https://www.kqed.org/arts/13916794/azalina-malaysian-restaurant-reopening-tenderloin\">tasty restaurants\u003c/a>, fun bars, \u003ca href=\"https://www.kqed.org/pop/103422/rebel-girls-from-bay-area-history-ruth-brinker-aids-activist\">long-standing charitable organizations\u003c/a> and interesting \u003ca href=\"https://www.kqed.org/arts/13935933/counterpulse-vivvyanne-forevermore-drag-the-show\">local characters\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13936209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936209\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg\" alt=\"A senior man with white hair and receding hairline pours a drink from behind a small, old-fashioned bar. He is wearing a white short-sleeved shirt and black pants. The bar is full of Christmas lights and lined with mirrors. There are three or four patrons seated at the bar.\" width=\"1920\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1536x1053.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Aunt Charlie’s Lounge, Turk Street, Tenderloin District, San Francisco 2016’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter photographic hero \u003ca href=\"https://www.flickr.com/photos/daveglass/albums\">Dave Glass.\u003c/a> He’s a San Francisco local that has long documented neighborhoods — and, crucially, the mix of people within them — across the city. Glass had the good sense to spend decades documenting the Tenderloin and Civic Center, and his new exhibition, \u003cem>Central City 1960-2016, \u003c/em>reflects an appreciation for those neighborhoods right when it’s needed most. Right when, let’s be frank, so many people have nothing good to say about the area at all.\u003c/p>\n\u003cp>In the exhibition, on view at the \u003ca href=\"http://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a> through the end of the year, Glass only has 14 images on display — nine in black and white, five in color. But each is potent, and the collection is carefully curated to reflect the broad swath of life that has always existed in the neighborhood. Cool kids on street corners, anti-war protesters, a smiling baby in a Volvo driver’s seat, a stoic Polk Street watch repairman. They all exist alongside old neighborhood bars and their patrons, liquor store foot traffic, and cops lined up on Market near Sixth.\u003c/p>\n\u003cfigure id=\"attachment_13936208\" class=\"wp-caption aligncenter\" style=\"max-width: 1842px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png\" alt=\"A line of motorcycle cops block off the entire street. Barricades hold back crowds on the sidewalk behind them. A cinema promises LIVE NUDE GIRLS from its marquee.\" width=\"1842\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png 1842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1536x1024.png 1536w\" sizes=\"(max-width: 1842px) 100vw, 1842px\">\u003cfigcaption class=\"wp-caption-text\">‘Market Street Cinema 1985’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though small, \u003cem>Central City\u003c/em> is a fuller — and fairer — picture of the Tenderloin and mid-Market than most of the country is afforded right now. Glass’ black and white images are the most striking, too, in part because, at a glance, they all appear to be from the same era — despite them spanning 45 years of street life.\u003c/p>\n\u003cp>Through Glass’ lens, the Tenderloin and its surrounding streets become timeless. There is something undeniably beautiful about that — especially while so much of the country is still talking smack about them.\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>‘\u003ca href=\"https://www.tenderloinmuseum.org/dave-glass-central-city-1970-2016\">Dave Glass: Central City 1970-2016\u003c/a>’ is on view at the Tenderloin Museum (398 Eddy St.) until Dec. 30, 2023. Glass will appear in conversation at the museum with \u003ca href=\"http://www.adrianmrtnz.com/\">Adrian Martinez\u003c/a> and \u003ca href=\"https://www.austinleong.com/\">Austin Leong\u003c/a> on at 5:30 p.m. on Dec. 7 .\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "sacramento-mothman-tahoe-tessie-antioch-bigfoot-kooki-davis-vampire-halloween",
"title": "5 Real-Life Monsters That Have (Allegedly) Stalked Northern California",
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"headTitle": "5 Real-Life Monsters That Have (Allegedly) Stalked Northern California | KQED",
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"content": "\u003cp>Ask Northern Californians what local monsters they think about the most, and invariably you will hear a list of very bad people. \u003ca href=\"https://www.kqed.org/pop/17396/are-you-a-gentrifier-this-quiz-can-tell-you\">Gentrifiers\u003c/a>! The people who spread lies about San Francisco being \u003cem>The Purge\u003c/em> now! That one guy who hoses down homeless people! Folks who move in next door to music venues, then make noise complaints! Erratic \u003ca href=\"https://www.kqed.org/news/11959303/sf-activists-protest-immobilize-driverless-cars-with-traffic-cones\">ghost cars\u003c/a>! You get the gist.\u003c/p>\n\u003cp>It’s Halloween season at the moment, though, so it’s the perfect time to think beyond the usual suspects and venture into our region’s very real history of dealing with \u003cem>actual\u003c/em> monsters. The mysterious kind. The kind that people laugh at witnesses for reporting in the first place.\u003c/p>\n\u003cp>Here are five major ones you might not have realized were ever in our midst.\u003c/p>\n\u003cfigure id=\"attachment_13935927\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104.jpg\" alt=\"A mysterious bigfoot figure, walking through a foggy forest and silhouetted against trees.\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bigfoot, doing his thing. \u003ccite>(David Wall/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bigfoot in Antioch\u003c/h2>\n\u003cp>Back in 1869, an unsuspecting hunter wandered back to his campsite in Antioch one evening to find his belongings in disarray. As he tried to make sense of the scene, he noticed something else — enormous footprints that closely resembled the shape of a man’s foot, rather than an animal’s.\u003c/p>\n\u003cp>The hunter was so confounded that, rather than clean up the mess, he opted to hide out in some bushes 20 yards away and stake out whatever had paid the camp an earlier visit. After two hours, the mysterious beast did indeed come back and the hunter was able to observe a bonafide Bigfoot for about 20 minutes. The hunter later reported that the creature was:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“5 feet high and disproportionately broad and square at the shoulders with arms of great length. The legs were very short and the body long. The head was small compared to the rest of the creature and appeared to be set upon his shoulders without a neck. The whole was covered with dark brown and cinnamon-colored hair.”\u003c/p>\n\u003cp>So… a tall Ewok then? (Sign me up!)\u003c/p>\n\u003cp>[aside postid='arts_13904911']The hunter hung around long enough to see Overgrown Wicket meet up with another Bigfoot that was “unmistakenly female.” (That means boobs, probably?) To his surprise, after telling other hunters in the area what he had witnessed, the Bigfoot-spotter found that almost no one was surprised. Most other folks reported seeing the signature giant footprints and at least one other man had seen the furry fam as well.\u003c/p>\n\u003cp>Rupert Matthews, author of \u003cem>Bigfoot: True-Life Encounters With Legendary Ape-Men\u003c/em> notes that: “This acceptance of the reality of the creatures by those who spent a lot time in the forested hills is a feature of early cases [of Bigfoot sightings] that surfaces again and again. ”\u003c/p>\n\u003cfigure id=\"attachment_13935928\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253.jpg\" alt=\"A gorgeous blue lake surrounded by green pine trees. A small green island sits in the center of the water.\" width=\"1920\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-1536x1002.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emerald Bay, Lake Tahoe: May or may not be home to a giant serpent monster. \u003ccite>(Anjelika Gretskaia/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tahoe Tessie\u003c/h2>\n\u003cp>It sounds like a bad joke set-up: Two nuns, a couple of cops, one optometrist and 10 USPS workers walk into the countryside… yadda-yadda-yadda… punchline about a sea serpent.\u003c/p>\n\u003cp>Except, that is the actual list of people who reported seeing some kind of aquatic monster in the waters of Lake Tahoe in the mid-1980s. One of the cops, Reno’s Kris Beebe, said the creature — nicknamed “Tahoe Tessie” for funsies — was “dark gray or black” and “a minimum of 10 feet long.” The other witnesses described a featureless body that was “fast-moving and undulating, but strangely devoid of identifying attributes.”\u003c/p>\n\u003cp>Noting that nothing of that size had ever been proven to live in the 1,590-foot-deep lake, fishing guide Mickey Daniels told the \u003cem>San Francisco Examiner:\u003c/em> “I think there’s something there. I’ve talked to about a hundred people who’ve seen it. What do I do — call them liars?”\u003c/p>\n\u003cfigure id=\"attachment_13935929\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-491791494-scaled.jpg\" alt=\"Female, red vampire lips with dripping blood, viewed in close-up.\" width=\"2560\" height=\"1491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1536x894.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-2048x1193.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1920x1118.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In 1978, a Daly City resident named Kooki Davis claimed publicly to be a full-fledged vampire. \u003ccite>(Remains/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Vampires in Daly City\u003c/h2>\n\u003cp>In 1978, the \u003cem>San Francisco Examiner\u003c/em> dedicated a story to Kooki Davis, a Daly City-dwelling hair stylist from Trinidad, who was living full-time as a vampire. “She has long fangs, razor-sharp fingernails and blood dripping from her lips,” the paper reported, like that was perfectly normal. “She speaks with a Transylvania twang and her ‘come hither’ stare sends icy fingers up and down your spine.”\u003c/p>\n\u003cp>[aside postid='arts_13904118']In the story, Davis explained that she’d become a “certified” vampire five years ago. And if you’re wondering what \u003cem>that\u003c/em> exam involves, she elaborated: “To become a vampire, you have to be bitten by a vampire. Once bitten, you become a victim. Victims have to serve an apprenticeship to learn the ropes … There’s a lot of activity in San Francisco, so you can earn your merit badges pretty fast — as opposed to Dubuque or Wichita.”\u003c/p>\n\u003cp>(This is the value of newspapers, friends. Movies never tell anyone that in order to rid oneself of a vampire problem, moving to Iowa or Kansas will solve it, but here we are.)\u003c/p>\n\u003cp>Of her interactions with the general public, Davis noted that at work, at the end of each haircut, her “trademark” was to give each of her customers a “gentle bite” on the neck.\u003c/p>\n\u003cp>Man, that salon must have had amazing insurance.\u003c/p>\n\u003cfigure id=\"attachment_13935930\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935930\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911.jpg\" alt=\"A man looks up at a flying mothman figure in the sky that's silhouetted against the moon at night.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Someone spotted this guy on top of Sacramento’s Tower Bridge. Not cool, Mothman. Not cool. \u003ccite>(David Wall/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Sacramento Mothman\u003c/h2>\n\u003cp>As all good cryptid nerds know, Mothman primarily enjoys hanging out in West Virginia. (Probably because 80% of the state is forested, and also because approximately 80% of people who don’t live in West Virginia assume that everyone who does is crazy.) For decades there, witnesses have been describing a 7-foot-tall man with red eyes and wings, with a wingspan between 10 and 15 feet wide, who can fly at speeds too fast to catch on camera.\u003c/p>\n\u003cp>Well, Mothman must have had himself a little Californian vacation in 2009, because a photographer named Lamont Greer claims to have seen the humanoid hanging around on top of Sacramento’s Tower Bridge one night. Greer had been taking photos of the bridge at the time and was stunned by what he saw.\u003c/p>\n\u003cp>[aside postid='arts_13933318']“I had just finished filming the back side of the bridge so I was bent down putting my camera back in my camera bag,” Greer told The History Channel’s \u003cem>MonsterQuest\u003c/em>, “and I kind of felt something looking at me. When I first saw it, I didn’t know what it was … but then my eyes kind of focused on it a bit better. It spread wings and then started flying off. It wasn’t a man, it wasn’t a bird. It was absolutely strange and unique. If it wanted to come down and hurt someone — attack — it absolutely could cause damage.”\u003c/p>\n\u003cp>The Sacramento sighting is not the only time Mothman has showed up in a city. In 2017, a bunch of people reported seeing him hanging around Chicago — including at the airport. A moth’s gotta vacation, you guys. A moth’s gotta vacation.\u003c/p>\n\u003cfigure id=\"attachment_13935936\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935936\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739.jpg\" alt=\"Two slender sea monsters with long tails and small fins make turns in the ocean as light streams through from the sky.\" width=\"1920\" height=\"1382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-1536x1106.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Multiple fishermen in Santa Cruz and Monterey used to report a sea serpent lurking in the water. They nicknamed it ‘The Old Man of Monterey Bay’ and also, for some reason, ‘Bobo.’ \u003ccite>( Victor Habbick Visions/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Old Man of Monterey Bay\u003c/h2>\n\u003cp>About a hundred years ago, the fishermen of Monterey Bay and the Santa Cruz waterfront started reporting seeing an alarming dragon-like creature circling their boats. Some witnesses said the strange beast had a very large head, extremely long tail and a series of pointed spines along its back. A Monterey man named Dominic Costanza said the creature was about four feet in width and had “what looked like the face of a very old man or a monkey … with two eyes the size of breakfast buns.”\u003c/p>\n\u003cp>(Never mind the creature — what the hell is a breakfast bun?)\u003c/p>\n\u003cp>By March 1940, the creature had two nicknames — “The Old Man of Monterey Bay” or “Bobo,” depending on your preference — and it had prompted around 30 fishing captains to make reports to the \u003cem>Santa Cruz Sentinel\u003c/em>.\u003c/p>\n\u003cp>Years later, Geoffrey Dunn — a man whose family had been in Santa Cruz for generations — wrote in \u003cem>Santa Cruz Style\u003c/em> that:\u003c/p>\n\u003cblockquote>\u003cp>Several of my uncles and cousins reportedly encountered the monster while fishing in their small, double-ended fishing vessels … My late uncle Mario Stagnaro once recounted for me the afternoon that a badly shaken fisherman, Bill Totten, returned to the docks following a day of fishing in June of 1941. ‘I saw that serpent or monster out there!’ he screamed. ‘Get me out of here!’\u003c/p>\u003c/blockquote>\n\u003cp>Totten apparently did not return to the wharf for some time. Play nice, Bobo!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Be careful out there, folks — and have a happy Halloween.\u003c/p>\n\n",
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"title": "Sacramento Mothman (and a Host of Other Californian Monsters) | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask Northern Californians what local monsters they think about the most, and invariably you will hear a list of very bad people. \u003ca href=\"https://www.kqed.org/pop/17396/are-you-a-gentrifier-this-quiz-can-tell-you\">Gentrifiers\u003c/a>! The people who spread lies about San Francisco being \u003cem>The Purge\u003c/em> now! That one guy who hoses down homeless people! Folks who move in next door to music venues, then make noise complaints! Erratic \u003ca href=\"https://www.kqed.org/news/11959303/sf-activists-protest-immobilize-driverless-cars-with-traffic-cones\">ghost cars\u003c/a>! You get the gist.\u003c/p>\n\u003cp>It’s Halloween season at the moment, though, so it’s the perfect time to think beyond the usual suspects and venture into our region’s very real history of dealing with \u003cem>actual\u003c/em> monsters. The mysterious kind. The kind that people laugh at witnesses for reporting in the first place.\u003c/p>\n\u003cp>Here are five major ones you might not have realized were ever in our midst.\u003c/p>\n\u003cfigure id=\"attachment_13935927\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104.jpg\" alt=\"A mysterious bigfoot figure, walking through a foggy forest and silhouetted against trees.\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bigfoot, doing his thing. \u003ccite>(David Wall/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bigfoot in Antioch\u003c/h2>\n\u003cp>Back in 1869, an unsuspecting hunter wandered back to his campsite in Antioch one evening to find his belongings in disarray. As he tried to make sense of the scene, he noticed something else — enormous footprints that closely resembled the shape of a man’s foot, rather than an animal’s.\u003c/p>\n\u003cp>The hunter was so confounded that, rather than clean up the mess, he opted to hide out in some bushes 20 yards away and stake out whatever had paid the camp an earlier visit. After two hours, the mysterious beast did indeed come back and the hunter was able to observe a bonafide Bigfoot for about 20 minutes. The hunter later reported that the creature was:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“5 feet high and disproportionately broad and square at the shoulders with arms of great length. The legs were very short and the body long. The head was small compared to the rest of the creature and appeared to be set upon his shoulders without a neck. The whole was covered with dark brown and cinnamon-colored hair.”\u003c/p>\n\u003cp>So… a tall Ewok then? (Sign me up!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The hunter hung around long enough to see Overgrown Wicket meet up with another Bigfoot that was “unmistakenly female.” (That means boobs, probably?) To his surprise, after telling other hunters in the area what he had witnessed, the Bigfoot-spotter found that almost no one was surprised. Most other folks reported seeing the signature giant footprints and at least one other man had seen the furry fam as well.\u003c/p>\n\u003cp>Rupert Matthews, author of \u003cem>Bigfoot: True-Life Encounters With Legendary Ape-Men\u003c/em> notes that: “This acceptance of the reality of the creatures by those who spent a lot time in the forested hills is a feature of early cases [of Bigfoot sightings] that surfaces again and again. ”\u003c/p>\n\u003cfigure id=\"attachment_13935928\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253.jpg\" alt=\"A gorgeous blue lake surrounded by green pine trees. A small green island sits in the center of the water.\" width=\"1920\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-1536x1002.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emerald Bay, Lake Tahoe: May or may not be home to a giant serpent monster. \u003ccite>(Anjelika Gretskaia/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tahoe Tessie\u003c/h2>\n\u003cp>It sounds like a bad joke set-up: Two nuns, a couple of cops, one optometrist and 10 USPS workers walk into the countryside… yadda-yadda-yadda… punchline about a sea serpent.\u003c/p>\n\u003cp>Except, that is the actual list of people who reported seeing some kind of aquatic monster in the waters of Lake Tahoe in the mid-1980s. One of the cops, Reno’s Kris Beebe, said the creature — nicknamed “Tahoe Tessie” for funsies — was “dark gray or black” and “a minimum of 10 feet long.” The other witnesses described a featureless body that was “fast-moving and undulating, but strangely devoid of identifying attributes.”\u003c/p>\n\u003cp>Noting that nothing of that size had ever been proven to live in the 1,590-foot-deep lake, fishing guide Mickey Daniels told the \u003cem>San Francisco Examiner:\u003c/em> “I think there’s something there. I’ve talked to about a hundred people who’ve seen it. What do I do — call them liars?”\u003c/p>\n\u003cfigure id=\"attachment_13935929\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-491791494-scaled.jpg\" alt=\"Female, red vampire lips with dripping blood, viewed in close-up.\" width=\"2560\" height=\"1491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1536x894.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-2048x1193.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1920x1118.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In 1978, a Daly City resident named Kooki Davis claimed publicly to be a full-fledged vampire. \u003ccite>(Remains/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Vampires in Daly City\u003c/h2>\n\u003cp>In 1978, the \u003cem>San Francisco Examiner\u003c/em> dedicated a story to Kooki Davis, a Daly City-dwelling hair stylist from Trinidad, who was living full-time as a vampire. “She has long fangs, razor-sharp fingernails and blood dripping from her lips,” the paper reported, like that was perfectly normal. “She speaks with a Transylvania twang and her ‘come hither’ stare sends icy fingers up and down your spine.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the story, Davis explained that she’d become a “certified” vampire five years ago. And if you’re wondering what \u003cem>that\u003c/em> exam involves, she elaborated: “To become a vampire, you have to be bitten by a vampire. Once bitten, you become a victim. Victims have to serve an apprenticeship to learn the ropes … There’s a lot of activity in San Francisco, so you can earn your merit badges pretty fast — as opposed to Dubuque or Wichita.”\u003c/p>\n\u003cp>(This is the value of newspapers, friends. Movies never tell anyone that in order to rid oneself of a vampire problem, moving to Iowa or Kansas will solve it, but here we are.)\u003c/p>\n\u003cp>Of her interactions with the general public, Davis noted that at work, at the end of each haircut, her “trademark” was to give each of her customers a “gentle bite” on the neck.\u003c/p>\n\u003cp>Man, that salon must have had amazing insurance.\u003c/p>\n\u003cfigure id=\"attachment_13935930\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935930\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911.jpg\" alt=\"A man looks up at a flying mothman figure in the sky that's silhouetted against the moon at night.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Someone spotted this guy on top of Sacramento’s Tower Bridge. Not cool, Mothman. Not cool. \u003ccite>(David Wall/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Sacramento Mothman\u003c/h2>\n\u003cp>As all good cryptid nerds know, Mothman primarily enjoys hanging out in West Virginia. (Probably because 80% of the state is forested, and also because approximately 80% of people who don’t live in West Virginia assume that everyone who does is crazy.) For decades there, witnesses have been describing a 7-foot-tall man with red eyes and wings, with a wingspan between 10 and 15 feet wide, who can fly at speeds too fast to catch on camera.\u003c/p>\n\u003cp>Well, Mothman must have had himself a little Californian vacation in 2009, because a photographer named Lamont Greer claims to have seen the humanoid hanging around on top of Sacramento’s Tower Bridge one night. Greer had been taking photos of the bridge at the time and was stunned by what he saw.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I had just finished filming the back side of the bridge so I was bent down putting my camera back in my camera bag,” Greer told The History Channel’s \u003cem>MonsterQuest\u003c/em>, “and I kind of felt something looking at me. When I first saw it, I didn’t know what it was … but then my eyes kind of focused on it a bit better. It spread wings and then started flying off. It wasn’t a man, it wasn’t a bird. It was absolutely strange and unique. If it wanted to come down and hurt someone — attack — it absolutely could cause damage.”\u003c/p>\n\u003cp>The Sacramento sighting is not the only time Mothman has showed up in a city. In 2017, a bunch of people reported seeing him hanging around Chicago — including at the airport. A moth’s gotta vacation, you guys. A moth’s gotta vacation.\u003c/p>\n\u003cfigure id=\"attachment_13935936\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935936\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739.jpg\" alt=\"Two slender sea monsters with long tails and small fins make turns in the ocean as light streams through from the sky.\" width=\"1920\" height=\"1382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-1536x1106.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Multiple fishermen in Santa Cruz and Monterey used to report a sea serpent lurking in the water. They nicknamed it ‘The Old Man of Monterey Bay’ and also, for some reason, ‘Bobo.’ \u003ccite>( Victor Habbick Visions/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Old Man of Monterey Bay\u003c/h2>\n\u003cp>About a hundred years ago, the fishermen of Monterey Bay and the Santa Cruz waterfront started reporting seeing an alarming dragon-like creature circling their boats. Some witnesses said the strange beast had a very large head, extremely long tail and a series of pointed spines along its back. A Monterey man named Dominic Costanza said the creature was about four feet in width and had “what looked like the face of a very old man or a monkey … with two eyes the size of breakfast buns.”\u003c/p>\n\u003cp>(Never mind the creature — what the hell is a breakfast bun?)\u003c/p>\n\u003cp>By March 1940, the creature had two nicknames — “The Old Man of Monterey Bay” or “Bobo,” depending on your preference — and it had prompted around 30 fishing captains to make reports to the \u003cem>Santa Cruz Sentinel\u003c/em>.\u003c/p>\n\u003cp>Years later, Geoffrey Dunn — a man whose family had been in Santa Cruz for generations — wrote in \u003cem>Santa Cruz Style\u003c/em> that:\u003c/p>\n\u003cblockquote>\u003cp>Several of my uncles and cousins reportedly encountered the monster while fishing in their small, double-ended fishing vessels … My late uncle Mario Stagnaro once recounted for me the afternoon that a badly shaken fisherman, Bill Totten, returned to the docks following a day of fishing in June of 1941. ‘I saw that serpent or monster out there!’ he screamed. ‘Get me out of here!’\u003c/p>\u003c/blockquote>\n\u003cp>Totten apparently did not return to the wharf for some time. Play nice, Bobo!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Be careful out there, folks — and have a happy Halloween.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What Was Your Great-Grandpa's Favorite Toy? Dynamite, Probably",
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"content": "\u003cp>Today, TikTok is filled to the brim with videos about the unmonitored childhoods that Gen Xers casually endured in the 1980s. Back then, kids were out, roaming the streets, setting off fireworks, cracking their heads on concrete playgrounds, swimming in factory waste and smoking a pack of Camels a day before they’d even turned 12. No small humans were tougher. Or, at least, that’s the popular narrative on social media.\u003c/p>\n\u003cp>And yet: Step aside, feral mall children of the 1980s, for local news archives tell us that there once existed generations of kids who make Gen X look like absolute wusses. These tiny maniacs grew up in the first half of the 20th century and, let me tell you, they were armed, dangerous and would not — though their lives literally depended on it — stop playing with deadly knickknacks. These kids had actual, bonafide TNT, nitroglycerine and — sure, why not? — teeny tiny weapons.\u003c/p>\n\u003cp>Did they get injured? Of course! Did anyone learn a lesson? Nope!\u003c/p>\n\u003cp>Please now allow me to regale you with tales of the toughest Bay Area offspring from last century and, of course, their weapons of choice.\u003c/p>\n\u003ch2>The dynamite kids\u003c/h2>\n\u003cp>[aside postid='arts_13931210']Which is worse? Deciding at the age of 12 to “blow up the Berkeley school” with your friends using 12 sticks of stolen dynamite? (This was in 1936 and, thankfully, the Danville boy responsible got busted before his crew could light any fuses.) \u003cem>Or\u003c/em>, heading to school in 1940, aged 13, and “roaming a crowded [Oakland] school playground during recess” waving a stick of dynamite around? It’s hard to say which child was more likely to murder someone, but the fact that Northern California kids like these two just happened to keep stumbling across this very specific type of explosive is even more of a head-scratcher.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Chico in 1915, an 11-year-old named George Simpson saved the life of a 10-year-old girl who was about to bash two dynamite sticks on a rock to “play Fourth of July.” In 1922, a 6-year-old and a 3-year from Hayward did themselves serious damage after finding dynamite in one of their dad’s barns and lighting it up. Try not to think too hard on the fact that these kids, according to newspaper reports, were too young to read the “Danger!” warning on the box, but somehow old enough to proficiently light matches.\u003c/p>\n\u003cp>As late as 1959, kids were still in full Wile E. Coyote mode and trying to blow crap up. One dynamite explosion set off by teens in Walnut Creek that year broke a square-mile’s worth of windows, started a two-acre grass fire, blew a three-foot-deep hole in the ground and scared the crap out of people as far as 20 miles away. The dynamite had been stolen from a nearby storehouse. Rebels without a cause, indeed.\u003c/p>\n\u003cfigure id=\"attachment_13934556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-1450837772-scaled-e1694206484580-800x637.jpg\" alt=\"A toddler wearing a onesie covered in safety pins stands outside next to a sign that reads Safety First. A woman stands behind the child.\" width=\"800\" height=\"637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837772-scaled-e1694206484580-800x637.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837772-scaled-e1694206484580-1020x812.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837772-scaled-e1694206484580-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837772-scaled-e1694206484580-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837772-scaled-e1694206484580-1536x1223.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837772-scaled-e1694206484580.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rare sight of a child in 1935 not actively trying to blow themselves up. \u003ccite>(Daily Mirror/ Mirrorpix via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The ‘toy’ cannon lovers\u003c/h2>\n\u003cp>Unless there’s a game in which actively attempting to hurt one’s playmates and pets is a thing, it’s really hard to figure out how exactly one “plays” with a toy cannon.\u003c/p>\n\u003cp>The 2013 book \u003cem>Britain’s Secret Treasures \u003c/em>has some clues as to the operations of such items, stating that, back in the day, “Many households would have had musket powder that could be used to fire a toy cannon … Buckshot could have been used for cannonballs, or any household item that could be fashioned into a hard, round projectile … It is doubtful that these little cannon were sold with instructions, so a trial and error approach was required.”\u003c/p>\n\u003cp>[aside postid='arts_13909983']And those errors, friends, could result in some very not good things. In 1903, a 14-year-old Berkeley boy named Will Bass managed to shoot his left index finger off with a toy cannon. (He was in the middle of trying to repair it at the time.) A single edition of the \u003cem>San Francisco Call\u003c/em> newspaper later that year listed two separate incidents of boys getting severe face burns “while trying to find out why a brass cannon did not explode.” (One was an 11-year-old Tenderloin boy. The other was 8 and playing in Golden Gate Park at the time.)\u003c/p>\n\u003cp>Also in that issue of \u003cem>The Call\u003c/em>? A 17-year-old Civic Center resident who had injured “the palm of his left hand terribly” after his cannon went off prematurely. (The exact same thing happened to a 14-year-old San Franciscan the following year.) All of which makes even \u003ca href=\"https://www.vintagegaragechicago.com/jarts/\">Jarts — an unhinged “missile game”\u003c/a> from the 1960s and ’70s — look positively tame.\u003c/p>\n\u003ch2>This one kid who made nitroglycerine\u003c/h2>\n\u003cp>I’m not going to be able to say this any better than Herb Caen did in a 1951 column for the \u003cem>San Francisco Examiner, \u003c/em>so let’s just use his words:\u003c/p>\n\u003cblockquote>\u003cp>Bob Zwieg, 15-year-old … made up his mind months ago that he was going to produce the biggest Fourth of July explosion in San Anselmo, where his family has a summer place. ‘Yup, I’m gonna make me some nitroglycerine’ he kept saying, and his mother humored him. ‘You go right ahead, sonny,’ she soothed as he pored over chemistry books and fiddled with laboratory doo-dads.\u003c/p>\n\u003cp>Wednesday morning he announced, ‘I’m ready to make the big noise.’ He put the gloop in a pot, began stirring it and — wham! The roar was still fading away while young Bob was being rushed to Ross Hospital with burns, singed eyebrows and slight shock. Anyway, it was the biggest noise in San Anselmo on July Fourth.\u003c/p>\u003c/blockquote>\n\u003cp>This is what happens when we underestimate the determination of our young people.\u003c/p>\n\u003cfigure id=\"attachment_13934557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-1450837708-scaled-e1694207054260-800x528.jpg\" alt=\"Two small boys boxing inside a ring surrounded by middle aged men wearing overcoats and suits.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837708-scaled-e1694207054260-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837708-scaled-e1694207054260-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837708-scaled-e1694207054260-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837708-scaled-e1694207054260-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837708-scaled-e1694207054260-1536x1014.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837708-scaled-e1694207054260.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At a certain point, it’s fairly impossible to not just blame the adults in the room… \u003ccite>(B Alfieri/ Mirrorpix via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The ‘toy’ gun tinkerers\u003c/h2>\n\u003cp>In 1903, one Clarence Ito of Grayson St. in West Berkeley found himself with a toy gun that was refusing to fire. He, naturally, responded to this by staring down the barrel of the weapon and pulling the trigger. According to an issue of \u003cem>The Call\u003c/em> at the time, Clarence was left with “a big hole in his cheek, just a little below the eye, and it required the services of a physician and a large amount of thread to sew it together again.”\u003c/p>\n\u003cp>Thirty-five years later, toy guns and the kids that owned them were still doing each other dirty. A 1938 edition of \u003cem>The Examiner\u003c/em> reported that a 14-year-old Hayward boy had a .22 caliber bullet lodged in his jaw after he and two friends decided to shove the ammo into an air gun and see what would happen. The injured kid’s condition was described as “not serious,” but would \u003cem>you\u003c/em> want a bullet lodged in your jaw? I’m gonna go with nope.\u003c/p>\n\u003ch2>The blasting cap hoarders\u003c/h2>\n\u003cp>For those of you without a working knowledge of the history of demolition, blasting (or dynamite) caps were basically detonators designed to set off small explosions in order to ignite bigger ones. And apparently, in the ’30s and ’40s, they were just lying around willy-nilly.\u003c/p>\n\u003cp>In 1948, Tony Martin found a box of blasting caps on San Mateo’s Rockaway Beach. He would later tell staff of the Mission Emergency Hospital that he “knew they were dangerous after [he] read about them in the newspaper,” but decided to throw a rock at one anyway. He was treated for burns and shock.\u003c/p>\n\u003cp>[aside postid='arts_13927540']Twelve-year-old Billy Douglas got off a little easier in 1937 after San Francisco cops raided his home to confiscate Billy’s large collection of dynamite caps. They removed the detonators without anyone getting hurt, and Billy was transparent about the fact that he had been planning a large explosion on his street (Geary, incidentally) for Fourth of July celebrations.\u003c/p>\n\u003cp>Even worse than Billy were the six high school friends who got shaken down by cops in 1947 after it was discovered that they had managed to collect a bunch of dynamite, a box of blasting caps and 10 pounds of blasting powder. The kids — students from Balboa High School and Horace Mann Junior High — had been stashing the explosives in their parents’ basements. No word on what exactly this band of hooligans were planning to do with it all, but the students all got off with warnings.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Take that, Gen X!\u003c/p>\n\n",
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"excerpt": "TikTok says Gen X was the most feral generation. The kids who played with cannons and explosives would like a word.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today, TikTok is filled to the brim with videos about the unmonitored childhoods that Gen Xers casually endured in the 1980s. Back then, kids were out, roaming the streets, setting off fireworks, cracking their heads on concrete playgrounds, swimming in factory waste and smoking a pack of Camels a day before they’d even turned 12. No small humans were tougher. Or, at least, that’s the popular narrative on social media.\u003c/p>\n\u003cp>And yet: Step aside, feral mall children of the 1980s, for local news archives tell us that there once existed generations of kids who make Gen X look like absolute wusses. These tiny maniacs grew up in the first half of the 20th century and, let me tell you, they were armed, dangerous and would not — though their lives literally depended on it — stop playing with deadly knickknacks. These kids had actual, bonafide TNT, nitroglycerine and — sure, why not? — teeny tiny weapons.\u003c/p>\n\u003cp>Did they get injured? Of course! Did anyone learn a lesson? Nope!\u003c/p>\n\u003cp>Please now allow me to regale you with tales of the toughest Bay Area offspring from last century and, of course, their weapons of choice.\u003c/p>\n\u003ch2>The dynamite kids\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Which is worse? Deciding at the age of 12 to “blow up the Berkeley school” with your friends using 12 sticks of stolen dynamite? (This was in 1936 and, thankfully, the Danville boy responsible got busted before his crew could light any fuses.) \u003cem>Or\u003c/em>, heading to school in 1940, aged 13, and “roaming a crowded [Oakland] school playground during recess” waving a stick of dynamite around? It’s hard to say which child was more likely to murder someone, but the fact that Northern California kids like these two just happened to keep stumbling across this very specific type of explosive is even more of a head-scratcher.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Chico in 1915, an 11-year-old named George Simpson saved the life of a 10-year-old girl who was about to bash two dynamite sticks on a rock to “play Fourth of July.” In 1922, a 6-year-old and a 3-year from Hayward did themselves serious damage after finding dynamite in one of their dad’s barns and lighting it up. Try not to think too hard on the fact that these kids, according to newspaper reports, were too young to read the “Danger!” warning on the box, but somehow old enough to proficiently light matches.\u003c/p>\n\u003cp>As late as 1959, kids were still in full Wile E. Coyote mode and trying to blow crap up. One dynamite explosion set off by teens in Walnut Creek that year broke a square-mile’s worth of windows, started a two-acre grass fire, blew a three-foot-deep hole in the ground and scared the crap out of people as far as 20 miles away. The dynamite had been stolen from a nearby storehouse. Rebels without a cause, indeed.\u003c/p>\n\u003cfigure id=\"attachment_13934556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-1450837772-scaled-e1694206484580-800x637.jpg\" alt=\"A toddler wearing a onesie covered in safety pins stands outside next to a sign that reads Safety First. A woman stands behind the child.\" width=\"800\" height=\"637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837772-scaled-e1694206484580-800x637.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837772-scaled-e1694206484580-1020x812.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837772-scaled-e1694206484580-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837772-scaled-e1694206484580-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837772-scaled-e1694206484580-1536x1223.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837772-scaled-e1694206484580.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rare sight of a child in 1935 not actively trying to blow themselves up. \u003ccite>(Daily Mirror/ Mirrorpix via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The ‘toy’ cannon lovers\u003c/h2>\n\u003cp>Unless there’s a game in which actively attempting to hurt one’s playmates and pets is a thing, it’s really hard to figure out how exactly one “plays” with a toy cannon.\u003c/p>\n\u003cp>The 2013 book \u003cem>Britain’s Secret Treasures \u003c/em>has some clues as to the operations of such items, stating that, back in the day, “Many households would have had musket powder that could be used to fire a toy cannon … Buckshot could have been used for cannonballs, or any household item that could be fashioned into a hard, round projectile … It is doubtful that these little cannon were sold with instructions, so a trial and error approach was required.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And those errors, friends, could result in some very not good things. In 1903, a 14-year-old Berkeley boy named Will Bass managed to shoot his left index finger off with a toy cannon. (He was in the middle of trying to repair it at the time.) A single edition of the \u003cem>San Francisco Call\u003c/em> newspaper later that year listed two separate incidents of boys getting severe face burns “while trying to find out why a brass cannon did not explode.” (One was an 11-year-old Tenderloin boy. The other was 8 and playing in Golden Gate Park at the time.)\u003c/p>\n\u003cp>Also in that issue of \u003cem>The Call\u003c/em>? A 17-year-old Civic Center resident who had injured “the palm of his left hand terribly” after his cannon went off prematurely. (The exact same thing happened to a 14-year-old San Franciscan the following year.) All of which makes even \u003ca href=\"https://www.vintagegaragechicago.com/jarts/\">Jarts — an unhinged “missile game”\u003c/a> from the 1960s and ’70s — look positively tame.\u003c/p>\n\u003ch2>This one kid who made nitroglycerine\u003c/h2>\n\u003cp>I’m not going to be able to say this any better than Herb Caen did in a 1951 column for the \u003cem>San Francisco Examiner, \u003c/em>so let’s just use his words:\u003c/p>\n\u003cblockquote>\u003cp>Bob Zwieg, 15-year-old … made up his mind months ago that he was going to produce the biggest Fourth of July explosion in San Anselmo, where his family has a summer place. ‘Yup, I’m gonna make me some nitroglycerine’ he kept saying, and his mother humored him. ‘You go right ahead, sonny,’ she soothed as he pored over chemistry books and fiddled with laboratory doo-dads.\u003c/p>\n\u003cp>Wednesday morning he announced, ‘I’m ready to make the big noise.’ He put the gloop in a pot, began stirring it and — wham! The roar was still fading away while young Bob was being rushed to Ross Hospital with burns, singed eyebrows and slight shock. Anyway, it was the biggest noise in San Anselmo on July Fourth.\u003c/p>\u003c/blockquote>\n\u003cp>This is what happens when we underestimate the determination of our young people.\u003c/p>\n\u003cfigure id=\"attachment_13934557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-1450837708-scaled-e1694207054260-800x528.jpg\" alt=\"Two small boys boxing inside a ring surrounded by middle aged men wearing overcoats and suits.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837708-scaled-e1694207054260-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837708-scaled-e1694207054260-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837708-scaled-e1694207054260-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837708-scaled-e1694207054260-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837708-scaled-e1694207054260-1536x1014.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1450837708-scaled-e1694207054260.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At a certain point, it’s fairly impossible to not just blame the adults in the room… \u003ccite>(B Alfieri/ Mirrorpix via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The ‘toy’ gun tinkerers\u003c/h2>\n\u003cp>In 1903, one Clarence Ito of Grayson St. in West Berkeley found himself with a toy gun that was refusing to fire. He, naturally, responded to this by staring down the barrel of the weapon and pulling the trigger. According to an issue of \u003cem>The Call\u003c/em> at the time, Clarence was left with “a big hole in his cheek, just a little below the eye, and it required the services of a physician and a large amount of thread to sew it together again.”\u003c/p>\n\u003cp>Thirty-five years later, toy guns and the kids that owned them were still doing each other dirty. A 1938 edition of \u003cem>The Examiner\u003c/em> reported that a 14-year-old Hayward boy had a .22 caliber bullet lodged in his jaw after he and two friends decided to shove the ammo into an air gun and see what would happen. The injured kid’s condition was described as “not serious,” but would \u003cem>you\u003c/em> want a bullet lodged in your jaw? I’m gonna go with nope.\u003c/p>\n\u003ch2>The blasting cap hoarders\u003c/h2>\n\u003cp>For those of you without a working knowledge of the history of demolition, blasting (or dynamite) caps were basically detonators designed to set off small explosions in order to ignite bigger ones. And apparently, in the ’30s and ’40s, they were just lying around willy-nilly.\u003c/p>\n\u003cp>In 1948, Tony Martin found a box of blasting caps on San Mateo’s Rockaway Beach. He would later tell staff of the Mission Emergency Hospital that he “knew they were dangerous after [he] read about them in the newspaper,” but decided to throw a rock at one anyway. He was treated for burns and shock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Twelve-year-old Billy Douglas got off a little easier in 1937 after San Francisco cops raided his home to confiscate Billy’s large collection of dynamite caps. They removed the detonators without anyone getting hurt, and Billy was transparent about the fact that he had been planning a large explosion on his street (Geary, incidentally) for Fourth of July celebrations.\u003c/p>\n\u003cp>Even worse than Billy were the six high school friends who got shaken down by cops in 1947 after it was discovered that they had managed to collect a bunch of dynamite, a box of blasting caps and 10 pounds of blasting powder. The kids — students from Balboa High School and Horace Mann Junior High — had been stashing the explosives in their parents’ basements. No word on what exactly this band of hooligans were planning to do with it all, but the students all got off with warnings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Take that, Gen X!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Eccentric Saloon Owner Beloved and Defended by 19th-Century Sailors",
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"content": "\u003cp>Sailors called her “mother,” thieves cursed her name, and for decades she entertained both at her Embarcadero saloon. Mother Thompson, as she was known, may have shared a nickname with a \u003ca href=\"https://en.wikipedia.org/wiki/Eliza_Thompson\">well-known temperance campaigner\u003c/a>, but her business was booze, banter, then more booze. It was also her to job to boldly defend her bar during a time when it was dangerous to be a woman behind one.\u003c/p>\n\u003cp>[aside postid='arts_13931837']Mother Thompson’s establishment, named Mrs. Thompson’s, was opposite today’s Rincon Park. Its front door was on Embarcadero between Howard and Folsom, with an additional rear entrance on Steuart Street that faced a vacant lot. \u003cem>The San Francisco Examiner\u003c/em> reported in 1901 that one patron attempting to use the back entrance was robbed of his pocket watch by three men. The front entrance wasn’t much safer. In 1918, the \u003cem>Sacramento Bee\u003c/em> reported that a 41-year-old sailor named John McMahon was shot in front of the bar by an unknown assailant and died on his way to the Harbor Emergency Hospital.\u003c/p>\n\u003cp>The trouble didn’t always stay outside the saloon either. On one occasion when a customer refused to pay for his drinks, Thompson simply came out from behind the bar, walked up to the man, and slammed him in the throat with a length of rubber hose. \u003cem>The Oakland Tribune\u003c/em> later reported that “he went down as though struck by a pile driver,” and “a couple of swampers [men who performed odd jobs] picked him up and tossed him to the sidewalk.”\u003c/p>\n\u003cfigure id=\"attachment_13933424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/opensfhistory_wnp37.02367-800x946.jpg\" alt=\"An historical image of crowds of men gathered with mules on a busy corner. Behind them is a city block of wooden structures and shops.\" width=\"800\" height=\"946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02367-800x946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02367-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02367-768x908.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02367.jpg 846w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The view, in 1900, of Embarcadero facing north from Folsom St. Mother Thompson’s bar was on the block visible behind the crowds in the foreground. \u003ccite>(OpenSFHistory / wnp37.02367)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thompson’s regulars — mostly sailors — treated her with the utmost respect, often bringing her gifts from their travels including fine silks, wooden carvings and artificial flowers. When her tavern caught fire in 1916, sailors assisted the firemen tasked with extinguishing the blaze. \u003cem>The Chronicle\u003c/em> reported that during the fire, six men in the bar refused to leave, saying “If she goes down, we go with her.”\u003c/p>\n\u003cp>[aside postid='arts_13927137']Thompson returned these kinds of favors by offering tabs and free drinks to friendly seafarers who were down on their luck. In a 1911 story in \u003cem>The San Francisco Call\u003c/em>, Thompson — apparently “getting on in years” with gray hair and a “very ample” waistline by then — was quoted as saying, “The sailor byes [boys] has a hard life with nothin’ but a plank between him and death. And so they likes to have what fun they can ashore.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These men often felt protective of Thompson and assisted her when she was faced with unruly patrons. “Niver have I been insulted by sailor men,” Thompson told \u003cem>The Call\u003c/em>. “One or twice a man has started to say something, but always it was a landsman and the byes put him out.”\u003c/p>\n\u003cp>In 1913, when a towboat captain named Joseph C. Powell demanded repeatedly that someone else in the bar pay for drinks he’d already consumed, Thompson’s regulars were said to have set upon him, beaten him senseless and taken $5 from his pocket to pay her. \u003cem>The Oakland Tribune\u003c/em> reported shortly thereafter that Powell was “laid up at the harbor hospital for repairs.”\u003c/p>\n\u003cfigure id=\"attachment_13933422\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933422\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/opensfhistory_wnp4.1330-800x630.jpg\" alt=\"A black wooden shack marked PIER 10 sits before ships docked on the San Francisco Bay. The air is thick with smoke. The ferry building is visible off in the distance.\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp4.1330-800x630.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp4.1330-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp4.1330-768x605.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp4.1330.jpg 1000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The scene across the street from Mrs. Thompson’s back in 1900. \u003ccite>(OpenSFHistory / wnp4.1330)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is fairly likely, based on the manner in which she was quoted in \u003cem>The Call\u003c/em>, that Thompson originally hailed from England. This would also explain her popularity with British sailors — she was the only bartender in San Francisco who served English ale in pewter mugs, as was customary in the U.K. at the time. Sailors from Liverpool flocked to see Thompson every chance they got. One report in \u003cem>The San Francisco Call\u003c/em> also mentioned “a swarthy, black-haired Highland Scotchman and a gray-haired old Welsh bosun” enthusiastically singing the sea shanty “\u003ca href=\"https://www.youtube.com/watch?v=ItFqjjLPjcA\">Blow the Man Down\u003c/a>” at the end of the bar.\u003c/p>\n\u003cp>Thompson, though well equipped to deal with even the roughest of customers, was also known to sit behind the bar knitting on slow nights. She had raised several children — when they were young, they stayed with her at the bar while she worked — and kept a large gray cockatoo as a pet. The bird hung out at the tavern and was known to occasionally shout “Belay, there!” at noisy customers.\u003c/p>\n\u003cp>Just how long Mrs. Thompson’s was in operation is now difficult to ascertain. Some turn-of-the-century newspaper articles said only the oldest of sailors would remember exactly when it opened. Based on when newspaper reports about the bar disappeared, it was likely put out of business by Prohibition in 1920.\u003c/p>\n\u003cp>[aside postid='arts_13929998']What we do know is that between 1900 and 1940, women like Mother Thompson made up just 2% of the bartending workforce. Things got even worse in 1948 when \u003ca href=\"https://en.wikipedia.org/wiki/Goesaert_v._Cleary\">a Supreme Court ruling stopped women from working as bartenders\u003c/a> in any establishment that wasn’t owned by their father or husband, or in any town that had a population over 50,000 people. The law was designed to force women back out from behind the bar after the boom in female bartending that had happened during World War II. That law wasn’t overturned until 1971.\u003c/p>\n\u003cp>Mother Thompson had neither the time nor the inclination to worry about whether or not her profession was suitable for someone of her gender. This undoubtedly eccentric woman was concerned only about living her life on her own terms from beneath her signature black straw bonnet. But Thompson also served as an important early example of just how successful a female bar owner could be — not to mention how beloved.\u003c/p>\n\u003cp>“She has a deal of kindness in her eyes,” \u003cem>The San Francisco Call\u003c/em> once noted, “and she smiles when she talks of the seafaring men.”\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>Sailors called her “mother,” thieves cursed her name, and for decades she entertained both at her Embarcadero saloon. Mother Thompson, as she was known, may have shared a nickname with a \u003ca href=\"https://en.wikipedia.org/wiki/Eliza_Thompson\">well-known temperance campaigner\u003c/a>, but her business was booze, banter, then more booze. It was also her to job to boldly defend her bar during a time when it was dangerous to be a woman behind one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mother Thompson’s establishment, named Mrs. Thompson’s, was opposite today’s Rincon Park. Its front door was on Embarcadero between Howard and Folsom, with an additional rear entrance on Steuart Street that faced a vacant lot. \u003cem>The San Francisco Examiner\u003c/em> reported in 1901 that one patron attempting to use the back entrance was robbed of his pocket watch by three men. The front entrance wasn’t much safer. In 1918, the \u003cem>Sacramento Bee\u003c/em> reported that a 41-year-old sailor named John McMahon was shot in front of the bar by an unknown assailant and died on his way to the Harbor Emergency Hospital.\u003c/p>\n\u003cp>The trouble didn’t always stay outside the saloon either. On one occasion when a customer refused to pay for his drinks, Thompson simply came out from behind the bar, walked up to the man, and slammed him in the throat with a length of rubber hose. \u003cem>The Oakland Tribune\u003c/em> later reported that “he went down as though struck by a pile driver,” and “a couple of swampers [men who performed odd jobs] picked him up and tossed him to the sidewalk.”\u003c/p>\n\u003cfigure id=\"attachment_13933424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/opensfhistory_wnp37.02367-800x946.jpg\" alt=\"An historical image of crowds of men gathered with mules on a busy corner. Behind them is a city block of wooden structures and shops.\" width=\"800\" height=\"946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02367-800x946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02367-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02367-768x908.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02367.jpg 846w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The view, in 1900, of Embarcadero facing north from Folsom St. Mother Thompson’s bar was on the block visible behind the crowds in the foreground. \u003ccite>(OpenSFHistory / wnp37.02367)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thompson’s regulars — mostly sailors — treated her with the utmost respect, often bringing her gifts from their travels including fine silks, wooden carvings and artificial flowers. When her tavern caught fire in 1916, sailors assisted the firemen tasked with extinguishing the blaze. \u003cem>The Chronicle\u003c/em> reported that during the fire, six men in the bar refused to leave, saying “If she goes down, we go with her.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Thompson returned these kinds of favors by offering tabs and free drinks to friendly seafarers who were down on their luck. In a 1911 story in \u003cem>The San Francisco Call\u003c/em>, Thompson — apparently “getting on in years” with gray hair and a “very ample” waistline by then — was quoted as saying, “The sailor byes [boys] has a hard life with nothin’ but a plank between him and death. And so they likes to have what fun they can ashore.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These men often felt protective of Thompson and assisted her when she was faced with unruly patrons. “Niver have I been insulted by sailor men,” Thompson told \u003cem>The Call\u003c/em>. “One or twice a man has started to say something, but always it was a landsman and the byes put him out.”\u003c/p>\n\u003cp>In 1913, when a towboat captain named Joseph C. Powell demanded repeatedly that someone else in the bar pay for drinks he’d already consumed, Thompson’s regulars were said to have set upon him, beaten him senseless and taken $5 from his pocket to pay her. \u003cem>The Oakland Tribune\u003c/em> reported shortly thereafter that Powell was “laid up at the harbor hospital for repairs.”\u003c/p>\n\u003cfigure id=\"attachment_13933422\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933422\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/opensfhistory_wnp4.1330-800x630.jpg\" alt=\"A black wooden shack marked PIER 10 sits before ships docked on the San Francisco Bay. The air is thick with smoke. The ferry building is visible off in the distance.\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp4.1330-800x630.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp4.1330-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp4.1330-768x605.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp4.1330.jpg 1000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The scene across the street from Mrs. Thompson’s back in 1900. \u003ccite>(OpenSFHistory / wnp4.1330)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is fairly likely, based on the manner in which she was quoted in \u003cem>The Call\u003c/em>, that Thompson originally hailed from England. This would also explain her popularity with British sailors — she was the only bartender in San Francisco who served English ale in pewter mugs, as was customary in the U.K. at the time. Sailors from Liverpool flocked to see Thompson every chance they got. One report in \u003cem>The San Francisco Call\u003c/em> also mentioned “a swarthy, black-haired Highland Scotchman and a gray-haired old Welsh bosun” enthusiastically singing the sea shanty “\u003ca href=\"https://www.youtube.com/watch?v=ItFqjjLPjcA\">Blow the Man Down\u003c/a>” at the end of the bar.\u003c/p>\n\u003cp>Thompson, though well equipped to deal with even the roughest of customers, was also known to sit behind the bar knitting on slow nights. She had raised several children — when they were young, they stayed with her at the bar while she worked — and kept a large gray cockatoo as a pet. The bird hung out at the tavern and was known to occasionally shout “Belay, there!” at noisy customers.\u003c/p>\n\u003cp>Just how long Mrs. Thompson’s was in operation is now difficult to ascertain. Some turn-of-the-century newspaper articles said only the oldest of sailors would remember exactly when it opened. Based on when newspaper reports about the bar disappeared, it was likely put out of business by Prohibition in 1920.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What we do know is that between 1900 and 1940, women like Mother Thompson made up just 2% of the bartending workforce. Things got even worse in 1948 when \u003ca href=\"https://en.wikipedia.org/wiki/Goesaert_v._Cleary\">a Supreme Court ruling stopped women from working as bartenders\u003c/a> in any establishment that wasn’t owned by their father or husband, or in any town that had a population over 50,000 people. The law was designed to force women back out from behind the bar after the boom in female bartending that had happened during World War II. That law wasn’t overturned until 1971.\u003c/p>\n\u003cp>Mother Thompson had neither the time nor the inclination to worry about whether or not her profession was suitable for someone of her gender. This undoubtedly eccentric woman was concerned only about living her life on her own terms from beneath her signature black straw bonnet. But Thompson also served as an important early example of just how successful a female bar owner could be — not to mention how beloved.\u003c/p>\n\u003cp>“She has a deal of kindness in her eyes,” \u003cem>The San Francisco Call\u003c/em> once noted, “and she smiles when she talks of the seafaring men.”\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-franciscos-forgotten-cemeteries-review-beth-winegarner-colma-history",
"title": "Think You Know About San Francisco’s Forgotten Cemeteries? Think Again",
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"content": "\u003cfigure id=\"attachment_13933553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933553\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/opensfhistory_wnp71.1458-800x782.jpg\" alt=\"The wooden fences, monuments and trees of a cemetery in the mid-1800s. A church with a two-story perpendicular addition. Masonry on the first floor, a wooden second story.\" width=\"800\" height=\"782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp71.1458-800x782.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp71.1458-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp71.1458-768x750.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp71.1458.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The original Mission Dolores cemetery was much larger than what’s left behind today. Thousands of bodies remain under 16th Street and the surrounding area. \u003ccite>(OpenSFHistory / wnp71.1458)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I spend a lot of time writing about local history for KQED. Most days you can find me wading through old newspaper clippings, library archives and museum collections digging up the \u003ca href=\"https://www.kqed.org/rebelgirls\">forgotten stories of our Bay Area predecessors\u003c/a>. Because of this, I thought I knew a fair amount about \u003ca href=\"https://www.kqed.org/arts/13917340/hidden-old-tombstones-guide-san-francisco-history\">San Francisco’s messy history of burying the dead\u003c/a> in one place, then half-heartedly digging them up and reburying them in another. I was not, however, prepared for everything Beth Winegarner unearths in her new book, \u003cem>San Francisco’s Forgotten Cemeteries\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13917340']What most people in the Bay Area already know is that the city moved the vast majority of its dead to Colma in the 1930s. That, at least, is the common narrative. What Winegarner uncovers here is a far more shocking tale — one in which San Francisco remains awash with dead bodies that are simply lacking grave markers. And we’re not just talking about \u003ca href=\"https://www.kqed.org/pop/103040/are-the-cliff-house-and-the-sutro-baths-cursed\">the handful that have popped up over the years\u003c/a> during construction work.\u003c/p>\n\u003cp>The bodies that were moved to Colma came from San Francisco’s four main cemeteries — Laurel Hill, Masonic, Odd Fellows and Calvary — all of which were positioned on the north side of the city. However, \u003cem>San Francisco’s Forgotten Cemeteries\u003c/em> thoroughly charts all of the other places that city dwellers once used as graveyards — and many are in unexpected, and under-discussed, locations. Dolores Park, for example, was a Jewish cemetery. Russian Hill is named for the fact that Russian sailors were buried there in 1848. Bodies were buried at First and Minna downtown. Most shockingly of all, Civic Center was once home to an enormous cemetery named Yerba Buena. (And a smaller one known as Green Oak.)\u003c/p>\n\u003cfigure id=\"attachment_13933545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933545\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L-800x686.jpg\" alt=\"Cemetery, agricultural fields, houses in foregr\" width=\"800\" height=\"686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L-768x658.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">View northwest across today’s Dolores Park, in 1870, when the plot was still home to a Jewish cemetery. \u003ccite>(OpenSFHistory / wnp37.02113-L)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Yerba Buena graveyard started at Market and Larkin and stretched all the way up to where City Hall stands today. It was opened in 1850, contained an unmarked mass grave of 800 bodies moved from North Beach, and was filled with between 7,000 and 9,000 bodies within the first eight years of its existence. In 1868, the dead were disinterred and moved again — at least, they were supposed to be. In truth, hundreds of bodies were left behind, under what is now Civic Center Plaza, City Hall, the Asian Art Museum and the Library.\u003c/p>\n\u003cp>According to Winegarner, few corners of the city are actually free of former residents’ bodies. Keep in mind that the Mission Dolores graveyard once contained between 10,000 and 11,000 bodies. And while only 200 or so are marked by gravestones today, thousands of dead remain under 16th Street and the surrounding buildings, many of them the Indigenous people who built the mission in the first place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All this barely scratches the surface of the many grim realities uncovered in \u003cem>San Francisco’s Forgotten Cemeteries\u003c/em>. But Winegarner makes absorbing this macabre information bearable — even thrilling at times — through calm and careful writing. She is entirely uninterested in sensationalizing her meticulously researched facts. She is also conscientious when it comes to humanizing the people buried beneath our streets, sporadically telling individuals’ stories in a way that brings them to life once more.\u003c/p>\n\u003cp>[aside postid='arts_13919589']By the end of the book — a journey that chronicles the history of San Francisco’s cemeteries from early settlers burying friends where they lay, all the way to the big Colma move — one gets the distinct sense that Winegarner wants only for us to be more mindful as we move through the city. In many ways, she is imploring us to pay our respects to those who still lie beneath our feet. And after reading her book, you’ll absolutely feel compelled to.\u003c/p>\n\u003cp>“Ultimately, it doesn’t matter much whether San Francisco’s dead, especially its marginalized dead, were left behind intentionally or through neglect,” Winegarner writes in her final chapter. “The result is the same: their descendants, by both blood and geography, have no way of finding and connecting with them in a tangible way.\u003c/p>\n\u003cp>“Given that these were the people who physically built the city we know as San Francisco, we are all their children of a kind,” she concludes, “and we owe them a debt of respect.”\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>‘\u003ca href=\"https://www.arcadiapublishing.com/products/9781467154925/\">San Francisco’s Forgotten Cemeteries\u003c/a>’ is out on Aug. 28 from \u003ca href=\"https://www.arcadiapublishing.com/pages/the-history-press\">The History Press\u003c/a>. Beth Winegarner is making appearances around the city in support of the book throughout August, September and October. \u003ca href=\"https://www.bethwinegarner.com/san-franciscos-forgotten-cemeteries\">See those event details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13933553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933553\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/opensfhistory_wnp71.1458-800x782.jpg\" alt=\"The wooden fences, monuments and trees of a cemetery in the mid-1800s. A church with a two-story perpendicular addition. Masonry on the first floor, a wooden second story.\" width=\"800\" height=\"782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp71.1458-800x782.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp71.1458-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp71.1458-768x750.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp71.1458.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The original Mission Dolores cemetery was much larger than what’s left behind today. Thousands of bodies remain under 16th Street and the surrounding area. \u003ccite>(OpenSFHistory / wnp71.1458)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I spend a lot of time writing about local history for KQED. Most days you can find me wading through old newspaper clippings, library archives and museum collections digging up the \u003ca href=\"https://www.kqed.org/rebelgirls\">forgotten stories of our Bay Area predecessors\u003c/a>. Because of this, I thought I knew a fair amount about \u003ca href=\"https://www.kqed.org/arts/13917340/hidden-old-tombstones-guide-san-francisco-history\">San Francisco’s messy history of burying the dead\u003c/a> in one place, then half-heartedly digging them up and reburying them in another. I was not, however, prepared for everything Beth Winegarner unearths in her new book, \u003cem>San Francisco’s Forgotten Cemeteries\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What most people in the Bay Area already know is that the city moved the vast majority of its dead to Colma in the 1930s. That, at least, is the common narrative. What Winegarner uncovers here is a far more shocking tale — one in which San Francisco remains awash with dead bodies that are simply lacking grave markers. And we’re not just talking about \u003ca href=\"https://www.kqed.org/pop/103040/are-the-cliff-house-and-the-sutro-baths-cursed\">the handful that have popped up over the years\u003c/a> during construction work.\u003c/p>\n\u003cp>The bodies that were moved to Colma came from San Francisco’s four main cemeteries — Laurel Hill, Masonic, Odd Fellows and Calvary — all of which were positioned on the north side of the city. However, \u003cem>San Francisco’s Forgotten Cemeteries\u003c/em> thoroughly charts all of the other places that city dwellers once used as graveyards — and many are in unexpected, and under-discussed, locations. Dolores Park, for example, was a Jewish cemetery. Russian Hill is named for the fact that Russian sailors were buried there in 1848. Bodies were buried at First and Minna downtown. Most shockingly of all, Civic Center was once home to an enormous cemetery named Yerba Buena. (And a smaller one known as Green Oak.)\u003c/p>\n\u003cfigure id=\"attachment_13933545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933545\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L-800x686.jpg\" alt=\"Cemetery, agricultural fields, houses in foregr\" width=\"800\" height=\"686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L-768x658.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/opensfhistory_wnp37.02113-L.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">View northwest across today’s Dolores Park, in 1870, when the plot was still home to a Jewish cemetery. \u003ccite>(OpenSFHistory / wnp37.02113-L)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Yerba Buena graveyard started at Market and Larkin and stretched all the way up to where City Hall stands today. It was opened in 1850, contained an unmarked mass grave of 800 bodies moved from North Beach, and was filled with between 7,000 and 9,000 bodies within the first eight years of its existence. In 1868, the dead were disinterred and moved again — at least, they were supposed to be. In truth, hundreds of bodies were left behind, under what is now Civic Center Plaza, City Hall, the Asian Art Museum and the Library.\u003c/p>\n\u003cp>According to Winegarner, few corners of the city are actually free of former residents’ bodies. Keep in mind that the Mission Dolores graveyard once contained between 10,000 and 11,000 bodies. And while only 200 or so are marked by gravestones today, thousands of dead remain under 16th Street and the surrounding buildings, many of them the Indigenous people who built the mission in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>By the end of the book — a journey that chronicles the history of San Francisco’s cemeteries from early settlers burying friends where they lay, all the way to the big Colma move — one gets the distinct sense that Winegarner wants only for us to be more mindful as we move through the city. In many ways, she is imploring us to pay our respects to those who still lie beneath our feet. And after reading her book, you’ll absolutely feel compelled to.\u003c/p>\n\u003cp>“Ultimately, it doesn’t matter much whether San Francisco’s dead, especially its marginalized dead, were left behind intentionally or through neglect,” Winegarner writes in her final chapter. “The result is the same: their descendants, by both blood and geography, have no way of finding and connecting with them in a tangible way.\u003c/p>\n\u003cp>“Given that these were the people who physically built the city we know as San Francisco, we are all their children of a kind,” she concludes, “and we owe them a debt of respect.”\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>‘\u003ca href=\"https://www.arcadiapublishing.com/products/9781467154925/\">San Francisco’s Forgotten Cemeteries\u003c/a>’ is out on Aug. 28 from \u003ca href=\"https://www.arcadiapublishing.com/pages/the-history-press\">The History Press\u003c/a>. Beth Winegarner is making appearances around the city in support of the book throughout August, September and October. \u003ca href=\"https://www.bethwinegarner.com/san-franciscos-forgotten-cemeteries\">See those event details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
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