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"content": "\u003cp>Janis Joplin’s first rehearsal with the rock band Big Brother & The Holding Company was apparently a loud affair. So loud it was alarming.\u003c/p>\n\u003cp>Bassist Peter Albin recalls the band raising the roof off one day in the 1960s when their playing was interrupted by a knock at the door. Two San Francisco police officers were investigating reports of a woman screaming.\u003c/p>\n\u003cp>[aside postid='arts_13925408']“Oh, that’s just Janis. It’s OK,” came the reply.\u003c/p>\n\u003cp>That fun nugget — as well as rare footage of the actual rehearsal — enliven \u003cem>San Francisco Sounds: A Place in Time\u003c/em>, a two-part documentary on MGM+ that concludes Sunday. The first part dropped Aug. 20.\u003c/p>\n\u003cp>The late Joplin is joined by an astonishing number of great artists who came to define the city — the Grateful Dead, Jefferson Airplane, Sly and the Family Stone, The Great Society, Steve Miller, Carlos Santana, Moby Grape, and Country Joe & The Fish, all mixing rock, folk and the blues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Viewers get a street-level view of the rise of the San Francisco dream — artistic freedom, community and authenticity — and its fall, thanks to hard drugs, commercialism and increasingly hard edges. The time period is 1965 to 1975, short but sweet.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-LTD7C-oFhc\u003c/p>\n\u003cp>“It’s not just the music,” says co-director Anoosh Tertzakian. “Everybody was trying to break the rules of whatever their medium was, and I think it’s in that breaking the rules that they found something new. The music was what was keeping the pulse together.”\u003c/p>\n\u003cp>The docuseries explores how the Grateful Dead got some of their iconic logos, how city music venues Avalon Ballroom and The Fillmore began, how the seminal Jefferson Airplane song “White Rabbit” came about and how the deaths at the Altamont show soured the hippie mood.\u003c/p>\n\u003cp>[aside postid='arts_13039627']Tertzakian and filmmaker Alison Ellwood, who last teamed up to capture the music of the Los Angeles neighborhood Laurel Canyon, turned their attention north and found a place “on the edge of the Earth.”\u003c/p>\n\u003cp>“It was like every misfit from anywhere in this country who rattled loose, ended up in San Francisco,” the series quotes Bob Weir of the Grateful Dead as saying.\u003c/p>\n\u003cp>The main guides are disc jockey Dusty Street, poster artist Victor Moscoso, light show artist Bill Ham and \u003cem>Rolling Stone\u003c/em> magazine journalist Ben Fong-Torres. The musicians are captured in audio interviews that play over archival footage — a technique Ellwood and Tertzakian used in \u003cem>Laurel Canyon: A Place in Time\u003c/em>, in 2020.\u003c/p>\n\u003cp>“It’s obviously a place that so many people have focused on and they really focus on the star quality of the musicians,” says Tertzakian. “And I think that was something that we really wanted to minimize in order to bring it back to the source.”\u003c/p>\n\u003cp>That technique both captures the spark of creativity and bypasses the grave. “We can’t set Grace Slick down and then counter it with Janis Joplin sitting down and doing an interview. So that’s another reason, just to keep everyone young, of the time of the moment,” says Ellwood.\u003c/p>\n\u003cp>An astonishing amount of footage and interviews were used, borrowed from reporters, universities, archive houses and personal collections. Susan Joy Balin, wife of Jefferson Airplane’s Marty Balin, handed over her own footage of the time, as did Jerry Slick, Grace’s ex-husband.\u003c/p>\n\u003cp>“We were saying, ‘Just give us whatever you have and let’s play around with it,’” says Tertzakian. “That was both super fun and also a challenge because the amount of material we had, we had to really pick and choose how to use it and in a relatively short time frame.”\u003c/p>\n\u003cp>[aside postid='arts_13920973']The hippie decline — charted in the second half — is heartbreaking, as record companies start flooding the music scene with money, and heroin starts to displace psychedelics, with disastrous consequences.\u003c/p>\n\u003cp>“Hordes of people invaded without the artistic vision and plan to come there in the first place. They just showed up with no plan and the city couldn’t sustain it,” says Ellwood.\u003c/p>\n\u003cp>But Tertzakian believes the San Francisco dream lives on. “For every one of these people, they lost something, but they kept it with them and they continued as they did their own art or lived their lives,” she says. “I feel like to a certain degree it trickled out.”\u003c/p>\n\u003cp>After Laurel Canyon and San Francisco, the filmmakers have yet to decide on the subject of their third music-related docuseries. Perhaps Greenwich Village or Nashville or the grunge scene.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve been talking about lots of different things, but we’ll see,” says Ellwood.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Oh, that’s just Janis. It’s OK,” came the reply.\u003c/p>\n\u003cp>That fun nugget — as well as rare footage of the actual rehearsal — enliven \u003cem>San Francisco Sounds: A Place in Time\u003c/em>, a two-part documentary on MGM+ that concludes Sunday. The first part dropped Aug. 20.\u003c/p>\n\u003cp>The late Joplin is joined by an astonishing number of great artists who came to define the city — the Grateful Dead, Jefferson Airplane, Sly and the Family Stone, The Great Society, Steve Miller, Carlos Santana, Moby Grape, and Country Joe & The Fish, all mixing rock, folk and the blues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Tertzakian and filmmaker Alison Ellwood, who last teamed up to capture the music of the Los Angeles neighborhood Laurel Canyon, turned their attention north and found a place “on the edge of the Earth.”\u003c/p>\n\u003cp>“It was like every misfit from anywhere in this country who rattled loose, ended up in San Francisco,” the series quotes Bob Weir of the Grateful Dead as saying.\u003c/p>\n\u003cp>The main guides are disc jockey Dusty Street, poster artist Victor Moscoso, light show artist Bill Ham and \u003cem>Rolling Stone\u003c/em> magazine journalist Ben Fong-Torres. The musicians are captured in audio interviews that play over archival footage — a technique Ellwood and Tertzakian used in \u003cem>Laurel Canyon: A Place in Time\u003c/em>, in 2020.\u003c/p>\n\u003cp>“It’s obviously a place that so many people have focused on and they really focus on the star quality of the musicians,” says Tertzakian. “And I think that was something that we really wanted to minimize in order to bring it back to the source.”\u003c/p>\n\u003cp>That technique both captures the spark of creativity and bypasses the grave. “We can’t set Grace Slick down and then counter it with Janis Joplin sitting down and doing an interview. So that’s another reason, just to keep everyone young, of the time of the moment,” says Ellwood.\u003c/p>\n\u003cp>An astonishing amount of footage and interviews were used, borrowed from reporters, universities, archive houses and personal collections. Susan Joy Balin, wife of Jefferson Airplane’s Marty Balin, handed over her own footage of the time, as did Jerry Slick, Grace’s ex-husband.\u003c/p>\n\u003cp>“We were saying, ‘Just give us whatever you have and let’s play around with it,’” says Tertzakian. “That was both super fun and also a challenge because the amount of material we had, we had to really pick and choose how to use it and in a relatively short time frame.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The hippie decline — charted in the second half — is heartbreaking, as record companies start flooding the music scene with money, and heroin starts to displace psychedelics, with disastrous consequences.\u003c/p>\n\u003cp>“Hordes of people invaded without the artistic vision and plan to come there in the first place. They just showed up with no plan and the city couldn’t sustain it,” says Ellwood.\u003c/p>\n\u003cp>But Tertzakian believes the San Francisco dream lives on. “For every one of these people, they lost something, but they kept it with them and they continued as they did their own art or lived their lives,” she says. “I feel like to a certain degree it trickled out.”\u003c/p>\n\u003cp>After Laurel Canyon and San Francisco, the filmmakers have yet to decide on the subject of their third music-related docuseries. Perhaps Greenwich Village or Nashville or the grunge scene.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve been talking about lots of different things, but we’ll see,” says Ellwood.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "E-40, Too Short, Chuck D and More Rap Legends on Their Early Hip-Hop Influences",
"headTitle": "E-40, Too Short, Chuck D and More Rap Legends on Their Early Hip-Hop Influences | KQED",
"content": "\u003cp>Remember the first rap song you heard? Some of your favorite rappers and DJs certainly do. While hip-hop celebrates 50 years of life, The Associated Press asked some of the genre’s most popular artists to recall their first memory of hearing rap and how the moment resonated with them.\u003c/p>\n\u003cp>In interviews with more than two dozen hip-hop legends, Queen Latifah, Chuck D, Method Man, E-40 and eight others cited The Sugarhill Gang’s “Rapper’s Delight” as the first rap song they heard. But not all were hooked on the new musical style by that track, and their answers reveal the sense of discovery that marked rap’s early years. (Watch videos of the \u003ca href=\"https://projects.apnews.com/features/2023/hip-hop-50th-in-their-own-words/index.html\">artists describing their early hip-hop influences here\u003c/a>.)\u003c/p>\n\u003cp>Hip-hops roots are traced to 1973 in the Bronx and it took a few years before rap records emerged — “Rapper’s Delight” was a major catalyst for introducing rap music to a much broader audience.\u003c/p>\n\u003cp>Here are the stories of a dozen hip-hop stars who got hooked on the genre around the time “Rapper’s Delight” ruled.\u003c/p>\n\u003ch2>Chuck D\u003c/h2>\n\u003cfigure id=\"attachment_13932754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932754\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-800x533.jpg\" alt=\"A middle aged Black man clutches a microphone and mic stand and smiles on stage. He is wearing a black t-shirt and black baseball cap.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Public Enemy’s Chuck D performs in Berlin in 2019. \u003ccite>(Frank Hoensch/ Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a sophomore at Adelphi University, Chuck D was about to hit the stage to perform over the melody of Chic’s “Good Times” at a party in October 1979.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At least, that’s what he thought.\u003c/p>\n\u003cp>When he stepped behind the microphone, Chuck D heard a different version of the song. It kept going and going for — 15 minutes straight.\u003c/p>\n\u003cp>[aside postid='arts_13925958']“I get on the mic to rock the house. Then all of a sudden, I hear words behind me as I’m rockin’. I lipsync. The words keep going. (Expletive) are rockin’ for like 20 minutes,” said Chuck D, a member of the rap group Public Enemy who created “ Fight the Power,” one of hip-hop’s most iconic and important anthems.\u003c/p>\n\u003cp>“After it’s all over, cats are giving me high pounds like ‘You went on and on to the break of dawn dawg,’” he continued. “Back then, it’s about how long you can rap. I went and turned to the DJ and looked at the red label that said ‘Sugarhill Gang ‘Rapper’s Delight.’’ I was like ’Oh, they finally did it.’ They were talking all summer long that rap records were going to happen.”\u003c/p>\n\u003cp>He was stunned: “I was, like, ’It’s inconceivable. How could a rap be a record?′ I couldn’t see it. Nobody could see it. And then when it happened, boom.”\u003c/p>\n\u003ch2>Queen Latifah\u003c/h2>\n\u003cfigure id=\"attachment_13932755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-800x563.jpg\" alt=\"A Black woman in an olive green jumpsuit performs on stage. She is holding a microphone up to her mouth.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-1536x1081.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Latifah performing in Chicago in 2020. \u003ccite>(Kevin Mazur/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Queen Latifah, “Rapper’s Delight” was the first rap song she and a lot of others heard and memorized where she grew up in Newark, New Jersey. But the biggest record in her world as a kid was Afrika Bambaattaa and the Soul Sonic Force’s 1982 song “ Planet Rock. ”\u003c/p>\n\u003cp>While the Oscar-nominated actor can be seen chasing bad guys on CBS’ \u003cem>The Equalizer\u003c/em>, many forget her roots as a rapper, with hits like “U.N.I.T.Y.” and “Just Another Day.”\u003c/p>\n\u003cp>“It changed the sound,” she said. “It’s more of a synthesized, 808s, hi-hats. The whole sound of it was different. Some of hip-hop in the original days was live music. It was live bands playing break records. Like ‘Good Times’ was the beat to ‘Rapper’s Delight.’ Some of those records took actual disco records, played the music and rhymed to them.”\u003c/p>\n\u003ch2>E-40\u003c/h2>\n\u003cfigure id=\"attachment_13840957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/09/MG_0970-1-800x533.jpg\" alt=\"E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While heading to school as a seventh grader in 1979, E-40 heard a new rap tune on a local radio station that normally played R&B and soul music in Northern California.\u003c/p>\n\u003cp>[aside postid='arts_13932488']It was “Rapper’s Delight,” which interpolated Chic’s hit “Good Times.” That’s when he knew hip-hop was going to be a part of his life forever.\u003c/p>\n\u003cp>“I was like ‘Ohh, this is hard. I’m hooked,’” said E-40, who recalled the moment while driving to Franklin Middle School in Vallejo, California. He and fellow rapper B-Legit used to sport the same kind of fedora hats and big gold rope chains Run-D.M.C. performed in.\u003c/p>\n\u003cp>“From then on, I loved rap. In 1979, when I first heard The Sugarhill Gang, I wanted to be a rapper. I would play around with it … We grew up on New York rap. All of us did. We wanted to be hip-hop. We wanted to breakdance. We did it all.\u003c/p>\n\u003cp>“But that changed everything after we heard Sugarhill Gang. Next thing you know, you’re hearing Grandmaster Flash and the Furious Five, Kurtis Blow and ‘Roxannne, Roxanne.’”\u003c/p>\n\u003ch2>Lil Jon\u003c/h2>\n\u003cfigure id=\"attachment_13932756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-800x533.jpg\" alt=\"A smiling Black man wearing sunglasses, a grey hoodie and blue jeans sits on a couch next to a black wall.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Jon backstage before a DJ set at Temple Nightclub in San Francisco, 2016. \u003ccite>(Kelly Sullivan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Rapper’s Delight” was probably the first hip-hop song Lil Jon heard. But he became a “super fan” of the genre as a middle schooler in Atlanta after seeing rap groups the Fat Boys and Whodini. It was his first time seeing professional rappers onstage.\u003c/p>\n\u003cp>“I might have been a fan of rap before, but I had never been to a rap concert. I’ve never seen rappers in person,” he said. “Maybe just in the magazines. That turned me into like … a super fan of hip-hop.”\u003c/p>\n\u003cp>The first hip-hop record Lil-Jon bought was Run D.M.C.’s “Sucker M.C.’s (Krush-Groove 1).”\u003c/p>\n\u003cp>“I remembered my homeboy that lived in the neighborhood. I had to go through some woods to his house with the album,” he said. “We put the album on at his house. We were going crazy over listening to lyrics and beats.”\u003c/p>\n\u003ch2>Roxanne Shante\u003c/h2>\n\u003cfigure id=\"attachment_13930911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg\" alt=\"A Black woman stands onstage smiling broadly. She is wearing an off the shoulder red gown and holding her hands out in a half shrug.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roxanne Shante at the 2023 Black Music Honors in Atlanta, Georgia. \u003ccite>(Nykieria Chaney/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roxanne Shante’s first rap experience didn’t come in song form. She was introduced to hip-hop through the late comedian-poet Nipsey Russell.\u003c/p>\n\u003cp>[aside postid='arts_13931795']“He had the ability to rhyme at any time,” said Shante, a host for SiriusXM’s Rock the Bells Radio. At age 14, she became one of the first female rappers to become popular after her song “Roxanne’s Revenge” and gained more notoriety as a member of the Juice Crew. She also took part in \u003cem>Roxanne Wars\u003c/em>, which was a series of hip-hop rivalries in the mid-1980s.\u003c/p>\n\u003cp>Shante said “Rapper’s Delight” was the record most parents brought into their home as the “party song.” But in her mind, Russell had just as much of an impact.\u003c/p>\n\u003cp>“That would be my first encounter with loving what would become hip-hop,” she continued. “This way of having a certain cadence, this way of being able to do these certain rhymes was just incredible to me … He was able to freestyle all day, every day. And that’s who I am. That’s what I still do today.”\u003c/p>\n\u003ch2>Too Short\u003c/h2>\n\u003cfigure id=\"attachment_13922549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1143940667-1-800x545.jpg\" alt=\"a Black man raps into a microphone on a stage with the words 'Too $hort' behind him in blue lights\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-1536x1047.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-2048x1395.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-1920x1308.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too Short performs during the ‘25th Anniversary of Doggystyle’ tour at Oracle Arena, Oakland. \u003ccite>(Tim Mosenfelder/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s 1979. Too Short was around 13 years old. He normally listened to a variety of funk songs ranging from the Ohio Players’ “Love Rollercoaster” and Funkadelic’s “Knee Deep.” Then one day at his father’s house, he heard “Rapper’s Delight” blaring through a stereo system.\u003c/p>\n\u003cp>[aside postid='arts_13927349']“I was on my funk stuff, then this ‘Rapper’s Delight’ record came out and it was like 15 minutes long,” he recalled. “I’d be at my pop’s house just bumping the loud stereo.”\u003c/p>\n\u003cp>As “Rapper’s Delight” gained momentum in 1980, Too Short gravitated more toward beatboxing. That led him to hit up the local record store where he would buy the latest hip-hop album then blasted it on his radio for anyone to hear in Oakland.\u003c/p>\n\u003cp>“I had to get a radio with two speakers. That was mandatory,” he said. “I was the guy with the radio who was hitting play going ‘You ain’t never heard that before’ … I had the whole room, the whole bus jumping.”\u003c/p>\n\u003ch2>Doug E. Fresh\u003c/h2>\n\u003cfigure id=\"attachment_13932758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-800x553.jpg\" alt=\"A Black man raises both his arms in the air and strides forward on stage. He is wearing a white t-shirt, black jacket and black pants. Stage lights beam all around him.\" width=\"800\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-1020x705.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-1536x1062.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug E. Fresh onstage in New York City in 2023. \u003ccite>(Johnny Nunez/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hearing “Rapper’s Delight” for the first time changed the trajectory of Doug E. Fresh’s life.\u003c/p>\n\u003cp>“I remember when my sister came home and told me about a guy named D.J. Hollywood, who we considered the first real M.C.,” he said. “She came home and told me about a rap he had. And the rap went, ‘Ding, ding, ding, ding, dong, dong, dong the dang, the dang, dang, dang, the ding dong dong. To the hip hop…’”\u003c/p>\n\u003cp>Fresh then added: “I turned around and said, ‘Teach me that, show me.’ And after that, it’s been me and hip-hop since that point.”\u003c/p>\n\u003ch2>DJ Kid Capri\u003c/h2>\n\u003cfigure id=\"attachment_13932759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-800x533.jpg\" alt=\"A mixed race man wearing a black Givenchy t-shirt smiles from behind DJ decks, holding one side of a set of headphones on his head.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kid Capri DJing in Houston in 2023. \u003ccite>(Marcus Ingram/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DJ Kid Capri, arguably one of hip-hop’s most famous DJs in the ‘90s, grew up on soul music. His father was a soul singer. His grandfather played the trumpet. And his uncle, Bill Curtis, was the leader of the Fatback Band — which he says made the first hip-hop single “King Tim III (Personality Jock) ” before “Rapper’s Delight” was released a few months later in 1979.\u003c/p>\n\u003cp>[aside postid='arts_13932030']Capri’s uncle gave him the opportunity to hear a rap song for the first time.\u003c/p>\n\u003cp>“I was right there,” Capri said about the Fatback Band, a funk and disco ensemble who became known for their R&B hits including “(Do the) Spanish Hustle,” “I Like Girls” and “I Found Lovin’.” But it was “King Tim III” that had a strong influence on him — especially since it came from family.\u003c/p>\n\u003cp>“The world thinks ‘Rapper’s Delight’ was the first rap record, but it was ‘Personality Jock,’” he said. “My uncle, he’s my family. He’s the one that did it. So, I’ve always been around it. That’s what made me be so infectious in it, because I’ve seen every level to where I’m at right now. I took all those things important to me on stage right now. When you see me on stage, you can see all those things wrapped up in me.”\u003c/p>\n\u003ch2>Method Man\u003c/h2>\n\u003cfigure id=\"attachment_13932760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-800x543.jpg\" alt=\"A muscular Black man, wearing an NY baseball cap, white t-shirt and blue jeans strides across a stage, microphone held up to his open mouth.\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-1536x1042.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Method Man performing in Atlanta in 2023. \u003ccite>(Prince Williams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yes, “Rapper’s Delight” was the first-ever rap song Method Man ever heard. But the first hip-hop song that really resonated with him was Run-D.M.C.’s “ Sucker MCs (Krush-Groove 1 ).”\u003c/p>\n\u003cp>“I had never heard this record and I thought I was up on everything at the time,” Method Man said of the 1983 song, which proceeded Run-D.M.C.’s first single “It’s Like That” from their self-titled album. He said “Sucker MCs” helped pave a way to usher in a new school of hip-hop artists.\u003c/p>\n\u003cp>“We were on a sixth-grade class trip to Long Island, and everybody was singing it word-for-word,” the \u003cem>Power Book II: Ghost\u003c/em> actor remembered. “They must have played that record 24 times on our class trip.”\u003c/p>\n\u003ch2>Big Daddy Kane\u003c/h2>\n\u003cfigure id=\"attachment_13932671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932671\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-482124030-800x598.jpg\" alt=\"Close-up image of a Black man wearing a white shirt and rapping into a microphone on stage.\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Daddy Kane performing in 2015. \u003ccite>(Donna Ward/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around age 12, Big Daddy Kane might not have remembered all of his homework assignments, but he certainly could recite every lyric to the late Jimmy Spicer’s 1980 song “Adventures of Super Rhymes,” one of hip-hop’s first songs recorded in a studio.\u003c/p>\n\u003cp>Kane heard “Rapper’s Delight” first, but Spicer’s storytelling on the 15-minute song resonated with him the most.\u003c/p>\n\u003cp>“When this song came out, just the way Jimmy Spicer was styling on them and telling the story about Dracula and a story about Aladdin, I thought it was real slick,” he said.\u003c/p>\n\u003ch2>DJ Jazzy Jeff\u003c/h2>\n\u003cfigure id=\"attachment_13932448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932448\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-800x600.jpg\" alt=\"A Black man wearing a white t-shirt and gold and white striped hat.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jazzy Jeff DJs on stage.\u003c/figcaption>\u003c/figure>\n\u003cp>DJ Jazzy Jeff always had an affinity for music. But when the \u003cem>Fresh Prince of Bel-Air\u003c/em> star heard “Rapper’s Delight” for the first time, he felt like the song spoke to him like no other.\u003c/p>\n\u003cp>“I think that was the first time I felt like the music was mine,” he said. “Before then, I loved the music, but the music was kind of my older brothers and sisters, and I just liked it because it was theirs. This was the one that somebody made just for me.”\u003c/p>\n\u003ch2>Jermaine Dupri\u003c/h2>\n\u003cfigure id=\"attachment_13835189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835189\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-800x450.jpg\" alt=\"A Black man with a bald head wears sunglasses and a tuxedo on a red carpet. He is holding an award and smiling.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jermaine Dupri at the Songwriters Hall of Fame 49th Annual Induction and Awards Dinner on June 14, 2018 in New York City. \u003ccite>(Gary Gershoff/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jermaine Dupri couldn’t have envisioned his successful career without listening to “Rapper’s Delight” around the age of 10.\u003c/p>\n\u003cp>“I remember the lyrics of the song. I remember it like it was yesterday,” said Dupri, a rap mogul who was inducted into the Songwriters Hall of Fame in 2018. “I just started learning the song. I never knew it was going to take me on this journey.”\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>Find out more about hip-hop history with \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>, a KQED Arts & Culture series about the underrecognized influence and background of Bay Area rap.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Sugarhill Gang’s “Rapper’s Delight” looms large as an influence, but it's not the only place these icons found inspiration.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember the first rap song you heard? Some of your favorite rappers and DJs certainly do. While hip-hop celebrates 50 years of life, The Associated Press asked some of the genre’s most popular artists to recall their first memory of hearing rap and how the moment resonated with them.\u003c/p>\n\u003cp>In interviews with more than two dozen hip-hop legends, Queen Latifah, Chuck D, Method Man, E-40 and eight others cited The Sugarhill Gang’s “Rapper’s Delight” as the first rap song they heard. But not all were hooked on the new musical style by that track, and their answers reveal the sense of discovery that marked rap’s early years. (Watch videos of the \u003ca href=\"https://projects.apnews.com/features/2023/hip-hop-50th-in-their-own-words/index.html\">artists describing their early hip-hop influences here\u003c/a>.)\u003c/p>\n\u003cp>Hip-hops roots are traced to 1973 in the Bronx and it took a few years before rap records emerged — “Rapper’s Delight” was a major catalyst for introducing rap music to a much broader audience.\u003c/p>\n\u003cp>Here are the stories of a dozen hip-hop stars who got hooked on the genre around the time “Rapper’s Delight” ruled.\u003c/p>\n\u003ch2>Chuck D\u003c/h2>\n\u003cfigure id=\"attachment_13932754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932754\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-800x533.jpg\" alt=\"A middle aged Black man clutches a microphone and mic stand and smiles on stage. He is wearing a black t-shirt and black baseball cap.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1144886924-scaled-e1691443762805.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Public Enemy’s Chuck D performs in Berlin in 2019. \u003ccite>(Frank Hoensch/ Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a sophomore at Adelphi University, Chuck D was about to hit the stage to perform over the melody of Chic’s “Good Times” at a party in October 1979.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At least, that’s what he thought.\u003c/p>\n\u003cp>When he stepped behind the microphone, Chuck D heard a different version of the song. It kept going and going for — 15 minutes straight.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I get on the mic to rock the house. Then all of a sudden, I hear words behind me as I’m rockin’. I lipsync. The words keep going. (Expletive) are rockin’ for like 20 minutes,” said Chuck D, a member of the rap group Public Enemy who created “ Fight the Power,” one of hip-hop’s most iconic and important anthems.\u003c/p>\n\u003cp>“After it’s all over, cats are giving me high pounds like ‘You went on and on to the break of dawn dawg,’” he continued. “Back then, it’s about how long you can rap. I went and turned to the DJ and looked at the red label that said ‘Sugarhill Gang ‘Rapper’s Delight.’’ I was like ’Oh, they finally did it.’ They were talking all summer long that rap records were going to happen.”\u003c/p>\n\u003cp>He was stunned: “I was, like, ’It’s inconceivable. How could a rap be a record?′ I couldn’t see it. Nobody could see it. And then when it happened, boom.”\u003c/p>\n\u003ch2>Queen Latifah\u003c/h2>\n\u003cfigure id=\"attachment_13932755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-800x563.jpg\" alt=\"A Black woman in an olive green jumpsuit performs on stage. She is holding a microphone up to her mouth.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901-1536x1081.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1206547466-scaled-e1691444156901.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Latifah performing in Chicago in 2020. \u003ccite>(Kevin Mazur/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Queen Latifah, “Rapper’s Delight” was the first rap song she and a lot of others heard and memorized where she grew up in Newark, New Jersey. But the biggest record in her world as a kid was Afrika Bambaattaa and the Soul Sonic Force’s 1982 song “ Planet Rock. ”\u003c/p>\n\u003cp>While the Oscar-nominated actor can be seen chasing bad guys on CBS’ \u003cem>The Equalizer\u003c/em>, many forget her roots as a rapper, with hits like “U.N.I.T.Y.” and “Just Another Day.”\u003c/p>\n\u003cp>“It changed the sound,” she said. “It’s more of a synthesized, 808s, hi-hats. The whole sound of it was different. Some of hip-hop in the original days was live music. It was live bands playing break records. Like ‘Good Times’ was the beat to ‘Rapper’s Delight.’ Some of those records took actual disco records, played the music and rhymed to them.”\u003c/p>\n\u003ch2>E-40\u003c/h2>\n\u003cfigure id=\"attachment_13840957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/09/MG_0970-1-800x533.jpg\" alt=\"E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While heading to school as a seventh grader in 1979, E-40 heard a new rap tune on a local radio station that normally played R&B and soul music in Northern California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It was “Rapper’s Delight,” which interpolated Chic’s hit “Good Times.” That’s when he knew hip-hop was going to be a part of his life forever.\u003c/p>\n\u003cp>“I was like ‘Ohh, this is hard. I’m hooked,’” said E-40, who recalled the moment while driving to Franklin Middle School in Vallejo, California. He and fellow rapper B-Legit used to sport the same kind of fedora hats and big gold rope chains Run-D.M.C. performed in.\u003c/p>\n\u003cp>“From then on, I loved rap. In 1979, when I first heard The Sugarhill Gang, I wanted to be a rapper. I would play around with it … We grew up on New York rap. All of us did. We wanted to be hip-hop. We wanted to breakdance. We did it all.\u003c/p>\n\u003cp>“But that changed everything after we heard Sugarhill Gang. Next thing you know, you’re hearing Grandmaster Flash and the Furious Five, Kurtis Blow and ‘Roxannne, Roxanne.’”\u003c/p>\n\u003ch2>Lil Jon\u003c/h2>\n\u003cfigure id=\"attachment_13932756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-800x533.jpg\" alt=\"A smiling Black man wearing sunglasses, a grey hoodie and blue jeans sits on a couch next to a black wall.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-509006782-scaled-e1691444783893.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Jon backstage before a DJ set at Temple Nightclub in San Francisco, 2016. \u003ccite>(Kelly Sullivan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Rapper’s Delight” was probably the first hip-hop song Lil Jon heard. But he became a “super fan” of the genre as a middle schooler in Atlanta after seeing rap groups the Fat Boys and Whodini. It was his first time seeing professional rappers onstage.\u003c/p>\n\u003cp>“I might have been a fan of rap before, but I had never been to a rap concert. I’ve never seen rappers in person,” he said. “Maybe just in the magazines. That turned me into like … a super fan of hip-hop.”\u003c/p>\n\u003cp>The first hip-hop record Lil-Jon bought was Run D.M.C.’s “Sucker M.C.’s (Krush-Groove 1).”\u003c/p>\n\u003cp>“I remembered my homeboy that lived in the neighborhood. I had to go through some woods to his house with the album,” he said. “We put the album on at his house. We were going crazy over listening to lyrics and beats.”\u003c/p>\n\u003ch2>Roxanne Shante\u003c/h2>\n\u003cfigure id=\"attachment_13930911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg\" alt=\"A Black woman stands onstage smiling broadly. She is wearing an off the shoulder red gown and holding her hands out in a half shrug.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roxanne Shante at the 2023 Black Music Honors in Atlanta, Georgia. \u003ccite>(Nykieria Chaney/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roxanne Shante’s first rap experience didn’t come in song form. She was introduced to hip-hop through the late comedian-poet Nipsey Russell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He had the ability to rhyme at any time,” said Shante, a host for SiriusXM’s Rock the Bells Radio. At age 14, she became one of the first female rappers to become popular after her song “Roxanne’s Revenge” and gained more notoriety as a member of the Juice Crew. She also took part in \u003cem>Roxanne Wars\u003c/em>, which was a series of hip-hop rivalries in the mid-1980s.\u003c/p>\n\u003cp>Shante said “Rapper’s Delight” was the record most parents brought into their home as the “party song.” But in her mind, Russell had just as much of an impact.\u003c/p>\n\u003cp>“That would be my first encounter with loving what would become hip-hop,” she continued. “This way of having a certain cadence, this way of being able to do these certain rhymes was just incredible to me … He was able to freestyle all day, every day. And that’s who I am. That’s what I still do today.”\u003c/p>\n\u003ch2>Too Short\u003c/h2>\n\u003cfigure id=\"attachment_13922549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1143940667-1-800x545.jpg\" alt=\"a Black man raps into a microphone on a stage with the words 'Too $hort' behind him in blue lights\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-1536x1047.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-2048x1395.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1143940667-1-1920x1308.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too Short performs during the ‘25th Anniversary of Doggystyle’ tour at Oracle Arena, Oakland. \u003ccite>(Tim Mosenfelder/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s 1979. Too Short was around 13 years old. He normally listened to a variety of funk songs ranging from the Ohio Players’ “Love Rollercoaster” and Funkadelic’s “Knee Deep.” Then one day at his father’s house, he heard “Rapper’s Delight” blaring through a stereo system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I was on my funk stuff, then this ‘Rapper’s Delight’ record came out and it was like 15 minutes long,” he recalled. “I’d be at my pop’s house just bumping the loud stereo.”\u003c/p>\n\u003cp>As “Rapper’s Delight” gained momentum in 1980, Too Short gravitated more toward beatboxing. That led him to hit up the local record store where he would buy the latest hip-hop album then blasted it on his radio for anyone to hear in Oakland.\u003c/p>\n\u003cp>“I had to get a radio with two speakers. That was mandatory,” he said. “I was the guy with the radio who was hitting play going ‘You ain’t never heard that before’ … I had the whole room, the whole bus jumping.”\u003c/p>\n\u003ch2>Doug E. Fresh\u003c/h2>\n\u003cfigure id=\"attachment_13932758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-800x553.jpg\" alt=\"A Black man raises both his arms in the air and strides forward on stage. He is wearing a white t-shirt, black jacket and black pants. Stage lights beam all around him.\" width=\"800\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-1020x705.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451-1536x1062.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1563180184-scaled-e1691445859451.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug E. Fresh onstage in New York City in 2023. \u003ccite>(Johnny Nunez/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hearing “Rapper’s Delight” for the first time changed the trajectory of Doug E. Fresh’s life.\u003c/p>\n\u003cp>“I remember when my sister came home and told me about a guy named D.J. Hollywood, who we considered the first real M.C.,” he said. “She came home and told me about a rap he had. And the rap went, ‘Ding, ding, ding, ding, dong, dong, dong the dang, the dang, dang, dang, the ding dong dong. To the hip hop…’”\u003c/p>\n\u003cp>Fresh then added: “I turned around and said, ‘Teach me that, show me.’ And after that, it’s been me and hip-hop since that point.”\u003c/p>\n\u003ch2>DJ Kid Capri\u003c/h2>\n\u003cfigure id=\"attachment_13932759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-800x533.jpg\" alt=\"A mixed race man wearing a black Givenchy t-shirt smiles from behind DJ decks, holding one side of a set of headphones on his head.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576356953-scaled-e1691446543374.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kid Capri DJing in Houston in 2023. \u003ccite>(Marcus Ingram/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DJ Kid Capri, arguably one of hip-hop’s most famous DJs in the ‘90s, grew up on soul music. His father was a soul singer. His grandfather played the trumpet. And his uncle, Bill Curtis, was the leader of the Fatback Band — which he says made the first hip-hop single “King Tim III (Personality Jock) ” before “Rapper’s Delight” was released a few months later in 1979.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Capri’s uncle gave him the opportunity to hear a rap song for the first time.\u003c/p>\n\u003cp>“I was right there,” Capri said about the Fatback Band, a funk and disco ensemble who became known for their R&B hits including “(Do the) Spanish Hustle,” “I Like Girls” and “I Found Lovin’.” But it was “King Tim III” that had a strong influence on him — especially since it came from family.\u003c/p>\n\u003cp>“The world thinks ‘Rapper’s Delight’ was the first rap record, but it was ‘Personality Jock,’” he said. “My uncle, he’s my family. He’s the one that did it. So, I’ve always been around it. That’s what made me be so infectious in it, because I’ve seen every level to where I’m at right now. I took all those things important to me on stage right now. When you see me on stage, you can see all those things wrapped up in me.”\u003c/p>\n\u003ch2>Method Man\u003c/h2>\n\u003cfigure id=\"attachment_13932760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-800x543.jpg\" alt=\"A muscular Black man, wearing an NY baseball cap, white t-shirt and blue jeans strides across a stage, microphone held up to his open mouth.\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452-1536x1042.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1490509176-scaled-e1691446704452.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Method Man performing in Atlanta in 2023. \u003ccite>(Prince Williams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yes, “Rapper’s Delight” was the first-ever rap song Method Man ever heard. But the first hip-hop song that really resonated with him was Run-D.M.C.’s “ Sucker MCs (Krush-Groove 1 ).”\u003c/p>\n\u003cp>“I had never heard this record and I thought I was up on everything at the time,” Method Man said of the 1983 song, which proceeded Run-D.M.C.’s first single “It’s Like That” from their self-titled album. He said “Sucker MCs” helped pave a way to usher in a new school of hip-hop artists.\u003c/p>\n\u003cp>“We were on a sixth-grade class trip to Long Island, and everybody was singing it word-for-word,” the \u003cem>Power Book II: Ghost\u003c/em> actor remembered. “They must have played that record 24 times on our class trip.”\u003c/p>\n\u003ch2>Big Daddy Kane\u003c/h2>\n\u003cfigure id=\"attachment_13932671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932671\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-482124030-800x598.jpg\" alt=\"Close-up image of a Black man wearing a white shirt and rapping into a microphone on stage.\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-482124030.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Daddy Kane performing in 2015. \u003ccite>(Donna Ward/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around age 12, Big Daddy Kane might not have remembered all of his homework assignments, but he certainly could recite every lyric to the late Jimmy Spicer’s 1980 song “Adventures of Super Rhymes,” one of hip-hop’s first songs recorded in a studio.\u003c/p>\n\u003cp>Kane heard “Rapper’s Delight” first, but Spicer’s storytelling on the 15-minute song resonated with him the most.\u003c/p>\n\u003cp>“When this song came out, just the way Jimmy Spicer was styling on them and telling the story about Dracula and a story about Aladdin, I thought it was real slick,” he said.\u003c/p>\n\u003ch2>DJ Jazzy Jeff\u003c/h2>\n\u003cfigure id=\"attachment_13932448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932448\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-800x600.jpg\" alt=\"A Black man wearing a white t-shirt and gold and white striped hat.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJ-Jazzy-Jeff-2-1-scaled-e1691447337494.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jazzy Jeff DJs on stage.\u003c/figcaption>\u003c/figure>\n\u003cp>DJ Jazzy Jeff always had an affinity for music. But when the \u003cem>Fresh Prince of Bel-Air\u003c/em> star heard “Rapper’s Delight” for the first time, he felt like the song spoke to him like no other.\u003c/p>\n\u003cp>“I think that was the first time I felt like the music was mine,” he said. “Before then, I loved the music, but the music was kind of my older brothers and sisters, and I just liked it because it was theirs. This was the one that somebody made just for me.”\u003c/p>\n\u003ch2>Jermaine Dupri\u003c/h2>\n\u003cfigure id=\"attachment_13835189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835189\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-800x450.jpg\" alt=\"A Black man with a bald head wears sunglasses and a tuxedo on a red carpet. He is holding an award and smiling.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-974991902_wide-00a7268466f1d74f29c7c836e83219f92b347249.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jermaine Dupri at the Songwriters Hall of Fame 49th Annual Induction and Awards Dinner on June 14, 2018 in New York City. \u003ccite>(Gary Gershoff/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jermaine Dupri couldn’t have envisioned his successful career without listening to “Rapper’s Delight” around the age of 10.\u003c/p>\n\u003cp>“I remember the lyrics of the song. I remember it like it was yesterday,” said Dupri, a rap mogul who was inducted into the Songwriters Hall of Fame in 2018. “I just started learning the song. I never knew it was going to take me on this journey.”\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>Find out more about hip-hop history with \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>, a KQED Arts & Culture series about the underrecognized influence and background of Bay Area rap.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[dropcap]I[/dropcap]n 1940, an industrialist named Henry J. Kaiser was approached by the British government and asked to build ships to aid the United Kingdom’s World War II efforts. Kaiser was one of the main contractors responsible for building the Hoover Dam, and he had an impeccable reputation. To accommodate the UK’s request, Kaiser opened his first shipyard in Richmond, California. As the war ramped up and demand increased, Kaiser’s one shipyard turned into four. By the end of the war, tens of thousands of workers in Richmond had built 747 ships — more than any other shipyard in America.\u003c/p>\n\u003cp>[aside postid='arts_13926548']By 1942, with so many men away at war, this Richmond hub was employing tens of thousands of women. That year, they hired their first ever Black female welder: Frances Albrier. At 44, Albrier had already done her part for the war effort, volunteering with the Red Cross as a nurse and first aid instructor. But presented with any opportunity to contribute to a collective good, the Berkeley resident always grabbed it with both hands.\u003c/p>\n\u003cp>In addition to her nursing and ship-building, Albrier also volunteered at Oakland’s De Fremery Park Hospitality House, a recreation center for soldiers. During this time, Albrier frequently used the letters pages of local newspapers to ask the public for donations that would benefit soldiers stationed all over the Bay. (At one point, she successfully acquired two pianos for a Berkeley camp of servicemen — one for church services, one for downtime. She knew small actions could have hugely positive impacts.)\u003c/p>\n\u003cfigure id=\"attachment_13932774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/20230711_121459-1-800x544.jpg\" alt=\"\" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-1536x1044.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-2048x1391.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-1920x1304.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frances Albrier’s wartime Red Cross card, 1942. \u003ccite>(Courtesy of the African American Museum and Library at Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though committed to helping everyone serving in World War II, Albrier was particularly concerned about the welfare of Black soldiers. After an incident of violence against Black servicemen stationed in Louisiana in 1942, Albrier wrote an impassioned plea to the \u003cem>Oakland Tribune\u003c/em>. Her letter said, in part:\u003c/p>\n\u003cblockquote>\u003cp>The Army has taken thousands of Negro men from the Northern, Eastern and Western sections and placed them in localities whose traditions and practices are to insult, beat, shoot and lynch them … Fair minded, liberal Christian white Americans should help their brothers of darker skin by protesting against these insults heaped on citizens who are doing their part to save our democracy, which they hope someday may exist for them also.\u003c/p>\u003c/blockquote>\n\u003cp>[dropcap]A[/dropcap]lbrier’s commitment to assisting the communities around her did not start — nor stop — with the war. Raised in Tuskegee, Alabama by her grandparents following her mother’s death, she graduated with a BA from Howard University in 1920\u003cstrong>.\u003c/strong> Albrier moved to Berkeley that year and, inspired by an Oakland meeting of Marcus Garvey’s Universal Negro Improvement Association, she volunteered as a \u003ca href=\"https://en.wikipedia.org/wiki/Black_Cross_Nurses\">Black Cross Nurse\u003c/a>. The Black Cross was a Red Cross-inspired organization specifically focused on the health needs of the Black community at a time when hospitals and medical offices were still segregated, including in California.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Soon after that, during a five-year employment as a maid, manicurist and ticket-taker with Pullman Company first-class trains, Albrier helped her fellow maids and porters to unionize.\u003c/p>\n\u003cp>In 1938, Albrier served on the board of directors of the \u003ca href=\"https://en.wikipedia.org/wiki/National_Negro_Congress\">National Negro Congress\u003c/a> and became the first woman elected to the Alameda County Democratic Ventral Committee. All the while, she also passionately campaigned for Franklin D. Roosevelt, whom she had met on a Pullman train while he was the governor of New York. That same year, Albrier was president of the East Bay Women’s Welfare Club, which campaigned to employ more Black teachers in Berkeley schools and visited classrooms to inspire children of color. The club was also trying to get some Black representation in local government — which led Albrier, in 1939, to become the first ever Black person to run for Berkeley City Council.\u003c/p>\n\u003cp>[aside postid='arts_13916612']“I didn’t think I would be elected,” she said in 1977, “but … I received a great many votes. My idea of running was to meet the people. I knew that if I ran for city council, I would be invited to the clubs and organizations to give my views on the city government.” Albrier went on: “I wanted to tell them that we had 5,000 [Black] taxpayers without any representation in the city government or the schools of Berkeley. That was the message I wanted to get over to them.”\u003c/p>\n\u003cp>Albrier didn’t need to be a political candidate to become embedded with “the clubs” however. Throughout the 1940s, ’50s and ’60s, Albrier held prominent positions at an astonishing number of organizations. These included: the NAACP (both Alameda County and Berkeley branches), the Department of Women in Industry, the California Association of Colored Women’s Clubs, the Citizens Employment Council, National Council of Negro Women (San Francisco chapter), the Ladies Auxiliary Dining Car Union, East Bay Women’s Missionary Fellowship and the Golden Gate Democratic Club. There was also the Negro Cultural and Historical Society, the Democratic Women’s Study Club, the East Bay Negro Historical Society and the Berkeley Women’s Town Council.\u003c/p>\n\u003cfigure id=\"attachment_13932194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-800x800.jpg\" alt=\"Six membership cards belonging to Frances Albrier from the organizations: the National Council of Negro Women, the Negro Non-Partisan League of California Inc., the Southern Pacific Company, The California Farmer-Labor-Consumer Committee to Combat Inflation, the Ladies Auxiliary of Dining Car Employees Union and the State, County and Municipal Workers of America.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selection of Frances Albrier’s membership cards from throughout her life of service. \u003ccite>(Courtesy of the African American Museum and Library at Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Albrier’s motivations for being involved in so many different causes were reflected in one “Thought of the day” notecard she wrote to herself in the late 1940s. “We have prayed together during the stirring, anxious, tragic years of war,” she wrote in neat cursive. “Now we have peace and we are profoundly grateful to God. We must, however, continue to pray with the same earnestness, the same faith and constancy. The problems of peace are many, as serious and as disturbing as those of wartime. And they demand a courage equal to that called for by the fiery trials of the war years.”\u003c/p>\n\u003cp>[dropcap]T[/dropcap]he fire that drove Albrier back then never cooled. As she strode towards her senior years, she became concerned about the welfare of the elderly — particularly those that were impoverished and did not have families to fall back on. (Albrier herself had raised three children — William, Betty and Anita — from her first marriage to William Albert Jackson. Four years after Jackson’s death, she married Willie Antoine Albrier.)\u003c/p>\n\u003cp>[aside postid='pop_102326']Once again, Albrier got involved in any way that she could. In 1965, Albrier was appointed to the City of Berkeley’s Committee on Aging. She acted as a senior community representative at the Berkeley Senior Center. By 1971, she’d been called on to act as a delegate at the White House Conference on Aging. (The gathering’s express purpose was to solidify a “comprehensive national policy” for aging Americans.) Albrier spent five years on the board of directors for the South Berkeley Model Cities Neighborhood Council. In that role, she was key in establishing \u003ca href=\"https://www.seniorhousingnet.com/seniorliving-detail/harriet-tubman-terrance_2870-adeline-st_berkeley_ca_94703-530621\">Harriet Tubman Terrace\u003c/a> — housing for low income seniors. Albrier even delivered meals (and companionship) to the elderly and infirm — something the City of Berkeley recognized with an award in 1978.\u003c/p>\n\u003cp>After a life thoroughly well-lived, Frances Albrier died on Aug. 21, 1987. She left behind 11 grandchildren, 15 great-grandchildren and too many admirers, friends and supporters to count. Before she was buried at the Sunset View Cemetery in her beloved Berkeley, her family released an obituary that paid tribute to the incredible impacts Albrier made in her 88 years.\u003c/p>\n\u003cp>“She served as a role model and inspiration for innumerable educators, politicians and community service groups,” they wrote. “It might be said of Frances Albrier that she was a living example of the philosophy ‘Be all you can be.’ Suffice it to say that all of us who have touched the hem of her garment will always serve our communities.”\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>By 1942, with so many men away at war, this Richmond hub was employing tens of thousands of women. That year, they hired their first ever Black female welder: Frances Albrier. At 44, Albrier had already done her part for the war effort, volunteering with the Red Cross as a nurse and first aid instructor. But presented with any opportunity to contribute to a collective good, the Berkeley resident always grabbed it with both hands.\u003c/p>\n\u003cp>In addition to her nursing and ship-building, Albrier also volunteered at Oakland’s De Fremery Park Hospitality House, a recreation center for soldiers. During this time, Albrier frequently used the letters pages of local newspapers to ask the public for donations that would benefit soldiers stationed all over the Bay. (At one point, she successfully acquired two pianos for a Berkeley camp of servicemen — one for church services, one for downtime. She knew small actions could have hugely positive impacts.)\u003c/p>\n\u003cfigure id=\"attachment_13932774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/20230711_121459-1-800x544.jpg\" alt=\"\" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-1536x1044.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-2048x1391.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-1920x1304.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frances Albrier’s wartime Red Cross card, 1942. \u003ccite>(Courtesy of the African American Museum and Library at Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though committed to helping everyone serving in World War II, Albrier was particularly concerned about the welfare of Black soldiers. After an incident of violence against Black servicemen stationed in Louisiana in 1942, Albrier wrote an impassioned plea to the \u003cem>Oakland Tribune\u003c/em>. Her letter said, in part:\u003c/p>\n\u003cblockquote>\u003cp>The Army has taken thousands of Negro men from the Northern, Eastern and Western sections and placed them in localities whose traditions and practices are to insult, beat, shoot and lynch them … Fair minded, liberal Christian white Americans should help their brothers of darker skin by protesting against these insults heaped on citizens who are doing their part to save our democracy, which they hope someday may exist for them also.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>lbrier’s commitment to assisting the communities around her did not start — nor stop — with the war. Raised in Tuskegee, Alabama by her grandparents following her mother’s death, she graduated with a BA from Howard University in 1920\u003cstrong>.\u003c/strong> Albrier moved to Berkeley that year and, inspired by an Oakland meeting of Marcus Garvey’s Universal Negro Improvement Association, she volunteered as a \u003ca href=\"https://en.wikipedia.org/wiki/Black_Cross_Nurses\">Black Cross Nurse\u003c/a>. The Black Cross was a Red Cross-inspired organization specifically focused on the health needs of the Black community at a time when hospitals and medical offices were still segregated, including in California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Soon after that, during a five-year employment as a maid, manicurist and ticket-taker with Pullman Company first-class trains, Albrier helped her fellow maids and porters to unionize.\u003c/p>\n\u003cp>In 1938, Albrier served on the board of directors of the \u003ca href=\"https://en.wikipedia.org/wiki/National_Negro_Congress\">National Negro Congress\u003c/a> and became the first woman elected to the Alameda County Democratic Ventral Committee. All the while, she also passionately campaigned for Franklin D. Roosevelt, whom she had met on a Pullman train while he was the governor of New York. That same year, Albrier was president of the East Bay Women’s Welfare Club, which campaigned to employ more Black teachers in Berkeley schools and visited classrooms to inspire children of color. The club was also trying to get some Black representation in local government — which led Albrier, in 1939, to become the first ever Black person to run for Berkeley City Council.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I didn’t think I would be elected,” she said in 1977, “but … I received a great many votes. My idea of running was to meet the people. I knew that if I ran for city council, I would be invited to the clubs and organizations to give my views on the city government.” Albrier went on: “I wanted to tell them that we had 5,000 [Black] taxpayers without any representation in the city government or the schools of Berkeley. That was the message I wanted to get over to them.”\u003c/p>\n\u003cp>Albrier didn’t need to be a political candidate to become embedded with “the clubs” however. Throughout the 1940s, ’50s and ’60s, Albrier held prominent positions at an astonishing number of organizations. These included: the NAACP (both Alameda County and Berkeley branches), the Department of Women in Industry, the California Association of Colored Women’s Clubs, the Citizens Employment Council, National Council of Negro Women (San Francisco chapter), the Ladies Auxiliary Dining Car Union, East Bay Women’s Missionary Fellowship and the Golden Gate Democratic Club. There was also the Negro Cultural and Historical Society, the Democratic Women’s Study Club, the East Bay Negro Historical Society and the Berkeley Women’s Town Council.\u003c/p>\n\u003cfigure id=\"attachment_13932194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-800x800.jpg\" alt=\"Six membership cards belonging to Frances Albrier from the organizations: the National Council of Negro Women, the Negro Non-Partisan League of California Inc., the Southern Pacific Company, The California Farmer-Labor-Consumer Committee to Combat Inflation, the Ladies Auxiliary of Dining Car Employees Union and the State, County and Municipal Workers of America.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selection of Frances Albrier’s membership cards from throughout her life of service. \u003ccite>(Courtesy of the African American Museum and Library at Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Albrier’s motivations for being involved in so many different causes were reflected in one “Thought of the day” notecard she wrote to herself in the late 1940s. “We have prayed together during the stirring, anxious, tragic years of war,” she wrote in neat cursive. “Now we have peace and we are profoundly grateful to God. We must, however, continue to pray with the same earnestness, the same faith and constancy. The problems of peace are many, as serious and as disturbing as those of wartime. And they demand a courage equal to that called for by the fiery trials of the war years.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he fire that drove Albrier back then never cooled. As she strode towards her senior years, she became concerned about the welfare of the elderly — particularly those that were impoverished and did not have families to fall back on. (Albrier herself had raised three children — William, Betty and Anita — from her first marriage to William Albert Jackson. Four years after Jackson’s death, she married Willie Antoine Albrier.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Once again, Albrier got involved in any way that she could. In 1965, Albrier was appointed to the City of Berkeley’s Committee on Aging. She acted as a senior community representative at the Berkeley Senior Center. By 1971, she’d been called on to act as a delegate at the White House Conference on Aging. (The gathering’s express purpose was to solidify a “comprehensive national policy” for aging Americans.) Albrier spent five years on the board of directors for the South Berkeley Model Cities Neighborhood Council. In that role, she was key in establishing \u003ca href=\"https://www.seniorhousingnet.com/seniorliving-detail/harriet-tubman-terrance_2870-adeline-st_berkeley_ca_94703-530621\">Harriet Tubman Terrace\u003c/a> — housing for low income seniors. Albrier even delivered meals (and companionship) to the elderly and infirm — something the City of Berkeley recognized with an award in 1978.\u003c/p>\n\u003cp>After a life thoroughly well-lived, Frances Albrier died on Aug. 21, 1987. She left behind 11 grandchildren, 15 great-grandchildren and too many admirers, friends and supporters to count. Before she was buried at the Sunset View Cemetery in her beloved Berkeley, her family released an obituary that paid tribute to the incredible impacts Albrier made in her 88 years.\u003c/p>\n\u003cp>“She served as a role model and inspiration for innumerable educators, politicians and community service groups,” they wrote. “It might be said of Frances Albrier that she was a living example of the philosophy ‘Be all you can be.’ Suffice it to say that all of us who have touched the hem of her garment will always serve our communities.”\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": "heinholds-first-last-chance-saloon-oaklands-oldest-bar-jack-london-square",
"title": "Legends of Heinold's First and Last Chance Saloon, the Oldest Bar in Oakland",
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"headTitle": "Legends of Heinold’s First and Last Chance Saloon, the Oldest Bar in Oakland | KQED",
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"content": "\u003cp>On June 1, 1884, Johnny Heinold handed over $100 and bought himself a salt-encrusted wooden shack at 50 Webster Street, on the Oakland waterfront. When Heinold first came upon the building, it was a lowly bunkhouse for oyster poachers, constructed out of old timbers from a shipwreck. Immediately, though, Heinold saw the building’s greater potential as a saloon. And he was right — Heinold’s First and Last Chance Saloon went on to become a legendary East Bay watering hole and, today, has more than earned its status as a National Historic Landmark.\u003c/p>\n\u003cp>When Heinold first opened the saloon, it was on the main highway between Oakland and Alameda. It was also located very close to the 1,000-foot-long Webster Street Bridge — then a major thoroughfare. The saloon was on the horse car line that ferried fans to and from baseball games at two different ballparks. Most importantly of all, 50 Webster Street was also surrounded by sea captains, sailors, fishermen and other dock workers who needed a drink or seven at the end of a long day.\u003c/p>\n\u003cfigure id=\"attachment_13931847\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931847\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-5.44.38-PM-800x563.png\" alt=\"An old wooden shack with signage that reads "J. M. Heinold's Saloon." Three men wearing Victorian clothing are standing out front.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-5.44.38-PM-800x563.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-5.44.38-PM-1020x718.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-5.44.38-PM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-5.44.38-PM-768x541.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-5.44.38-PM.png 1128w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Heinold’s First and Last Chance Saloon, as it looked in 1885. \u003ccite>(Public Domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It didn’t take long for Heinold’s First and Last Chance Saloon to become beloved by the community around it. The bar was also enormously profitable — Heinold is said to have averaged earnings of $40 a day at a time when $3 was considered a lot. But beyond the money, Heinold loved the saloon dearly for the rest of his life, spending most of his time behind the mahogany bar for close to half a century. In the end, he even died there — friends found him slumped over in a chair there one day in 1933, having suffered a stroke.\u003c/p>\n\u003cp>But oh, what a storied life Heinold and his saloon had before that. Here are five historical tidbits about both.\u003c/p>\n\u003ch2>Jack London basically lived there\u003c/h2>\n\u003cfigure id=\"attachment_13931844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931844\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-515360752-scaled-e1689807855265-800x605.jpg\" alt=\"A young man in a shirt and necktie leans his elbow on a bar, supporting his own head.\" width=\"800\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-515360752-scaled-e1689807855265-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-515360752-scaled-e1689807855265-1020x771.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-515360752-scaled-e1689807855265-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-515360752-scaled-e1689807855265-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-515360752-scaled-e1689807855265-1536x1161.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-515360752-scaled-e1689807855265.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jack London, observer of humans, writer of words and frequenter of bars. \u003ccite>(Bettmann/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Heinold’s First and Last Chance Saloon’s biggest claim to fame, arguably, is being a major inspiration and favorite hangout of Jack London.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The legendary writer was first given food and shelter at the bar when he was homeless and destitute at the age of just 14, purely because Heinold felt great paternal affection for the boy. Not only did London spend a good deal of time writing in — and about — the saloon, his Oakland High School and University of California education wound up being funded by Heinold himself.\u003c/p>\n\u003cp>London repaid Heinold over the years, gifting him with autographed first editions, early manuscripts, signed photographs and even his personal dictionary. Heinold put most of these items on display at the bar, making it a hotspot for aspiring writers and creatives for many years. On July 10, 1923, the \u003cem>Oakland Tribune\u003c/em> referred to Heinold as the “benefactor of Jack London’s youth, [a] lifelong friend of the famous author and a hero of many a London tale,” before concluding: “A rare friendship existed between the pair.”\u003c/p>\n\u003ch2>Actually observing Prohibition laws\u003c/h2>\n\u003cfigure id=\"attachment_13931842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931842\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-90003267-scaled-e1689806920860-800x681.jpg\" alt=\"Two men in 1920-era clothing and hats pour out a barrel of liquid into a manhole. Two police officers and a man in a boater hat stand nearby, observing.\" width=\"800\" height=\"681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-90003267-scaled-e1689806920860-800x681.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-90003267-scaled-e1689806920860-1020x868.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-90003267-scaled-e1689806920860-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-90003267-scaled-e1689806920860-768x654.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-90003267-scaled-e1689806920860-1536x1307.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-90003267-scaled-e1689806920860.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prohibition: One of the most ludicrous periods in all of American history. \u003ccite>(Buyenlarge/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area was not good at following Prohibition laws, generally speaking. In San Francisco, North Beach was awash with speakeasies. In the South Bay, \u003ca href=\"https://mossbeachdistillery.com/\">Moss Beach Distillery\u003c/a> opened up directly next to a cove to make the acquisition of illegal whiskey easier. Marin had its fair share of gin joints too, including the iconic (and still standing) \u003ca href=\"https://edenhousing.org/properties/the-fireside/\">Fireside Inn\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13929998']In contrast, the First and Last Chance Saloon spent the 13 long years of prohibition serving only soft drinks and nonalcoholic cider. Heinold complained heartily and frequently about the Volstead Act, once grumbling: “Can you imagine selling soda pop to an old seafaring man? He’d run a harpoon into you.” But he also made sure the law was faithfully observed at his bar, even when it was clear that the end of prohibition was in sight.\u003c/p>\n\u003cp>On Nov. 22, 1933, eight months after Heinold’s death, the \u003cem>Tribune\u003c/em> reported: “Other establishments may jump the gun by selling hard liquors before prohibition legally ends — and there may be places which are selling liquor now — but the First and Last Chance is only serving soft drinks.” The paper also quoted Heinold’s son George, who had taken over the saloon when his father died.\u003c/p>\n\u003cp>“Old Johnny Heinold never violated the prohibition law,” the \u003cem>Tribune\u003c/em> wrote, “and he told his son never to sell it until it is absolutely legal. ‘The First and Last Chance,’ said the younger Heinold, ‘will continue to observe the law, right up to the limit. That was my father’s wish, and the ruling stands.’”\u003c/p>\n\u003ch2>Heinold was old-fashioned (in the bad way)\u003c/h2>\n\u003cfigure id=\"attachment_13931838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931838\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-2.49.44-PM-800x1236.png\" alt='A young couple - a sailor and a woman wearing fashionable 1930s dress, stand in front of a painted backdrop featuring the San Francisco skyline. The photo is signed \"Just us.\"' width=\"800\" height=\"1236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-2.49.44-PM-800x1236.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-2.49.44-PM-160x247.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-2.49.44-PM-768x1186.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-2.49.44-PM.png 830w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A flapper and her sailor beau. One of them would be welcomed warmly at Heinold’s, the other would not. \u003ccite>(OpenSFHistory / wnp27.6306)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s not sugarcoat this part: Johnny was not the sort of fellow humans today would probably want to hang out with. For a start, entertainment at the bar frequently involved animal cruelty — cockfights were common in the 1890s and rats were actively released to test the hunting skills of patrons’ dogs.\u003c/p>\n\u003cp>Women weren’t particularly welcome in the bar either. For decades, Heinold’s was exclusively visited by men — specifically sailors, fishermen and those that worked at the docks. When women finally started coming to the bar, Johnny was downright repulsed.\u003c/p>\n\u003cp>On March 30, 1929, \u003cem>The Oakland Tribune\u003c/em> reported :\u003c/p>\n\u003cblockquote>\u003cp>Time was when a woman , no matter what her calling, was always a lady — but Johnny feels the same cannot be said for the modern flapper. Now and then a girl enters his dusty sanctum, buys near-beer and drinks it standing, from the bottle. ‘Gives me the fits and shudders,’ he says. ‘These flappers don’t know what it means to be dignified.’\u003c/p>\u003c/blockquote>\n\u003cp>Oh, boy.\u003c/p>\n\u003ch2>A disastrous fire\u003c/h2>\n\u003cfigure id=\"attachment_13931843\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931843\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/opensfhistory_wnp69.50015-800x614.jpg\" alt=\"Firemen, wearing 1910s-era uniforms, pose for an official group photo. Seven white men stand in the back row; nine sit in the front. Their age range varies widely.\" width=\"800\" height=\"614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/opensfhistory_wnp69.50015-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/opensfhistory_wnp69.50015-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/opensfhistory_wnp69.50015-768x590.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/opensfhistory_wnp69.50015.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Firemen in 1915. Johnny Heinold had no intention of listening to any of these humans, or humans with similar jobs. \u003ccite>(OpenSFHistory / wnp69.50015)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In July 1923, a fire broke out at a warehouse occupied by the Hunt-Hatch Commission Company, apparently sparked by a discarded cigarette. Unfortunately, it was directly next to Heinold’s saloon. As firemen struggled to contain the blaze and flames lapped ever closer to the bar, Heinold was told in no uncertain terms to leave the building. He stubbornly refused. When water from the firemen’s hoses started pouring into the building, Heinold nonchalantly put up an umbrella and stayed put.\u003c/p>\n\u003cp>[aside postid='arts_13930323']“It appears to me like there ain’t much chance for a fire here,” he told the exasperated firemen. “More likely to get drowned. No, sir. I’m going to stay right here until there ain’t a stick left. This place has stood right here since Jack London was a boy. He used to stand and gas with me right over this here bar.”\u003c/p>\n\u003cp>When the fire was finally extinguished, Heinold was ankle-deep in water, but offered the firemen free drinks on the house. A \u003cem>Tribune\u003c/em> article published two months later noted that, “the roof and interior of the place were destroyed. Souvenirs of Jack London’s patronage, priceless to Johnny because of their associations, were destroyed … Pictures that date back to pioneer days of Oakland, photographs of long dead civic leaders, were all destroyed.”\u003c/p>\n\u003cp>Heinold remained undefeated. He pushed on, renovating the bar back to its former glory.\u003c/p>\n\u003ch2>Headline-worthy family reunions\u003c/h2>\n\u003cfigure id=\"attachment_13931937\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931937\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/RS67154_230720-HEINOLDS-MHN-12-scaled-e1689962859721-800x533.jpg\" alt=\"A black and white image hanging on a wall behind chicken wire. It shows an elderly man wearing a hat and standing behind a bar.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67154_230720-HEINOLDS-MHN-12-scaled-e1689962859721-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67154_230720-HEINOLDS-MHN-12-scaled-e1689962859721-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67154_230720-HEINOLDS-MHN-12-scaled-e1689962859721-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67154_230720-HEINOLDS-MHN-12-scaled-e1689962859721-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67154_230720-HEINOLDS-MHN-12-scaled-e1689962859721-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67154_230720-HEINOLDS-MHN-12-scaled-e1689962859721.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo of Johnny Heinold smiling behind his beloved bar, hanging on the wall at Heinold’s First and Last Chance Saloon in Oakland, 2023. \u003ccite>(Martin do Nascimento/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In May 1926, Heinold was reunited with his sister Margaret after not seeing her for an astounding 51 years. Heinold had moved to the Bay from Philadelphia at age 21, when Margaret was only 8, and the two hadn’t seen each other since. The siblings wrote letters to each other over the years, but never actually met up. When they finally did, journalists were on hand to witness the happy occasion. Most of them marveled at Heinold’s greeting: “You’ve grown some, Maggie!”\u003c/p>\n\u003cp>[aside postid='arts_13927137']Following their initial introduction, Heinold took the opportunity to bemoan the lack of alcohol on hand for the occasion. “And to think,” he said. “I didn’t even keep any private stock when I had to turn the bar into a soft drink parlor! All that’s left is orangeade and Coke to drink a toast to our reunion.”\u003c/p>\n\u003cp>Amazingly, despite Heinold being somewhat of a local celebrity in Oakland, Margaret, it turned out, didn’t even know that her brother owned a bar. “He sent me a picture of it once,” she told reporters, “and I said then I guessed it must be a kind of antique shop…”\u003c/p>\n\u003cp>Margaret returned to her brother for another visit in 1932 — an occasion that also made the local papers. “This is our second visit,” Maggie told reporters. “The first was about seven years ago — the first time I had seen my brother for 51 years. But to wait another 51 years seemed a bit too long…”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Ninety-one years later, though Margaret and Johnny are long gone, the First and Last Chance Saloon is, miraculously, still standing.\u003c/p>\n\n",
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"excerpt": "In which Jack London's favorite watering hole serves up nearly 140 years of whiskey-soaked history.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On June 1, 1884, Johnny Heinold handed over $100 and bought himself a salt-encrusted wooden shack at 50 Webster Street, on the Oakland waterfront. When Heinold first came upon the building, it was a lowly bunkhouse for oyster poachers, constructed out of old timbers from a shipwreck. Immediately, though, Heinold saw the building’s greater potential as a saloon. And he was right — Heinold’s First and Last Chance Saloon went on to become a legendary East Bay watering hole and, today, has more than earned its status as a National Historic Landmark.\u003c/p>\n\u003cp>When Heinold first opened the saloon, it was on the main highway between Oakland and Alameda. It was also located very close to the 1,000-foot-long Webster Street Bridge — then a major thoroughfare. The saloon was on the horse car line that ferried fans to and from baseball games at two different ballparks. Most importantly of all, 50 Webster Street was also surrounded by sea captains, sailors, fishermen and other dock workers who needed a drink or seven at the end of a long day.\u003c/p>\n\u003cfigure id=\"attachment_13931847\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931847\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-5.44.38-PM-800x563.png\" alt=\"An old wooden shack with signage that reads "J. M. Heinold's Saloon." Three men wearing Victorian clothing are standing out front.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-5.44.38-PM-800x563.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-5.44.38-PM-1020x718.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-5.44.38-PM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-5.44.38-PM-768x541.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-5.44.38-PM.png 1128w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Heinold’s First and Last Chance Saloon, as it looked in 1885. \u003ccite>(Public Domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It didn’t take long for Heinold’s First and Last Chance Saloon to become beloved by the community around it. The bar was also enormously profitable — Heinold is said to have averaged earnings of $40 a day at a time when $3 was considered a lot. But beyond the money, Heinold loved the saloon dearly for the rest of his life, spending most of his time behind the mahogany bar for close to half a century. In the end, he even died there — friends found him slumped over in a chair there one day in 1933, having suffered a stroke.\u003c/p>\n\u003cp>But oh, what a storied life Heinold and his saloon had before that. Here are five historical tidbits about both.\u003c/p>\n\u003ch2>Jack London basically lived there\u003c/h2>\n\u003cfigure id=\"attachment_13931844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931844\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-515360752-scaled-e1689807855265-800x605.jpg\" alt=\"A young man in a shirt and necktie leans his elbow on a bar, supporting his own head.\" width=\"800\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-515360752-scaled-e1689807855265-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-515360752-scaled-e1689807855265-1020x771.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-515360752-scaled-e1689807855265-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-515360752-scaled-e1689807855265-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-515360752-scaled-e1689807855265-1536x1161.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-515360752-scaled-e1689807855265.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jack London, observer of humans, writer of words and frequenter of bars. \u003ccite>(Bettmann/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Heinold’s First and Last Chance Saloon’s biggest claim to fame, arguably, is being a major inspiration and favorite hangout of Jack London.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The legendary writer was first given food and shelter at the bar when he was homeless and destitute at the age of just 14, purely because Heinold felt great paternal affection for the boy. Not only did London spend a good deal of time writing in — and about — the saloon, his Oakland High School and University of California education wound up being funded by Heinold himself.\u003c/p>\n\u003cp>London repaid Heinold over the years, gifting him with autographed first editions, early manuscripts, signed photographs and even his personal dictionary. Heinold put most of these items on display at the bar, making it a hotspot for aspiring writers and creatives for many years. On July 10, 1923, the \u003cem>Oakland Tribune\u003c/em> referred to Heinold as the “benefactor of Jack London’s youth, [a] lifelong friend of the famous author and a hero of many a London tale,” before concluding: “A rare friendship existed between the pair.”\u003c/p>\n\u003ch2>Actually observing Prohibition laws\u003c/h2>\n\u003cfigure id=\"attachment_13931842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931842\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-90003267-scaled-e1689806920860-800x681.jpg\" alt=\"Two men in 1920-era clothing and hats pour out a barrel of liquid into a manhole. Two police officers and a man in a boater hat stand nearby, observing.\" width=\"800\" height=\"681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-90003267-scaled-e1689806920860-800x681.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-90003267-scaled-e1689806920860-1020x868.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-90003267-scaled-e1689806920860-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-90003267-scaled-e1689806920860-768x654.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-90003267-scaled-e1689806920860-1536x1307.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-90003267-scaled-e1689806920860.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prohibition: One of the most ludicrous periods in all of American history. \u003ccite>(Buyenlarge/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area was not good at following Prohibition laws, generally speaking. In San Francisco, North Beach was awash with speakeasies. In the South Bay, \u003ca href=\"https://mossbeachdistillery.com/\">Moss Beach Distillery\u003c/a> opened up directly next to a cove to make the acquisition of illegal whiskey easier. Marin had its fair share of gin joints too, including the iconic (and still standing) \u003ca href=\"https://edenhousing.org/properties/the-fireside/\">Fireside Inn\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In contrast, the First and Last Chance Saloon spent the 13 long years of prohibition serving only soft drinks and nonalcoholic cider. Heinold complained heartily and frequently about the Volstead Act, once grumbling: “Can you imagine selling soda pop to an old seafaring man? He’d run a harpoon into you.” But he also made sure the law was faithfully observed at his bar, even when it was clear that the end of prohibition was in sight.\u003c/p>\n\u003cp>On Nov. 22, 1933, eight months after Heinold’s death, the \u003cem>Tribune\u003c/em> reported: “Other establishments may jump the gun by selling hard liquors before prohibition legally ends — and there may be places which are selling liquor now — but the First and Last Chance is only serving soft drinks.” The paper also quoted Heinold’s son George, who had taken over the saloon when his father died.\u003c/p>\n\u003cp>“Old Johnny Heinold never violated the prohibition law,” the \u003cem>Tribune\u003c/em> wrote, “and he told his son never to sell it until it is absolutely legal. ‘The First and Last Chance,’ said the younger Heinold, ‘will continue to observe the law, right up to the limit. That was my father’s wish, and the ruling stands.’”\u003c/p>\n\u003ch2>Heinold was old-fashioned (in the bad way)\u003c/h2>\n\u003cfigure id=\"attachment_13931838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931838\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-2.49.44-PM-800x1236.png\" alt='A young couple - a sailor and a woman wearing fashionable 1930s dress, stand in front of a painted backdrop featuring the San Francisco skyline. The photo is signed \"Just us.\"' width=\"800\" height=\"1236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-2.49.44-PM-800x1236.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-2.49.44-PM-160x247.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-2.49.44-PM-768x1186.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-19-at-2.49.44-PM.png 830w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A flapper and her sailor beau. One of them would be welcomed warmly at Heinold’s, the other would not. \u003ccite>(OpenSFHistory / wnp27.6306)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s not sugarcoat this part: Johnny was not the sort of fellow humans today would probably want to hang out with. For a start, entertainment at the bar frequently involved animal cruelty — cockfights were common in the 1890s and rats were actively released to test the hunting skills of patrons’ dogs.\u003c/p>\n\u003cp>Women weren’t particularly welcome in the bar either. For decades, Heinold’s was exclusively visited by men — specifically sailors, fishermen and those that worked at the docks. When women finally started coming to the bar, Johnny was downright repulsed.\u003c/p>\n\u003cp>On March 30, 1929, \u003cem>The Oakland Tribune\u003c/em> reported :\u003c/p>\n\u003cblockquote>\u003cp>Time was when a woman , no matter what her calling, was always a lady — but Johnny feels the same cannot be said for the modern flapper. Now and then a girl enters his dusty sanctum, buys near-beer and drinks it standing, from the bottle. ‘Gives me the fits and shudders,’ he says. ‘These flappers don’t know what it means to be dignified.’\u003c/p>\u003c/blockquote>\n\u003cp>Oh, boy.\u003c/p>\n\u003ch2>A disastrous fire\u003c/h2>\n\u003cfigure id=\"attachment_13931843\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931843\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/opensfhistory_wnp69.50015-800x614.jpg\" alt=\"Firemen, wearing 1910s-era uniforms, pose for an official group photo. Seven white men stand in the back row; nine sit in the front. Their age range varies widely.\" width=\"800\" height=\"614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/opensfhistory_wnp69.50015-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/opensfhistory_wnp69.50015-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/opensfhistory_wnp69.50015-768x590.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/opensfhistory_wnp69.50015.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Firemen in 1915. Johnny Heinold had no intention of listening to any of these humans, or humans with similar jobs. \u003ccite>(OpenSFHistory / wnp69.50015)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In July 1923, a fire broke out at a warehouse occupied by the Hunt-Hatch Commission Company, apparently sparked by a discarded cigarette. Unfortunately, it was directly next to Heinold’s saloon. As firemen struggled to contain the blaze and flames lapped ever closer to the bar, Heinold was told in no uncertain terms to leave the building. He stubbornly refused. When water from the firemen’s hoses started pouring into the building, Heinold nonchalantly put up an umbrella and stayed put.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It appears to me like there ain’t much chance for a fire here,” he told the exasperated firemen. “More likely to get drowned. No, sir. I’m going to stay right here until there ain’t a stick left. This place has stood right here since Jack London was a boy. He used to stand and gas with me right over this here bar.”\u003c/p>\n\u003cp>When the fire was finally extinguished, Heinold was ankle-deep in water, but offered the firemen free drinks on the house. A \u003cem>Tribune\u003c/em> article published two months later noted that, “the roof and interior of the place were destroyed. Souvenirs of Jack London’s patronage, priceless to Johnny because of their associations, were destroyed … Pictures that date back to pioneer days of Oakland, photographs of long dead civic leaders, were all destroyed.”\u003c/p>\n\u003cp>Heinold remained undefeated. He pushed on, renovating the bar back to its former glory.\u003c/p>\n\u003ch2>Headline-worthy family reunions\u003c/h2>\n\u003cfigure id=\"attachment_13931937\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931937\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/RS67154_230720-HEINOLDS-MHN-12-scaled-e1689962859721-800x533.jpg\" alt=\"A black and white image hanging on a wall behind chicken wire. It shows an elderly man wearing a hat and standing behind a bar.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67154_230720-HEINOLDS-MHN-12-scaled-e1689962859721-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67154_230720-HEINOLDS-MHN-12-scaled-e1689962859721-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67154_230720-HEINOLDS-MHN-12-scaled-e1689962859721-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67154_230720-HEINOLDS-MHN-12-scaled-e1689962859721-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67154_230720-HEINOLDS-MHN-12-scaled-e1689962859721-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67154_230720-HEINOLDS-MHN-12-scaled-e1689962859721.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo of Johnny Heinold smiling behind his beloved bar, hanging on the wall at Heinold’s First and Last Chance Saloon in Oakland, 2023. \u003ccite>(Martin do Nascimento/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In May 1926, Heinold was reunited with his sister Margaret after not seeing her for an astounding 51 years. Heinold had moved to the Bay from Philadelphia at age 21, when Margaret was only 8, and the two hadn’t seen each other since. The siblings wrote letters to each other over the years, but never actually met up. When they finally did, journalists were on hand to witness the happy occasion. Most of them marveled at Heinold’s greeting: “You’ve grown some, Maggie!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Following their initial introduction, Heinold took the opportunity to bemoan the lack of alcohol on hand for the occasion. “And to think,” he said. “I didn’t even keep any private stock when I had to turn the bar into a soft drink parlor! All that’s left is orangeade and Coke to drink a toast to our reunion.”\u003c/p>\n\u003cp>Amazingly, despite Heinold being somewhat of a local celebrity in Oakland, Margaret, it turned out, didn’t even know that her brother owned a bar. “He sent me a picture of it once,” she told reporters, “and I said then I guessed it must be a kind of antique shop…”\u003c/p>\n\u003cp>Margaret returned to her brother for another visit in 1932 — an occasion that also made the local papers. “This is our second visit,” Maggie told reporters. “The first was about seven years ago — the first time I had seen my brother for 51 years. But to wait another 51 years seemed a bit too long…”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ninety-one years later, though Margaret and Johnny are long gone, the First and Last Chance Saloon is, miraculously, still standing.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Princess Diana’s Iconic Sheep Sweater Could Fetch at Least $50,000 at Auction",
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"content": "\u003cp>A red sweater adorned with a flock of sheep worn by the young Princess Diana is expected to sell for more than $50,000 at auction.\u003c/p>\n\u003cp>The playfully patterned wool jumper featuring a single black sheep amid a pattern of white ones headlines Sotheby’s online Fashion Icons sale in September.\u003c/p>\n\u003cp>[aside postid='arts_13918461']The 19-year-old Lady Diana Spencer was photographed in the garment at a polo match in June 1981, soon after her engagement to Prince Charles, who was then heir to the British throne.\u003c/p>\n\u003cp>Diana was already becoming a style icon — and one of the world’s most photographed women — and the moment gave a big boost to designers Sally Muir and Joanna Osborne, who made the sweater for their small knitwear label \u003ca href=\"https://warmandwonderful.com/\">Warm & Wonderful\u003c/a>.\u003c/p>\n\u003cp>A few weeks later, Muir and Osborne received an official letter from Buckingham Palace explaining that Diana had damaged the sweater and asking whether it could be repaired or replaced. The original was returned, showing damage to a sleeve the designers thought might have been caused by snagging on Diana’s diamond and sapphire engagement ring.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A new sweater was knitted and dispatched, and Diana was photographed wearing it with white jeans and a black ribbon tie at an event in 1983.\u003c/p>\n\u003cfigure id=\"attachment_13931706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931706\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-109346553-scaled-e1689612304213-800x531.jpg\" alt=\"Two women sit in the back row of the stands at a sporting event. Both are engaged in conversation and smiling. One wears a floral blouse, the other a sweater adorned with sheep.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-109346553-scaled-e1689612304213-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-109346553-scaled-e1689612304213-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-109346553-scaled-e1689612304213-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-109346553-scaled-e1689612304213-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-109346553-scaled-e1689612304213-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-109346553-scaled-e1689612304213.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana, Princess of Wales with Sarah Ferguson at the Guard’s Polo Club, Windsor, June 1983. \u003ccite>(Georges De Keerle/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some have speculated Diana liked the “black sheep” pattern because she felt like an outsider in the royal family. Emma Corrin sported a replica as the young Diana in season four of \u003cem>The Crown\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13866072']Warm & Wonderful still makes a cotton version of the design, which sells for 190 pounds ($250). Osborne discovered the original lying forgotten in a box in an attic earlier this year.\u003c/p>\n\u003cp>Cynthia Houlton, Sotheby’s global head of fashion and accessories, said “this exceptional garment, meticulously preserved, carries the whispers of Princess Diana’s grace, charm, and her keen eye for fashion.”\u003c/p>\n\u003cp>The sweater, which has an estimated price of $50,000 to $80,000, will be on display at Sotheby’s New York showroom from Sept. 7-13. Online bidding opens Aug. 31 and runs to Sept. 14.\u003c/p>\n\u003cp>The record for a piece of Diana memorabilia is $604,800 for a Victor Edelstein-designed ballgown sold by Sotheby’s in January.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A red sweater adorned with a flock of sheep worn by the young Princess Diana is expected to sell for more than $50,000 at auction.\u003c/p>\n\u003cp>The playfully patterned wool jumper featuring a single black sheep amid a pattern of white ones headlines Sotheby’s online Fashion Icons sale in September.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The 19-year-old Lady Diana Spencer was photographed in the garment at a polo match in June 1981, soon after her engagement to Prince Charles, who was then heir to the British throne.\u003c/p>\n\u003cp>Diana was already becoming a style icon — and one of the world’s most photographed women — and the moment gave a big boost to designers Sally Muir and Joanna Osborne, who made the sweater for their small knitwear label \u003ca href=\"https://warmandwonderful.com/\">Warm & Wonderful\u003c/a>.\u003c/p>\n\u003cp>A few weeks later, Muir and Osborne received an official letter from Buckingham Palace explaining that Diana had damaged the sweater and asking whether it could be repaired or replaced. The original was returned, showing damage to a sleeve the designers thought might have been caused by snagging on Diana’s diamond and sapphire engagement ring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A new sweater was knitted and dispatched, and Diana was photographed wearing it with white jeans and a black ribbon tie at an event in 1983.\u003c/p>\n\u003cfigure id=\"attachment_13931706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931706\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-109346553-scaled-e1689612304213-800x531.jpg\" alt=\"Two women sit in the back row of the stands at a sporting event. Both are engaged in conversation and smiling. One wears a floral blouse, the other a sweater adorned with sheep.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-109346553-scaled-e1689612304213-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-109346553-scaled-e1689612304213-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-109346553-scaled-e1689612304213-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-109346553-scaled-e1689612304213-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-109346553-scaled-e1689612304213-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-109346553-scaled-e1689612304213.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana, Princess of Wales with Sarah Ferguson at the Guard’s Polo Club, Windsor, June 1983. \u003ccite>(Georges De Keerle/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some have speculated Diana liked the “black sheep” pattern because she felt like an outsider in the royal family. Emma Corrin sported a replica as the young Diana in season four of \u003cem>The Crown\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Warm & Wonderful still makes a cotton version of the design, which sells for 190 pounds ($250). Osborne discovered the original lying forgotten in a box in an attic earlier this year.\u003c/p>\n\u003cp>Cynthia Houlton, Sotheby’s global head of fashion and accessories, said “this exceptional garment, meticulously preserved, carries the whispers of Princess Diana’s grace, charm, and her keen eye for fashion.”\u003c/p>\n\u003cp>The sweater, which has an estimated price of $50,000 to $80,000, will be on display at Sotheby’s New York showroom from Sept. 7-13. Online bidding opens Aug. 31 and runs to Sept. 14.\u003c/p>\n\u003cp>The record for a piece of Diana memorabilia is $604,800 for a Victor Edelstein-designed ballgown sold by Sotheby’s in January.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘When Crack Was King’ Follows Four People Who Lived Through the Drug Epidemic",
"headTitle": "‘When Crack Was King’ Follows Four People Who Lived Through the Drug Epidemic | KQED",
"content": "\u003cfigure id=\"attachment_13931506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-800x1221.jpg\" alt='An orange book cover with white writing that says \"When Crack Was King.\" In the lower left corner is a Black teen overlooking a bleak cityscape.' width=\"800\" height=\"1221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1020x1556.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1007x1536.jpg 1007w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1342x2048.jpg 1342w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8.jpg 1674w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When Crack Was King’ by Donovan X. Ramsey. \u003ccite>(One World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the introduction to his new book, \u003cem>When Crack Was King: A People’s History of a Misunderstood Era\u003c/em>, journalist Donovan X. Ramsey recalls how during his childhood in the early 1990s, the term “crackhead” was used as an insult.\u003c/p>\n\u003cp>[aside postid='arts_13930279']“I suppose we made it a slur,” he writes, “because we feared what it represented, a rock bottom to which any of us could sink. That’s what children do when they’re in search of power over things that frighten us. We reduce them to words, bite-size things that can be spat out at a moment’s notice.”\u003c/p>\n\u003cp>If only that same urge wasn’t so common among adults, especially those in positions of power. But as Ramsey details in \u003cem>King\u003c/em>, the crack epidemic is (still) misunderstood in large part due to the willful ignorance reflected in mainstream media coverage in the 1980s and ’90s, as well as the political convenience of soundbites like “crack baby” and “superpredator,” which were actively used to pass legislation that further policed and controlled poor communities of color, and Black people in particular.\u003c/p>\n\u003cp>Crack is the common term for cocaine that’s been processed using baking soda or ammonia and water in order to make it smokable. This method of cocaine use is highly addictive in part because it provides an intense and fast high that requires frequent use in order to maintain. As with other drug epidemics, there is no single event that led to crack’s popularity and its disastrous effects on so many of its users and dealers.\u003c/p>\n\u003cp>Rather, the epidemic spread due to a multitude of reasons such as government policies that economically isolated poor communities of color, the so-called War on Drugs and its focus on criminalization, and the falling price of cocaine and the ease with which it could be turned to crack. Ramsey focuses, too, on another important element: grief. The \u003ca href=\"https://news.arizona.edu/story/understanding-black-grief\">generational trauma\u003c/a> and grief Black Americans live with is part of that, of course, but Ramsey focuses as well on the “profound grief [which was the] result of everything they lost in the sixties and seventies — assassinations of leaders, destruction of their communities from riots, a Civil Rights Movement that cost them so much but ultimately missed the mark securing opportunity and freedom.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>When Crack Was King\u003c/em> follows four people who lived through the epidemic in various ways. Lennie Woodley, now a substance abuse counselor for LA county, grew up in a tumultuous and abusive home, with a mother who yelled and beat her and an uncle who started as a source of solace before he began molesting her. She started using cocaine, first as powder and then as crack, during her early adolescence, and spent nearly three decades in the grips of her addiction. Through her story, Ramsey looks at how “[w]omen users, black women in particular, fell to the absolute lowest rung on the nation’s social ladder” and how these women users had “fewer avenues for income and were often steered into sex work, if they weren’t sex workers already.”\u003c/p>\n\u003cp>[aside postid='arts_13931389']Ramsey also follows the stories of Elgin Swift and Shawn McCray, two men who worked for a time as dealers, though in different ways and with different scopes. Swift grew up in Yonkers, NY, with a single father who became addicted to crack while Swift was still young, leaving him to largely fend for himself, which included, eventually, dealing small amounts of crack. McCray, on the other hand, was part of Zoo Crew, a now-legendary drug trafficking ring in Newark, NJ, which spun off to become a local apparel brand name as well as, eventually, the name of McCray’s successful youth basketball program.\u003c/p>\n\u003cp>Through these men’s narratives, Ramsey highlights the nuances of drug dealing, how for many it’s less a chosen career and more a way to make money when there are no other jobs to be found. Additionally, despite the well-worn stereotype of morally corrupt dealers, these men weren’t trying to broaden their customer base by encouraging addiction in young people. By the height of the crack epidemic in the mid-1980s, there simply weren’t many casual users of the drug, and young people in the 1990s were disdainful of the substance and turning away from it and heroin as well.\u003c/p>\n\u003cp>The final character Ramsey follows is Kurt Schmoke, who served as the mayor of Baltimore during much of the 1980s and who advocated for drug decriminalization long before there was support for such an approach.\u003c/p>\n\u003cp>[aside postid='arts_13931196']Threaded through the four character studies are details of the era’s politics, the crime bills that led to the drastic increase in mass incarceration, legacy media’s insistence on sensationalizing crack and deploring its users, the ineffective War on Drugs and its disastrous consequences, and more, always in clear prose that focuses as much as possible on the flesh and blood individuals who were harmed by the epidemic.\u003c/p>\n\u003cp>An excellent work of people-first journalism, \u003cem>When Crack Was King \u003c/em>offers not only a vivid and frank history, but points to the way communities tend to save themselves even as they’re being actively targeted by state policy and violence. The crack epidemic may be over, Ramsey notes at book’s end, but drug fads and epidemics come and go, and our government and media apparatus must learn to respond to them better — which, judging by \u003ca href=\"https://theappeal.org/media-frame-fentanyl-panic-is-worsening-the-overdose-crisis/\">the coverage of\u003c/a> \u003ca href=\"https://theappeal.org/pulitzer-prize-matt-bevin-commutations/\">and response to\u003c/a> \u003ca href=\"https://www.npr.org/2019/09/16/761329037/lawsuits-highlight-government-failures-in-opioid-crisis\">the opioid\u003c/a> \u003ca href=\"https://www.michigandaily.com/opinion/as-overdose-deaths-rise-the-opioid-crisis-response-fails/\">epidemic\u003c/a>, may yet take some time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is a fiction writer, book critic, and author of the novel ‘All My Mother’s Lovers.’\u003c/em>\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=%27When+Crack+Was+King%27+follows+four+people+who+lived+through+the+drug+epidemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13931506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-800x1221.jpg\" alt='An orange book cover with white writing that says \"When Crack Was King.\" In the lower left corner is a Black teen overlooking a bleak cityscape.' width=\"800\" height=\"1221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1020x1556.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1007x1536.jpg 1007w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1342x2048.jpg 1342w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8.jpg 1674w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When Crack Was King’ by Donovan X. Ramsey. \u003ccite>(One World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the introduction to his new book, \u003cem>When Crack Was King: A People’s History of a Misunderstood Era\u003c/em>, journalist Donovan X. Ramsey recalls how during his childhood in the early 1990s, the term “crackhead” was used as an insult.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I suppose we made it a slur,” he writes, “because we feared what it represented, a rock bottom to which any of us could sink. That’s what children do when they’re in search of power over things that frighten us. We reduce them to words, bite-size things that can be spat out at a moment’s notice.”\u003c/p>\n\u003cp>If only that same urge wasn’t so common among adults, especially those in positions of power. But as Ramsey details in \u003cem>King\u003c/em>, the crack epidemic is (still) misunderstood in large part due to the willful ignorance reflected in mainstream media coverage in the 1980s and ’90s, as well as the political convenience of soundbites like “crack baby” and “superpredator,” which were actively used to pass legislation that further policed and controlled poor communities of color, and Black people in particular.\u003c/p>\n\u003cp>Crack is the common term for cocaine that’s been processed using baking soda or ammonia and water in order to make it smokable. This method of cocaine use is highly addictive in part because it provides an intense and fast high that requires frequent use in order to maintain. As with other drug epidemics, there is no single event that led to crack’s popularity and its disastrous effects on so many of its users and dealers.\u003c/p>\n\u003cp>Rather, the epidemic spread due to a multitude of reasons such as government policies that economically isolated poor communities of color, the so-called War on Drugs and its focus on criminalization, and the falling price of cocaine and the ease with which it could be turned to crack. Ramsey focuses, too, on another important element: grief. The \u003ca href=\"https://news.arizona.edu/story/understanding-black-grief\">generational trauma\u003c/a> and grief Black Americans live with is part of that, of course, but Ramsey focuses as well on the “profound grief [which was the] result of everything they lost in the sixties and seventies — assassinations of leaders, destruction of their communities from riots, a Civil Rights Movement that cost them so much but ultimately missed the mark securing opportunity and freedom.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>When Crack Was King\u003c/em> follows four people who lived through the epidemic in various ways. Lennie Woodley, now a substance abuse counselor for LA county, grew up in a tumultuous and abusive home, with a mother who yelled and beat her and an uncle who started as a source of solace before he began molesting her. She started using cocaine, first as powder and then as crack, during her early adolescence, and spent nearly three decades in the grips of her addiction. Through her story, Ramsey looks at how “[w]omen users, black women in particular, fell to the absolute lowest rung on the nation’s social ladder” and how these women users had “fewer avenues for income and were often steered into sex work, if they weren’t sex workers already.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ramsey also follows the stories of Elgin Swift and Shawn McCray, two men who worked for a time as dealers, though in different ways and with different scopes. Swift grew up in Yonkers, NY, with a single father who became addicted to crack while Swift was still young, leaving him to largely fend for himself, which included, eventually, dealing small amounts of crack. McCray, on the other hand, was part of Zoo Crew, a now-legendary drug trafficking ring in Newark, NJ, which spun off to become a local apparel brand name as well as, eventually, the name of McCray’s successful youth basketball program.\u003c/p>\n\u003cp>Through these men’s narratives, Ramsey highlights the nuances of drug dealing, how for many it’s less a chosen career and more a way to make money when there are no other jobs to be found. Additionally, despite the well-worn stereotype of morally corrupt dealers, these men weren’t trying to broaden their customer base by encouraging addiction in young people. By the height of the crack epidemic in the mid-1980s, there simply weren’t many casual users of the drug, and young people in the 1990s were disdainful of the substance and turning away from it and heroin as well.\u003c/p>\n\u003cp>The final character Ramsey follows is Kurt Schmoke, who served as the mayor of Baltimore during much of the 1980s and who advocated for drug decriminalization long before there was support for such an approach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Threaded through the four character studies are details of the era’s politics, the crime bills that led to the drastic increase in mass incarceration, legacy media’s insistence on sensationalizing crack and deploring its users, the ineffective War on Drugs and its disastrous consequences, and more, always in clear prose that focuses as much as possible on the flesh and blood individuals who were harmed by the epidemic.\u003c/p>\n\u003cp>An excellent work of people-first journalism, \u003cem>When Crack Was King \u003c/em>offers not only a vivid and frank history, but points to the way communities tend to save themselves even as they’re being actively targeted by state policy and violence. The crack epidemic may be over, Ramsey notes at book’s end, but drug fads and epidemics come and go, and our government and media apparatus must learn to respond to them better — which, judging by \u003ca href=\"https://theappeal.org/media-frame-fentanyl-panic-is-worsening-the-overdose-crisis/\">the coverage of\u003c/a> \u003ca href=\"https://theappeal.org/pulitzer-prize-matt-bevin-commutations/\">and response to\u003c/a> \u003ca href=\"https://www.npr.org/2019/09/16/761329037/lawsuits-highlight-government-failures-in-opioid-crisis\">the opioid\u003c/a> \u003ca href=\"https://www.michigandaily.com/opinion/as-overdose-deaths-rise-the-opioid-crisis-response-fails/\">epidemic\u003c/a>, may yet take some time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is a fiction writer, book critic, and author of the novel ‘All My Mother’s Lovers.’\u003c/em>\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=%27When+Crack+Was+King%27+follows+four+people+who+lived+through+the+drug+epidemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’ve ever walked around a city with a skateboarder, you’ve probably been inundated with comments about a concrete ledge’s history here, or the backstory of a set of stairs there. Through magazines and videos, skaters map the world according to the spots they skate. \u003c/p>\n\u003cp>Skaters are clerks to memorized libraries of not just existing skate spots, but potential spots, across our daily environment. Staircases become new measuring sticks for difficult tricks, and parking lot curbs become ageless playgrounds. As Dischord Records founder Ian MacKaye said in \u003ca href=\"https://www.youtube.com/watch?v=YYKYU-Qj_Ro\">a 2013 lecture to the Library of Congress\u003c/a>, skateboarding means “learning how to redefine the world around you.” \u003c/p>\n\u003cp>Viewers can now take a tour of San Francisco with this unique eye to the streets with art historian, writer and skateboarder \u003ca href=\"https://www.instagram.com/tedbarrow/?hl=en\">Ted Barrow\u003c/a> in \u003cem>Thrasher\u003c/em> magazine’s new web series “This Old Ledge.” Barrow offers a new way of seeing things most residents pass by every day, delivering onsite historical lessons on both the architectural and skateboarding history of key skate spots. Barrows’ seemingly freestyle, well-researched presentations are interspersed with archival photos from the San Francisco Public Library’s \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center/digital-collections\">Digital Archive\u003c/a> and \u003cem>Thrasher\u003c/em>’s \u003ca href=\"https://m.thrashermagazine.com/magazine/covers-archive/\">own\u003c/a>, telling the city’s history through those who have skated its streets. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hXrdZ5kWRqs\u003c/p>\n\u003cp>Barrow is the professor who can skate and dress better than his students. With a bemused grin and sharp tongue, his commentaries are part snark, part self-deprecation. In one episode, dedicated to the \u003ca href=\"https://artandarchitecture-sf.com/embarcadero-ribbon.html\">Embarcadero Art Ribbon project\u003c/a> that became the skate spot Bay Blocks, Barrow details the “massive compromises” made to the project before construction, including gaps added between the concrete ledges for pedestrian accessibility — and opportunity. “It’s the gaps that activate this as a [skate] spot,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“All of a sudden these ideas crystallize around you,” Barrow tells me. “You can see the actual history of a built environment in a city and how people’s stories impacted the city through the juxtaposition of buildings and different spaces.” \u003c/p>\n\u003cfigure id=\"attachment_13931481\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Thrasher.Triptych-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1268\" class=\"size-full wp-image-13931481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-768x381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-1536x761.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-2048x1015.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-1920x951.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Karl Watson, nollie 180 switch crooked grind at Pier 7, 1996; Chico Brenes, backside kickflip at Bay Blocks, 1997; Fred Gall, switch crooked grind at Hubba Hideout, 1995. \u003ccite>(Watson and Brenes: Luke Ogden; Gall: Gabe Morford; Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barrow returned to the Bay Area a few years ago after many years in New York, teaching art history at such universities as Baruch and City College, while pursuing his PhD (he successfully defended his dissertation this year) and appearing in skate videos. He also gave walking tours, sneaking in skate references when describing the First Customs House where George Washington signed the Declaration of Independence.\u003c/p>\n\u003cp>“It always seemed like there was this very rich history that videos and interviews with skateboarders didn’t always fully address,” he says, particularly around “how we think about space and how we think about place.”\u003c/p>\n\u003cfigure id=\"attachment_13931484\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland.jpg\" alt=\"Two teenage boys in baggy shirts on a concrete ledge\" width=\"1200\" height=\"786\" class=\"size-full wp-image-13931484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-768x503.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Henry Sanchez and John Cardiel at Embarcadero, 1992. \u003ccite>(Tobin Yelland; Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Revisiting landmarks of modern street skating\u003c/h2>\n\u003cp>“This Old Ledge” begins at Justin Herman Plaza, simply known to skaters as Embarcadero or Embarco. Designed in 1971 by modernist architect \u003ca href=\"https://www.kqed.org/arts/11316687/halprins-experiments-in-environment-still-radical-50-years-later\">Lawrence Halprin\u003c/a>, it’s one of several civic-minded projects designed by Halprin in response to a generation of failed urban renewal projects, describing it as a “total environment in which all the elements working together create a place for participation.” \u003c/p>\n\u003cp>Much of the plaza’s skateable features have changed over the years. But the silhouettes of former plaza obstacles are still visible along the bricks, Barrow shows, as are thousands of axle marks from skateboarders turning the plaza, from 1991 to 1994, into street skating’s modern laboratory of innovation. \u003c/p>\n\u003cp>[aside postID='arts_13916267']Reading these visual histories is “part of the intimidation of these skate spots,” Barrow explains. “They’re palimpsests: they’ve changed, things have been removed, but you can still read the history of skateboarding etched into those places.”\u003c/p>\n\u003cp>Researching the series, Barrow discovered how “the actual ledges and obstacles that people skated in the late ‘80s, early ‘90s weren’t there. And I always presumed that they were there.” \u003c/p>\n\u003cfigure id=\"attachment_13931482\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Hubba-Hideout-destruction.jpg\" alt=\"A backhoe demolishes a large concrete walkway\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13931482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">After years as a formative skate spot, as detailed in ‘This Old Ledge,’ Hubba Hideout was eventually demolished. \u003ccite>(Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a different episode, we follow Barrow to another skate spot Halprin unintentionally designed, Hubba Hideout. In 1976, Halprin joined a team to connect the Alcoa Building with the waterfront through a pedestrian bridge extending from the building, over Davis Street, and into a newly landscaped plaza. The X-braised Alcoa Building would eventually mark the spot for skaters to find the bridge’s “harsh, brutalist concrete” handrails going down some stairs into a plaza with Halprin’s signature red bricks. \u003c/p>\n\u003cp>Here, many would “hide out and smoke crack in the middle of one of the most profitable commercial districts in the world in broad daylight” explains Barrow. Hubba, \u003ca href=\"https://www.youtube.com/watch?v=pArkWvlAebg\">Bay Area slang for crack cocaine\u003c/a>, became skate lingo for any concrete ledge acting as a handrail downstairs.\u003c/p>\n\u003cp>\u003cem>Thrasher\u003c/em> magazine’s President, Tony Vitello, describes the now-defunct spot as “a proving ground,” with the nickname representative of San Francisco’s influence on skateboarding. “You could be at a [skatepark] planning meeting with some local government, and they’re talking about a hubba ledge.”\u003c/p>\n\u003cfigure id=\"attachment_13931483\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky.jpg\" alt=\"A man in a flannel shirt rides a skateboard high atop a concrete block\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13931483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jack Curtin, switch nosegrind at Bay Blocks. \u003ccite>(Dan Zaslavsky; Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A historian’s eye for design and context\u003c/h2>\n\u003cp>Part of Vitello’s inspiration for “This Old Ledge” came at jury duty. On the wall of the courthouse was a framed photo of an abandoned San Francisco mansion, the Old Koshland House on Washington Street, whose curved exterior hubba ledge was \u003ca href=\"https://64.media.tumblr.com/b52e8b45d1554d98e9978416f510d2a1/tumblr_nqglutAUZJ1sgg3dvo1_500.gifv\">briefly a popular skate spot\u003c/a>. The photo was “dated the day after the 1906 earthquake,” with notable damage to buildings nearby. Vitello then considered the popular St. Paul’s Cathedral in London, and found drawings from when the Cathedral was built. “The out ledge that \u003ca href=\"https://www.thrashermagazine.com/articles/videos/atlantic-drift-episode-2-st-paul-s/\">everyone has skated\u003c/a> is sitting there in the 1600s, from a period before skateboarding was even invented – that trips me out.” \u003c/p>\n\u003cp>Through original videos, \u003cem>Thrasher\u003c/em>’s “been pushing to expand further into personality and cultural stuff,” Vitello says, “beyond just ‘Here’s a [skate] video with music in the background.’” \u003c/p>\n\u003cp>This push isn’t only palpable across their nearly seven million Instagram followers, but in the magazine’s hiring a full-time archivist to help log \u003cem>Thrasher\u003c/em>’s entire photo and video history. Between these archives and the number of San Francisco skate spots replicated in skateparks worldwide, “San Francisco has had such an outsized influence on skateboarding,” Vitello says, “and therefore everything connected to our culture.” \u003c/p>\n\u003cfigure id=\"attachment_13931485\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419.jpg\" alt=\"Young boys sit on their skateboards amidst a concrete and brick plaza\" width=\"1118\" height=\"739\" class=\"size-full wp-image-13931485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419.jpg 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-768x508.jpg 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Skaters at Embarcadero, 1992. \u003ccite>(Kevin Thatcher; courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Betsy Gordon, Project Manager at the Smithsonian’s National Museum of the American Indian, struck up a friendship with Barrow at the academic skate conference Pushing Boarders, where they both presented. She attests to his style of teaching: “I appreciate the fact that he has advanced skills and is very well-educated,” she says, “but never makes you feel stupid.”\u003c/p>\n\u003cp>Barrow recently contributed to \u003cem>\u003ca href=\"https://www.smithsonianstore.com/four-wheels-and-a-board-11042/\">Four Wheels and a Board: The Smithsonian History of Skateboarding\u003c/a>\u003c/em>, co-edited by Gordon. She looped in Barrow to write and contribute several pieces, including an introductory chapter to the 1990s section. “Not everybody can have that historian’s eye of seeing that context and say, ‘Oh, that trick for the ‘90s was really progressive’ with a sense of what was possible,” she says. \u003c/p>\n\u003cp>[aside postID='arts_13891248']Still, a skateboarder’s relationship with space evolves over time. \u003c/p>\n\u003cp>“Skateboarding is aging,” Gordon explains. “It was always very future-focused; now there’s more appreciation for history and what came before.” This ongoing relationship with space grounds Barrow’s deep historical knowledge into the present, making his onsite testimonies resonate that much deeper.\u003c/p>\n\u003cp>Vitello places that impact, and the project’s, into his everyday life.\u003c/p>\n\u003cp>“Sometimes you just forget to look up,” he explains. “I’ve found myself, even in a city I grew up in, looking up and looking at things a bit different.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘This Old Ledge’ is on \u003ca href=\"https://www.thrashermagazine.com/articles/videos/\">Thrasher magazine’s website\u003c/a> and \u003ca href=\"https://www.youtube.com/@ThrasherMag/videos\">YouTube channel\u003c/a> now. New episodes drop each Wednesday. Ted Barrow also runs a Patreon, \u003ca href=\"https://www.patreon.com/beratethebirds\">Berate the Birds\u003c/a>, centered around art history and skateboarding. \u003c/em>\u003c/p>\n\n",
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"title": "Ted Barrow on Historic San Francisco Skate Spots in 'This Old Ledge' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve ever walked around a city with a skateboarder, you’ve probably been inundated with comments about a concrete ledge’s history here, or the backstory of a set of stairs there. Through magazines and videos, skaters map the world according to the spots they skate. \u003c/p>\n\u003cp>Skaters are clerks to memorized libraries of not just existing skate spots, but potential spots, across our daily environment. Staircases become new measuring sticks for difficult tricks, and parking lot curbs become ageless playgrounds. As Dischord Records founder Ian MacKaye said in \u003ca href=\"https://www.youtube.com/watch?v=YYKYU-Qj_Ro\">a 2013 lecture to the Library of Congress\u003c/a>, skateboarding means “learning how to redefine the world around you.” \u003c/p>\n\u003cp>Viewers can now take a tour of San Francisco with this unique eye to the streets with art historian, writer and skateboarder \u003ca href=\"https://www.instagram.com/tedbarrow/?hl=en\">Ted Barrow\u003c/a> in \u003cem>Thrasher\u003c/em> magazine’s new web series “This Old Ledge.” Barrow offers a new way of seeing things most residents pass by every day, delivering onsite historical lessons on both the architectural and skateboarding history of key skate spots. Barrows’ seemingly freestyle, well-researched presentations are interspersed with archival photos from the San Francisco Public Library’s \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center/digital-collections\">Digital Archive\u003c/a> and \u003cem>Thrasher\u003c/em>’s \u003ca href=\"https://m.thrashermagazine.com/magazine/covers-archive/\">own\u003c/a>, telling the city’s history through those who have skated its streets. \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/hXrdZ5kWRqs'\n title='//www.youtube.com/embed/hXrdZ5kWRqs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Barrow is the professor who can skate and dress better than his students. With a bemused grin and sharp tongue, his commentaries are part snark, part self-deprecation. In one episode, dedicated to the \u003ca href=\"https://artandarchitecture-sf.com/embarcadero-ribbon.html\">Embarcadero Art Ribbon project\u003c/a> that became the skate spot Bay Blocks, Barrow details the “massive compromises” made to the project before construction, including gaps added between the concrete ledges for pedestrian accessibility — and opportunity. “It’s the gaps that activate this as a [skate] spot,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“All of a sudden these ideas crystallize around you,” Barrow tells me. “You can see the actual history of a built environment in a city and how people’s stories impacted the city through the juxtaposition of buildings and different spaces.” \u003c/p>\n\u003cfigure id=\"attachment_13931481\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Thrasher.Triptych-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1268\" class=\"size-full wp-image-13931481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-768x381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-1536x761.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-2048x1015.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-1920x951.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Karl Watson, nollie 180 switch crooked grind at Pier 7, 1996; Chico Brenes, backside kickflip at Bay Blocks, 1997; Fred Gall, switch crooked grind at Hubba Hideout, 1995. \u003ccite>(Watson and Brenes: Luke Ogden; Gall: Gabe Morford; Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barrow returned to the Bay Area a few years ago after many years in New York, teaching art history at such universities as Baruch and City College, while pursuing his PhD (he successfully defended his dissertation this year) and appearing in skate videos. He also gave walking tours, sneaking in skate references when describing the First Customs House where George Washington signed the Declaration of Independence.\u003c/p>\n\u003cp>“It always seemed like there was this very rich history that videos and interviews with skateboarders didn’t always fully address,” he says, particularly around “how we think about space and how we think about place.”\u003c/p>\n\u003cfigure id=\"attachment_13931484\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland.jpg\" alt=\"Two teenage boys in baggy shirts on a concrete ledge\" width=\"1200\" height=\"786\" class=\"size-full wp-image-13931484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-768x503.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Henry Sanchez and John Cardiel at Embarcadero, 1992. \u003ccite>(Tobin Yelland; Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Revisiting landmarks of modern street skating\u003c/h2>\n\u003cp>“This Old Ledge” begins at Justin Herman Plaza, simply known to skaters as Embarcadero or Embarco. Designed in 1971 by modernist architect \u003ca href=\"https://www.kqed.org/arts/11316687/halprins-experiments-in-environment-still-radical-50-years-later\">Lawrence Halprin\u003c/a>, it’s one of several civic-minded projects designed by Halprin in response to a generation of failed urban renewal projects, describing it as a “total environment in which all the elements working together create a place for participation.” \u003c/p>\n\u003cp>Much of the plaza’s skateable features have changed over the years. But the silhouettes of former plaza obstacles are still visible along the bricks, Barrow shows, as are thousands of axle marks from skateboarders turning the plaza, from 1991 to 1994, into street skating’s modern laboratory of innovation. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Reading these visual histories is “part of the intimidation of these skate spots,” Barrow explains. “They’re palimpsests: they’ve changed, things have been removed, but you can still read the history of skateboarding etched into those places.”\u003c/p>\n\u003cp>Researching the series, Barrow discovered how “the actual ledges and obstacles that people skated in the late ‘80s, early ‘90s weren’t there. And I always presumed that they were there.” \u003c/p>\n\u003cfigure id=\"attachment_13931482\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Hubba-Hideout-destruction.jpg\" alt=\"A backhoe demolishes a large concrete walkway\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13931482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">After years as a formative skate spot, as detailed in ‘This Old Ledge,’ Hubba Hideout was eventually demolished. \u003ccite>(Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a different episode, we follow Barrow to another skate spot Halprin unintentionally designed, Hubba Hideout. In 1976, Halprin joined a team to connect the Alcoa Building with the waterfront through a pedestrian bridge extending from the building, over Davis Street, and into a newly landscaped plaza. The X-braised Alcoa Building would eventually mark the spot for skaters to find the bridge’s “harsh, brutalist concrete” handrails going down some stairs into a plaza with Halprin’s signature red bricks. \u003c/p>\n\u003cp>Here, many would “hide out and smoke crack in the middle of one of the most profitable commercial districts in the world in broad daylight” explains Barrow. Hubba, \u003ca href=\"https://www.youtube.com/watch?v=pArkWvlAebg\">Bay Area slang for crack cocaine\u003c/a>, became skate lingo for any concrete ledge acting as a handrail downstairs.\u003c/p>\n\u003cp>\u003cem>Thrasher\u003c/em> magazine’s President, Tony Vitello, describes the now-defunct spot as “a proving ground,” with the nickname representative of San Francisco’s influence on skateboarding. “You could be at a [skatepark] planning meeting with some local government, and they’re talking about a hubba ledge.”\u003c/p>\n\u003cfigure id=\"attachment_13931483\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky.jpg\" alt=\"A man in a flannel shirt rides a skateboard high atop a concrete block\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13931483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jack Curtin, switch nosegrind at Bay Blocks. \u003ccite>(Dan Zaslavsky; Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A historian’s eye for design and context\u003c/h2>\n\u003cp>Part of Vitello’s inspiration for “This Old Ledge” came at jury duty. On the wall of the courthouse was a framed photo of an abandoned San Francisco mansion, the Old Koshland House on Washington Street, whose curved exterior hubba ledge was \u003ca href=\"https://64.media.tumblr.com/b52e8b45d1554d98e9978416f510d2a1/tumblr_nqglutAUZJ1sgg3dvo1_500.gifv\">briefly a popular skate spot\u003c/a>. The photo was “dated the day after the 1906 earthquake,” with notable damage to buildings nearby. Vitello then considered the popular St. Paul’s Cathedral in London, and found drawings from when the Cathedral was built. “The out ledge that \u003ca href=\"https://www.thrashermagazine.com/articles/videos/atlantic-drift-episode-2-st-paul-s/\">everyone has skated\u003c/a> is sitting there in the 1600s, from a period before skateboarding was even invented – that trips me out.” \u003c/p>\n\u003cp>Through original videos, \u003cem>Thrasher\u003c/em>’s “been pushing to expand further into personality and cultural stuff,” Vitello says, “beyond just ‘Here’s a [skate] video with music in the background.’” \u003c/p>\n\u003cp>This push isn’t only palpable across their nearly seven million Instagram followers, but in the magazine’s hiring a full-time archivist to help log \u003cem>Thrasher\u003c/em>’s entire photo and video history. Between these archives and the number of San Francisco skate spots replicated in skateparks worldwide, “San Francisco has had such an outsized influence on skateboarding,” Vitello says, “and therefore everything connected to our culture.” \u003c/p>\n\u003cfigure id=\"attachment_13931485\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419.jpg\" alt=\"Young boys sit on their skateboards amidst a concrete and brick plaza\" width=\"1118\" height=\"739\" class=\"size-full wp-image-13931485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419.jpg 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-768x508.jpg 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Skaters at Embarcadero, 1992. \u003ccite>(Kevin Thatcher; courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Betsy Gordon, Project Manager at the Smithsonian’s National Museum of the American Indian, struck up a friendship with Barrow at the academic skate conference Pushing Boarders, where they both presented. She attests to his style of teaching: “I appreciate the fact that he has advanced skills and is very well-educated,” she says, “but never makes you feel stupid.”\u003c/p>\n\u003cp>Barrow recently contributed to \u003cem>\u003ca href=\"https://www.smithsonianstore.com/four-wheels-and-a-board-11042/\">Four Wheels and a Board: The Smithsonian History of Skateboarding\u003c/a>\u003c/em>, co-edited by Gordon. She looped in Barrow to write and contribute several pieces, including an introductory chapter to the 1990s section. “Not everybody can have that historian’s eye of seeing that context and say, ‘Oh, that trick for the ‘90s was really progressive’ with a sense of what was possible,” she says. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, a skateboarder’s relationship with space evolves over time. \u003c/p>\n\u003cp>“Skateboarding is aging,” Gordon explains. “It was always very future-focused; now there’s more appreciation for history and what came before.” This ongoing relationship with space grounds Barrow’s deep historical knowledge into the present, making his onsite testimonies resonate that much deeper.\u003c/p>\n\u003cp>Vitello places that impact, and the project’s, into his everyday life.\u003c/p>\n\u003cp>“Sometimes you just forget to look up,” he explains. “I’ve found myself, even in a city I grew up in, looking up and looking at things a bit different.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘This Old Ledge’ is on \u003ca href=\"https://www.thrashermagazine.com/articles/videos/\">Thrasher magazine’s website\u003c/a> and \u003ca href=\"https://www.youtube.com/@ThrasherMag/videos\">YouTube channel\u003c/a> now. New episodes drop each Wednesday. Ted Barrow also runs a Patreon, \u003ca href=\"https://www.patreon.com/beratethebirds\">Berate the Birds\u003c/a>, centered around art history and skateboarding. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-bay-shag-arch-blossom-rock-dynamite-exploded",
"title": "Victorians Sure Liked Blowing Up Islands in the Bay Back in the Day",
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"headTitle": "Victorians Sure Liked Blowing Up Islands in the Bay Back in the Day | KQED",
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"content": "\u003cp>You know that old stereotype about Victorians being genteel and of restrained dispositions? Lies. All lies. Turns out that nothing got these cats more excited than blowing stuff up.\u003c/p>\n\u003cp>[aside postid='arts_13909983']Let’s not forget that in 1896, Golden Gate Park horticulturalist John McLaren decided that exploding \u003ca href=\"https://www.kqed.org/arts/13909983/victorian-attractions-san-francisco-chutes-gravity-railroad-woodwards-gardens-bonet-tower-auditorium-skating\">Bonet’s Electric Tower\u003c/a> into a gazillion pieces would be way more fun than the city having its very own Eiffel Tower forever. Then there’s the mortifying fact that much of the destruction from the 1906 earthquake was caused by the doofuses who decided that dynamiting the streets was the best way to stop the spread of fire. (Obviously the situation was desperate but come on, people…)\u003c/p>\n\u003cp>Make no mistake: If ever there was an excuse to make something explode, humans at the turn of the century damn well used it. And once these maniacs set their sights on the Bay waters, a series of islands minding their own business providing perches for seagulls and whatnot just didn’t stand a chance. Considering them obstructions that posed a danger to passing ships, the Victorians quickly concluded that dramatically obliterating them into airborne shrapnel was the best possible solution.\u003c/p>\n\u003cp>What’s more, we know — thanks to some extremely diligent and detailed reporting at the time — that the relish everyone in the region took in all that wanton destruction was immense. Please now journey back with us as we examine just how much this unhinged generation of people enjoyed blowing crap up.\u003c/p>\n\u003ch2>Blossom Rock\u003c/h2>\n\u003cfigure id=\"attachment_13931214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931214\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.00.21-PM-1-800x609.png\" alt=\"A line drawing shows a cheering crowd facing a water column shooting up from a bay. Text above it reads: THE LAST OF BLOSSOM ROCK.\" width=\"800\" height=\"609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.00.21-PM-1-800x609.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.00.21-PM-1-1020x776.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.00.21-PM-1-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.00.21-PM-1-768x584.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.00.21-PM-1.png 1296w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blossom Rock, as depicted in ‘The San Francisco Examiner’ in a nostalgic story from July 1930. \u003ccite>(The San Francisco Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Blossom Rock got blown to pieces by Colonel A. W. von Schmidt in 1870, the city of San Francisco collectively lost its damn mind. \u003cem>The San Francisco Examiner\u003c/em> later reported:\u003c/p>\n\u003cblockquote>\u003cp>For days and weeks the public was in a state of expectancy, and when the moment arrived, excitement was keyed up to the highest pitch. The occasion was made a holiday in the city. The entire town seemed to be on the bay or at the water front. Telegraph Hill never before held such a crowd. A big crowd scrambled on to the roof of an observatory and the roof collapsed, resulting in injuries to many. Out on the bay, everything that could get up steam or rig a sail and hold together was pressed into service, and all the craft was crowded with excursionists.\u003c/p>\u003c/blockquote>\n\u003cp>It wasn’t just the public that approached the end of Blossom Rock with zeal. Colonel von Schmidt went so hard, one can’t help but wonder if he had personal business with the outcrop. The San Francisco local had managed to win the contract to destroy Blossom Rock after coming up with a budget that was a quarter of the projected cost. Then he went about hollowing out the rock and jamming it full of explosives.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The column of water and debris that shot up after the island was detonated was 300 feet high and prompted the gathered, over-excited crowds to cheer with delight.\u003c/p>\n\u003cp>Psychopaths, one and all.\u003c/p>\n\u003ch2>Shag Rock\u003c/h2>\n\u003cfigure id=\"attachment_13931217\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931217\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/The-San-Francisco-Examiner-27-Apr-1900-800x683.png\" alt=\"\" width=\"800\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-San-Francisco-Examiner-27-Apr-1900-800x683.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-San-Francisco-Examiner-27-Apr-1900-1020x871.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-San-Francisco-Examiner-27-Apr-1900-160x137.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-San-Francisco-Examiner-27-Apr-1900-768x656.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-San-Francisco-Examiner-27-Apr-1900.png 1288w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rough diagrams comparing the destruction methods used on Blossom Rock and Shag Rock, as seen in ‘The San Francisco Examiner’ on April 27, 1900. \u003ccite>(The San Francisco Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though very much appreciated by everyone who witnessed its destruction, the end of Blossom Rock was positively quaint compared to what happened to Shag Rock.\u003c/p>\n\u003cp>The 2,192-square-foot island met its end just after 3 p.m. on April 30, 1900, and the resulting explosion shot up 981 feet into the air. \u003cem>The San Francisco Call\u003c/em> described it as “one of the most beautiful and impressive sights ever seen on the bay of San Francisco,” and went on:\u003c/p>\n\u003cblockquote>\u003cp>In the twinkling of an eye, a huge mass of rock and water and splintered lumber … were flying heavenward. Long before the water had ceased mounting upward, the rock was falling back into the water and the splash, splash, splash of the huge pieces could be heard a mile away … The water over the spot once marked by Shag Rock continued its boil for nearly 15 minutes.\u003c/p>\u003c/blockquote>\n\u003cp>Thousands of spectators on Alcatraz, Angel Island, Telegraph and Russian Hills and at the Presidio marveled at the sight, and around 100 boats sailed out to see what was left of Shag Rock. “They witnessed one of the grandest sights ever seen on the bay of San Francisco,” \u003cem>The Call\u003c/em> reported the following day.\u003c/p>\n\u003cp>Within days, people had already started to wonder if Shag Rock was blown up enough. “Nearly all the rock that got blown into the air fell back into the hole again and this has now to be removed,” one \u003cem>Call\u003c/em> reporter wrote on May 4, 1900. “If divers and dredgers cannot do the work, then torpedoes will be used.”\u003c/p>\n\u003cp>These people were bonkers.\u003c/p>\n\u003ch2>Shag Rock No. 2\u003c/h2>\n\u003cfigure id=\"attachment_13931218\" class=\"wp-caption alignright\" style=\"max-width: 596px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931218\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/The-San-Francisco-Call-06-Sep-1900.png\" alt=\"\" width=\"596\" height=\"1042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-San-Francisco-Call-06-Sep-1900.png 596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-San-Francisco-Call-06-Sep-1900-160x280.png 160w\" sizes=\"(max-width: 596px) 100vw, 596px\">\u003cfigcaption class=\"wp-caption-text\">A depiction of the water column that shot out of the Bay when Shag Rock No. 2 was destroyed, as seen in ‘The San Francisco Call’ on Sept. 6, 1900. \u003ccite>(The San Francisco Call)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first Shag Rock had been considered a major shipping hazard, but No. 2, located half a mile north of Alcatraz, was almost more hated because the 1,863-square-foot rectangle of rock lay entirely underwater.\u003c/p>\n\u003cp>Once the first Shag Rock (150 feet from where No. 2 was) had gone, No. 2 was even easier to hit by boat, making it all the more treacherous. Within six months, the sandstone, quartz and basalt structure had, rather unsurprisingly, been annihilated by whooping Victorians. And this time, the explosion — made by 10 tons of nitro-gelatin spread across 150 charges — made it all the way up to 1,106 feet.\u003c/p>\n\u003cp>\u003cem>The San Francisco Examiner\u003c/em> described the sight thusly: “From an artistic standpoint, the blowing up of Shag rock No. 2 was a perfect success.”\u003c/p>\n\u003cp>\u003cem>The Chronicle\u003c/em> called it “one of the grandest spectacles ever witnessed in this part of the world,” and noted:\u003c/p>\n\u003cblockquote>\u003cp>Impressive as was … the blowing up of Shag Rock … could not be compared in majestic beauty with yesterday’s display. Not only did the amount of explosive materials used yesterday exceed by an entire ton the quantity used in leveling the first rock, but the column of water which shot upward from the depths was unspotted by the earthen crust of the shattered rock and for several seconds after reaching its greatest height shone splendidly in the bright sun like a gigantic marble column.\u003c/p>\u003c/blockquote>\n\u003cp>Newspapers also happily reported on all the fish murdered by the explosion. Waiting fishermen rushed in afterwards to retrieve cod, perch, sardines and one 45-pound sea bass. Waste not want not, I guess?\u003c/p>\n\u003ch2>Arch Rock\u003c/h2>\n\u003cfigure id=\"attachment_13931216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.39.55-PM-800x612.png\" alt=\"A black and white illustration showing a small island surrounded by boats and construction.\" width=\"800\" height=\"612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.39.55-PM-800x612.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.39.55-PM-1020x781.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.39.55-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.39.55-PM-768x588.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.39.55-PM.png 1390w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of Arch Rock, as seen in ‘The San Francisco Call’ on Sept. 19, 1900. \u003ccite>(The San Francisco Call)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The destruction of the 30-foot-high Arch Rock was at least a little controversial. Sausalito and Tiburon residents were most attached to the picturesque rock formation and begged local authorities to attach a beacon light to the land to make it safer, rather than removing it altogether. Predictably, those in charge opted for a solution involving 35 tons of gelatin packed into 250 charges instead. But not before the man responsible for that handiwork, Robert Axman, had allowed some ladies onto the explosives-laden rock formation to play with the charges.\u003c/p>\n\u003cp>On Aug. 16, 1901, \u003cem>The San Francisco Examiner\u003c/em> reported:\u003c/p>\n\u003cblockquote>\u003cp>Twenty-five members of the Technical Society of the Pacific Coast, civil mechanical and mining engineers, accompanied by the ladies of their families, visited Arch Rock yesterday morning on a tug as the guests of Robert Axman … The ladies stuck their fingers into this mountain-moving explosive yesterday afternoon. They probed and poked when the man in charge told them that it would not go off unless severely kicked. It comes in a black tar-coated package the size of a stove pipe and quivers to the touch like new cheese.\u003c/p>\u003c/blockquote>\n\u003cp>Nothing to see here!\u003c/p>\n\u003cp>Shortly afterwards, Axman had his daughter Florence detonate the explosives using “a tiny knob” on a barge that floated 4,000 feet away from the Arch. The public started gathering to watch a full two hours before the island was destroyed.\u003c/p>\n\u003cp>On Aug. 16, 1901, \u003cem>The San Francisco Call\u003c/em> provided an elaborate description of the bomb:\u003c/p>\n\u003cblockquote>\u003cp>With a low rumble and a sharp subsequent explosion this landmark of the northern bay flew helter-skelter into space … The emulsion of sea water towered aloft and hung like a grim, huge specter over the scene of destruction. It remained long enough for the sun to play upon it and produce glimmering, scintillating light effects … Timbers, rock and sea water beat into a foam spread for a half-mile around the one-time jutting rock. A small-sized tidal wave was kicked up.\u003c/p>\u003c/blockquote>\n\u003cp>A month later, the same newspaper made another, rather bleaker, observation. “All the shags and sea fowl that used to congregate on Shag and Arch rocks have disappeared since the work of destruction began. Seafaring men are now wondering what new abode they have found.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Imagine that.\u003c/p>\n\n",
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"excerpt": "Citing them as shipping obstructions, turn-of-the-century folks opted to blow up multiple rock formations, seagulls be damned.",
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"title": "The San Francisco Bay Islands Blown Up by Victorians | KQED",
"description": "Citing them as shipping obstructions, turn-of-the-century folks opted to blow up multiple rock formations, seagulls be damned.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know that old stereotype about Victorians being genteel and of restrained dispositions? Lies. All lies. Turns out that nothing got these cats more excited than blowing stuff up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Let’s not forget that in 1896, Golden Gate Park horticulturalist John McLaren decided that exploding \u003ca href=\"https://www.kqed.org/arts/13909983/victorian-attractions-san-francisco-chutes-gravity-railroad-woodwards-gardens-bonet-tower-auditorium-skating\">Bonet’s Electric Tower\u003c/a> into a gazillion pieces would be way more fun than the city having its very own Eiffel Tower forever. Then there’s the mortifying fact that much of the destruction from the 1906 earthquake was caused by the doofuses who decided that dynamiting the streets was the best way to stop the spread of fire. (Obviously the situation was desperate but come on, people…)\u003c/p>\n\u003cp>Make no mistake: If ever there was an excuse to make something explode, humans at the turn of the century damn well used it. And once these maniacs set their sights on the Bay waters, a series of islands minding their own business providing perches for seagulls and whatnot just didn’t stand a chance. Considering them obstructions that posed a danger to passing ships, the Victorians quickly concluded that dramatically obliterating them into airborne shrapnel was the best possible solution.\u003c/p>\n\u003cp>What’s more, we know — thanks to some extremely diligent and detailed reporting at the time — that the relish everyone in the region took in all that wanton destruction was immense. Please now journey back with us as we examine just how much this unhinged generation of people enjoyed blowing crap up.\u003c/p>\n\u003ch2>Blossom Rock\u003c/h2>\n\u003cfigure id=\"attachment_13931214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931214\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.00.21-PM-1-800x609.png\" alt=\"A line drawing shows a cheering crowd facing a water column shooting up from a bay. Text above it reads: THE LAST OF BLOSSOM ROCK.\" width=\"800\" height=\"609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.00.21-PM-1-800x609.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.00.21-PM-1-1020x776.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.00.21-PM-1-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.00.21-PM-1-768x584.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.00.21-PM-1.png 1296w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blossom Rock, as depicted in ‘The San Francisco Examiner’ in a nostalgic story from July 1930. \u003ccite>(The San Francisco Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Blossom Rock got blown to pieces by Colonel A. W. von Schmidt in 1870, the city of San Francisco collectively lost its damn mind. \u003cem>The San Francisco Examiner\u003c/em> later reported:\u003c/p>\n\u003cblockquote>\u003cp>For days and weeks the public was in a state of expectancy, and when the moment arrived, excitement was keyed up to the highest pitch. The occasion was made a holiday in the city. The entire town seemed to be on the bay or at the water front. Telegraph Hill never before held such a crowd. A big crowd scrambled on to the roof of an observatory and the roof collapsed, resulting in injuries to many. Out on the bay, everything that could get up steam or rig a sail and hold together was pressed into service, and all the craft was crowded with excursionists.\u003c/p>\u003c/blockquote>\n\u003cp>It wasn’t just the public that approached the end of Blossom Rock with zeal. Colonel von Schmidt went so hard, one can’t help but wonder if he had personal business with the outcrop. The San Francisco local had managed to win the contract to destroy Blossom Rock after coming up with a budget that was a quarter of the projected cost. Then he went about hollowing out the rock and jamming it full of explosives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The column of water and debris that shot up after the island was detonated was 300 feet high and prompted the gathered, over-excited crowds to cheer with delight.\u003c/p>\n\u003cp>Psychopaths, one and all.\u003c/p>\n\u003ch2>Shag Rock\u003c/h2>\n\u003cfigure id=\"attachment_13931217\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931217\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/The-San-Francisco-Examiner-27-Apr-1900-800x683.png\" alt=\"\" width=\"800\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-San-Francisco-Examiner-27-Apr-1900-800x683.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-San-Francisco-Examiner-27-Apr-1900-1020x871.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-San-Francisco-Examiner-27-Apr-1900-160x137.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-San-Francisco-Examiner-27-Apr-1900-768x656.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-San-Francisco-Examiner-27-Apr-1900.png 1288w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rough diagrams comparing the destruction methods used on Blossom Rock and Shag Rock, as seen in ‘The San Francisco Examiner’ on April 27, 1900. \u003ccite>(The San Francisco Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though very much appreciated by everyone who witnessed its destruction, the end of Blossom Rock was positively quaint compared to what happened to Shag Rock.\u003c/p>\n\u003cp>The 2,192-square-foot island met its end just after 3 p.m. on April 30, 1900, and the resulting explosion shot up 981 feet into the air. \u003cem>The San Francisco Call\u003c/em> described it as “one of the most beautiful and impressive sights ever seen on the bay of San Francisco,” and went on:\u003c/p>\n\u003cblockquote>\u003cp>In the twinkling of an eye, a huge mass of rock and water and splintered lumber … were flying heavenward. Long before the water had ceased mounting upward, the rock was falling back into the water and the splash, splash, splash of the huge pieces could be heard a mile away … The water over the spot once marked by Shag Rock continued its boil for nearly 15 minutes.\u003c/p>\u003c/blockquote>\n\u003cp>Thousands of spectators on Alcatraz, Angel Island, Telegraph and Russian Hills and at the Presidio marveled at the sight, and around 100 boats sailed out to see what was left of Shag Rock. “They witnessed one of the grandest sights ever seen on the bay of San Francisco,” \u003cem>The Call\u003c/em> reported the following day.\u003c/p>\n\u003cp>Within days, people had already started to wonder if Shag Rock was blown up enough. “Nearly all the rock that got blown into the air fell back into the hole again and this has now to be removed,” one \u003cem>Call\u003c/em> reporter wrote on May 4, 1900. “If divers and dredgers cannot do the work, then torpedoes will be used.”\u003c/p>\n\u003cp>These people were bonkers.\u003c/p>\n\u003ch2>Shag Rock No. 2\u003c/h2>\n\u003cfigure id=\"attachment_13931218\" class=\"wp-caption alignright\" style=\"max-width: 596px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931218\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/The-San-Francisco-Call-06-Sep-1900.png\" alt=\"\" width=\"596\" height=\"1042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-San-Francisco-Call-06-Sep-1900.png 596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-San-Francisco-Call-06-Sep-1900-160x280.png 160w\" sizes=\"(max-width: 596px) 100vw, 596px\">\u003cfigcaption class=\"wp-caption-text\">A depiction of the water column that shot out of the Bay when Shag Rock No. 2 was destroyed, as seen in ‘The San Francisco Call’ on Sept. 6, 1900. \u003ccite>(The San Francisco Call)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first Shag Rock had been considered a major shipping hazard, but No. 2, located half a mile north of Alcatraz, was almost more hated because the 1,863-square-foot rectangle of rock lay entirely underwater.\u003c/p>\n\u003cp>Once the first Shag Rock (150 feet from where No. 2 was) had gone, No. 2 was even easier to hit by boat, making it all the more treacherous. Within six months, the sandstone, quartz and basalt structure had, rather unsurprisingly, been annihilated by whooping Victorians. And this time, the explosion — made by 10 tons of nitro-gelatin spread across 150 charges — made it all the way up to 1,106 feet.\u003c/p>\n\u003cp>\u003cem>The San Francisco Examiner\u003c/em> described the sight thusly: “From an artistic standpoint, the blowing up of Shag rock No. 2 was a perfect success.”\u003c/p>\n\u003cp>\u003cem>The Chronicle\u003c/em> called it “one of the grandest spectacles ever witnessed in this part of the world,” and noted:\u003c/p>\n\u003cblockquote>\u003cp>Impressive as was … the blowing up of Shag Rock … could not be compared in majestic beauty with yesterday’s display. Not only did the amount of explosive materials used yesterday exceed by an entire ton the quantity used in leveling the first rock, but the column of water which shot upward from the depths was unspotted by the earthen crust of the shattered rock and for several seconds after reaching its greatest height shone splendidly in the bright sun like a gigantic marble column.\u003c/p>\u003c/blockquote>\n\u003cp>Newspapers also happily reported on all the fish murdered by the explosion. Waiting fishermen rushed in afterwards to retrieve cod, perch, sardines and one 45-pound sea bass. Waste not want not, I guess?\u003c/p>\n\u003ch2>Arch Rock\u003c/h2>\n\u003cfigure id=\"attachment_13931216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.39.55-PM-800x612.png\" alt=\"A black and white illustration showing a small island surrounded by boats and construction.\" width=\"800\" height=\"612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.39.55-PM-800x612.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.39.55-PM-1020x781.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.39.55-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.39.55-PM-768x588.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-05-at-4.39.55-PM.png 1390w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of Arch Rock, as seen in ‘The San Francisco Call’ on Sept. 19, 1900. \u003ccite>(The San Francisco Call)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The destruction of the 30-foot-high Arch Rock was at least a little controversial. Sausalito and Tiburon residents were most attached to the picturesque rock formation and begged local authorities to attach a beacon light to the land to make it safer, rather than removing it altogether. Predictably, those in charge opted for a solution involving 35 tons of gelatin packed into 250 charges instead. But not before the man responsible for that handiwork, Robert Axman, had allowed some ladies onto the explosives-laden rock formation to play with the charges.\u003c/p>\n\u003cp>On Aug. 16, 1901, \u003cem>The San Francisco Examiner\u003c/em> reported:\u003c/p>\n\u003cblockquote>\u003cp>Twenty-five members of the Technical Society of the Pacific Coast, civil mechanical and mining engineers, accompanied by the ladies of their families, visited Arch Rock yesterday morning on a tug as the guests of Robert Axman … The ladies stuck their fingers into this mountain-moving explosive yesterday afternoon. They probed and poked when the man in charge told them that it would not go off unless severely kicked. It comes in a black tar-coated package the size of a stove pipe and quivers to the touch like new cheese.\u003c/p>\u003c/blockquote>\n\u003cp>Nothing to see here!\u003c/p>\n\u003cp>Shortly afterwards, Axman had his daughter Florence detonate the explosives using “a tiny knob” on a barge that floated 4,000 feet away from the Arch. The public started gathering to watch a full two hours before the island was destroyed.\u003c/p>\n\u003cp>On Aug. 16, 1901, \u003cem>The San Francisco Call\u003c/em> provided an elaborate description of the bomb:\u003c/p>\n\u003cblockquote>\u003cp>With a low rumble and a sharp subsequent explosion this landmark of the northern bay flew helter-skelter into space … The emulsion of sea water towered aloft and hung like a grim, huge specter over the scene of destruction. It remained long enough for the sun to play upon it and produce glimmering, scintillating light effects … Timbers, rock and sea water beat into a foam spread for a half-mile around the one-time jutting rock. A small-sized tidal wave was kicked up.\u003c/p>\u003c/blockquote>\n\u003cp>A month later, the same newspaper made another, rather bleaker, observation. “All the shags and sea fowl that used to congregate on Shag and Arch rocks have disappeared since the work of destruction began. Seafaring men are now wondering what new abode they have found.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Oldest Living Survivor of the Tulsa Race Massacre Publishes a Memoir",
"headTitle": "The Oldest Living Survivor of the Tulsa Race Massacre Publishes a Memoir | KQED",
"content": "\u003cp>Being a centenarian hasn’t slowed down Viola Ford Fletcher’s pursuit of justice.\u003c/p>\n\u003cp>In the last couple of years, Fletcher has traveled internationally, testified before Congress and supported a lawsuit for reparations — all part of a campaign for accountability over the massacre that destroyed Tulsa, Oklahoma’s original “Black Wall Street” in 1921, when she was a child.\u003c/p>\n\u003cp>Now, at age 109, Fletcher is releasing a memoir about the life she lived in the shadow of the massacre, after a white mob laid waste to the once-thriving Black enclave known as Greenwood. The book will be published by Mocha Media Inc. on Tuesday and becomes widely available for purchase on Aug. 15.\u003c/p>\n\u003cfigure id=\"attachment_13931198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931198\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1250625227-800x487.jpg\" alt=\"A black and white photo of a city street and church lying in ruins.\" width=\"800\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625227-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625227-1020x621.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625227-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625227-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625227-1536x935.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625227-2048x1247.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625227-1920x1169.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the Greenwood district that was burned in the Tulsa massacre of 1921. \u003ccite>(Universal HIstory Archive/Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a recent interview with \u003cem>The Associated Press\u003c/em>, she said fear of reprisal for speaking out had influenced years of near-silence about the massacre.\u003c/p>\n\u003cp>“Now that I’m an old lady, there’s nothing else to talk about,” Fletcher said. “We decided to do a book about it and maybe that would help.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her memoir, \u003cem>Don’t Let Them Bury My Story\u003c/em>, is a call to action for readers to pursue truth, justice and reconciliation no matter how long it takes. Written with graphic details of the 1921 Tulsa Race Massacre that she witnessed at age seven, Fletcher said she hoped to preserve a narrative of events that was nearly lost to a lack of acknowledgement from mainstream historians and political leaders.\u003c/p>\n\u003cp>“The questions I had then remain to this day,” Fletcher writes in the book. “How could you just give a mob of violent, crazed, racist people a bunch of deadly weapons and allow them — no, encourage them — to go out and kill innocent Black folks and demolish a whole community?”\u003c/p>\n\u003cp>[aside postid='pop_108474']“As it turns out, we were victims of a lie,” she writes.\u003c/p>\n\u003cp>Tensions between Tulsa’s Black and white residents inflamed when, on May 31, 1921, the white-owned \u003cem>Tulsa Tribune\u003c/em> published a sensationalized news report of an alleged assault by a 19-year-old Black shoeshine on a 17-year-old white girl working as an elevator operator.\u003c/p>\n\u003cp>With the shoeshine under arrest, a Black militia gathered at a local jail to prevent a lynch mob from kidnapping and murdering him. Then, a separate violent clash between Black and white residents sparked an all-out war.\u003c/p>\n\u003cp>Over 18 hours, between May 31 and June 1, the enlarged mob carried out a scorched-earth campaign against Greenwood. The death toll has been estimated to be as high as 300. More than 35 city blocks were leveled, an estimated 191 businesses were destroyed, and roughly 10,000 Black residents were displaced.\u003c/p>\n\u003cfigure id=\"attachment_13931199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1250625297-scaled-e1688582581194-800x638.jpg\" alt=\"Three Black women crowd into the back of a 1920s-era truck. More people are crammed into the front, obscured from view.\" width=\"800\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625297-scaled-e1688582581194-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625297-scaled-e1688582581194-1020x813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625297-scaled-e1688582581194-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625297-scaled-e1688582581194-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625297-scaled-e1688582581194-1536x1224.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625297-scaled-e1688582581194.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black residents escaping Tulsa in a truck during the racist massacre of 1921. \u003ccite>(Universal HIstory Archive/Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her memoir, Fletcher writes of the bumpy ride out of town in a horse-drawn buggy, as her family escaped the chaos. She witnessed a Black man being executed, his head exploded like “a watermelon dropped off the rooftop of a barn.”\u003c/p>\n\u003cp>The shooter had also fired his shotgun at her family’s buggy.\u003c/p>\n\u003cp>“We passed piles of dead bodies heaped in the streets,” she writes in the book. “Some of them had their eyes open, as though they were still alive, but they weren’t.”\u003c/p>\n\u003cp>[aside postid='arts_13881675']Victims’ descendants believed that, once the conspiracy of silence around it was pierced decades later, justice and reparations for Tulsa’s Black community would follow. That hasn’t happened just yet — Fletcher and two other centenarian survivors are currently plaintiffs in a lawsuit against the city of Tulsa.\u003c/p>\n\u003cp>Ike Howard, Fletcher’s grandson and co-author of the memoir, said systemic racism has prevented Tulsa’s Black community from fully recovering from the massacre.\u003c/p>\n\u003cp>“They want to be made whole,” Howard said. “We speak for everybody that went through a similar situation, who are not here to tell their stories.”\u003c/p>\n\u003cp>“You can learn a lot from \u003cem>Don’t Let Them Bury My Story\u003c/em>. And we know that history can repeat itself if you don’t correct and reconcile issues,” he added.\u003c/p>\n\u003cfigure id=\"attachment_13931200\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931200\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1264513300-scaled-e1688583013282-800x489.jpg\" alt=\"\" width=\"800\" height=\"489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1264513300-scaled-e1688583013282-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1264513300-scaled-e1688583013282-1020x623.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1264513300-scaled-e1688583013282-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1264513300-scaled-e1688583013282-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1264513300-scaled-e1688583013282-1536x938.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1264513300-scaled-e1688583013282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black residents gather around Red Cross temporary accommodation after surviving the Tulsa massacre, November 1921. \u003ccite>(GHI/Universal History Archive/Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fletcher notes in her memoir just how much history she has lived through — from several virus outbreaks preceding the coronavirus pandemic, to the Great Depression of 1929 and the Great Recession of 2008 to every war and international conflict of the last seven decades. She has watched the Rev. Martin Luther King, Jr. lead the national Civil Rights Movement, seen the historic election of former President Barack Obama and witnessed the rise of the Black Lives Matter movement.\u003c/p>\n\u003cp>In 2020, Howard purchased his grandmother a brand new color TV for her birthday. Several months later, on Jan. 6, the images of the mob attack on the U.S. Capitol following the historic election of President Joe Biden and Vice President Kamala Harris retraumatized her.\u003c/p>\n\u003cp>[aside postid='pop_102326']“With that horrific scene, all of what occurred back in 1921 in Greenwood came flooding back into my mind,” Fletcher writes in the book.\u003c/p>\n\u003cp>In the \u003cem>AP\u003c/em> interview, Fletcher attributed her active lifestyle at an advanced age to her reliance on faith and family. While in New York last month to publicize the book with Howard and her younger brother, 102-year-old Hughes Van Ellis, Fletcher saw the cover of her memoir advertised on jumbo screens in Times Square.\u003c/p>\n\u003cp>Van Ellis, a massacre survivor and World War II veteran whose words from his 2021 testimony to Congress serve as the foreword to his sister’s memoir, said he believes justice is possible in his lifetime.\u003c/p>\n\u003cp>“We’re getting pretty close (to justice), but we aren’t close enough,” he said. “We’ve got a lot more work to do. I have to keep on battling. I’m fighting for myself and my people.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Being a centenarian hasn’t slowed down Viola Ford Fletcher’s pursuit of justice.\u003c/p>\n\u003cp>In the last couple of years, Fletcher has traveled internationally, testified before Congress and supported a lawsuit for reparations — all part of a campaign for accountability over the massacre that destroyed Tulsa, Oklahoma’s original “Black Wall Street” in 1921, when she was a child.\u003c/p>\n\u003cp>Now, at age 109, Fletcher is releasing a memoir about the life she lived in the shadow of the massacre, after a white mob laid waste to the once-thriving Black enclave known as Greenwood. The book will be published by Mocha Media Inc. on Tuesday and becomes widely available for purchase on Aug. 15.\u003c/p>\n\u003cfigure id=\"attachment_13931198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931198\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1250625227-800x487.jpg\" alt=\"A black and white photo of a city street and church lying in ruins.\" width=\"800\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625227-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625227-1020x621.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625227-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625227-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625227-1536x935.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625227-2048x1247.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625227-1920x1169.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the Greenwood district that was burned in the Tulsa massacre of 1921. \u003ccite>(Universal HIstory Archive/Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a recent interview with \u003cem>The Associated Press\u003c/em>, she said fear of reprisal for speaking out had influenced years of near-silence about the massacre.\u003c/p>\n\u003cp>“Now that I’m an old lady, there’s nothing else to talk about,” Fletcher said. “We decided to do a book about it and maybe that would help.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her memoir, \u003cem>Don’t Let Them Bury My Story\u003c/em>, is a call to action for readers to pursue truth, justice and reconciliation no matter how long it takes. Written with graphic details of the 1921 Tulsa Race Massacre that she witnessed at age seven, Fletcher said she hoped to preserve a narrative of events that was nearly lost to a lack of acknowledgement from mainstream historians and political leaders.\u003c/p>\n\u003cp>“The questions I had then remain to this day,” Fletcher writes in the book. “How could you just give a mob of violent, crazed, racist people a bunch of deadly weapons and allow them — no, encourage them — to go out and kill innocent Black folks and demolish a whole community?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“As it turns out, we were victims of a lie,” she writes.\u003c/p>\n\u003cp>Tensions between Tulsa’s Black and white residents inflamed when, on May 31, 1921, the white-owned \u003cem>Tulsa Tribune\u003c/em> published a sensationalized news report of an alleged assault by a 19-year-old Black shoeshine on a 17-year-old white girl working as an elevator operator.\u003c/p>\n\u003cp>With the shoeshine under arrest, a Black militia gathered at a local jail to prevent a lynch mob from kidnapping and murdering him. Then, a separate violent clash between Black and white residents sparked an all-out war.\u003c/p>\n\u003cp>Over 18 hours, between May 31 and June 1, the enlarged mob carried out a scorched-earth campaign against Greenwood. The death toll has been estimated to be as high as 300. More than 35 city blocks were leveled, an estimated 191 businesses were destroyed, and roughly 10,000 Black residents were displaced.\u003c/p>\n\u003cfigure id=\"attachment_13931199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1250625297-scaled-e1688582581194-800x638.jpg\" alt=\"Three Black women crowd into the back of a 1920s-era truck. More people are crammed into the front, obscured from view.\" width=\"800\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625297-scaled-e1688582581194-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625297-scaled-e1688582581194-1020x813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625297-scaled-e1688582581194-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625297-scaled-e1688582581194-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625297-scaled-e1688582581194-1536x1224.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1250625297-scaled-e1688582581194.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black residents escaping Tulsa in a truck during the racist massacre of 1921. \u003ccite>(Universal HIstory Archive/Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her memoir, Fletcher writes of the bumpy ride out of town in a horse-drawn buggy, as her family escaped the chaos. She witnessed a Black man being executed, his head exploded like “a watermelon dropped off the rooftop of a barn.”\u003c/p>\n\u003cp>The shooter had also fired his shotgun at her family’s buggy.\u003c/p>\n\u003cp>“We passed piles of dead bodies heaped in the streets,” she writes in the book. “Some of them had their eyes open, as though they were still alive, but they weren’t.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Victims’ descendants believed that, once the conspiracy of silence around it was pierced decades later, justice and reparations for Tulsa’s Black community would follow. That hasn’t happened just yet — Fletcher and two other centenarian survivors are currently plaintiffs in a lawsuit against the city of Tulsa.\u003c/p>\n\u003cp>Ike Howard, Fletcher’s grandson and co-author of the memoir, said systemic racism has prevented Tulsa’s Black community from fully recovering from the massacre.\u003c/p>\n\u003cp>“They want to be made whole,” Howard said. “We speak for everybody that went through a similar situation, who are not here to tell their stories.”\u003c/p>\n\u003cp>“You can learn a lot from \u003cem>Don’t Let Them Bury My Story\u003c/em>. And we know that history can repeat itself if you don’t correct and reconcile issues,” he added.\u003c/p>\n\u003cfigure id=\"attachment_13931200\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931200\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1264513300-scaled-e1688583013282-800x489.jpg\" alt=\"\" width=\"800\" height=\"489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1264513300-scaled-e1688583013282-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1264513300-scaled-e1688583013282-1020x623.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1264513300-scaled-e1688583013282-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1264513300-scaled-e1688583013282-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1264513300-scaled-e1688583013282-1536x938.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1264513300-scaled-e1688583013282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black residents gather around Red Cross temporary accommodation after surviving the Tulsa massacre, November 1921. \u003ccite>(GHI/Universal History Archive/Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fletcher notes in her memoir just how much history she has lived through — from several virus outbreaks preceding the coronavirus pandemic, to the Great Depression of 1929 and the Great Recession of 2008 to every war and international conflict of the last seven decades. She has watched the Rev. Martin Luther King, Jr. lead the national Civil Rights Movement, seen the historic election of former President Barack Obama and witnessed the rise of the Black Lives Matter movement.\u003c/p>\n\u003cp>In 2020, Howard purchased his grandmother a brand new color TV for her birthday. Several months later, on Jan. 6, the images of the mob attack on the U.S. Capitol following the historic election of President Joe Biden and Vice President Kamala Harris retraumatized her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“With that horrific scene, all of what occurred back in 1921 in Greenwood came flooding back into my mind,” Fletcher writes in the book.\u003c/p>\n\u003cp>In the \u003cem>AP\u003c/em> interview, Fletcher attributed her active lifestyle at an advanced age to her reliance on faith and family. While in New York last month to publicize the book with Howard and her younger brother, 102-year-old Hughes Van Ellis, Fletcher saw the cover of her memoir advertised on jumbo screens in Times Square.\u003c/p>\n\u003cp>Van Ellis, a massacre survivor and World War II veteran whose words from his 2021 testimony to Congress serve as the foreword to his sister’s memoir, said he believes justice is possible in his lifetime.\u003c/p>\n\u003cp>“We’re getting pretty close (to justice), but we aren’t close enough,” he said. “We’ve got a lot more work to do. I have to keep on battling. I’m fighting for myself and my people.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-gay-bars-history-silver-rail-febes-black-cat",
"title": "5 Historic San Francisco Gay Bars We Wish Still Existed",
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"content": "\u003cp>For a lot of us in the Bay Area, \u003ca href=\"https://www.kqed.org/arts/13930587/drag-dance-and-liberation-5-parties-for-your-2023-sf-pride-weekend\">where to party for Pride\u003c/a> is an annual debate. As we sit down this year to figure out where to dance the weekend away, let’s take a moment to remember the San Francisco gay bars of yore — the foundations on which our current venues were built, and the places that went to battle with the city so future generations wouldn’t have to.\u003c/p>\n\u003cp>Here are five of the most crucial.\u003c/p>\n\u003ch2>Sailor Boy Tavern\u003c/h2>\n\u003cfigure id=\"attachment_13930268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930268\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/opensfhistory_wnp14.2717-800x601.jpg\" alt=\"The front of a pier building in San Francisco next to a large, anonymous two-story building.\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/opensfhistory_wnp14.2717-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/opensfhistory_wnp14.2717-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/opensfhistory_wnp14.2717-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/opensfhistory_wnp14.2717.jpg 1000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Sailor Boy Tavern was housed in the unassuming building on the left, positioned directly next to Pier 16. \u003ccite>(OpenSFHistory / wnp14.2717)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the first leather bars in San Francisco, this joint at 24 Howard St. stayed open between 1936 and 1953, though its ownership changed hands in 1938. In its earliest days, the tavern garnered a reputation for entertaining naval men who were on leave and looking for a good (and very gay!) time in San Francisco. Later, it was also frequented by residents of the nearby Army Navy YMCA on Steuart St. — a hotbed of gay socializing.\u003c/p>\n\u003cp>[aside postid='arts_13929998']In Justin Spring’s \u003cem>\u003ca href=\"https://www.amazon.com/Secret-Historian-Steward-Professor-Renegade/dp/0374533024\">Secret Historian, The Life and Times of Samuel Steward, Professor, Tattoo Artist and Sexual Renegade\u003c/a>, \u003c/em>Steward’s diary describes the scene at the time. “Saw a fantastic thing down by the piers,” he wrote. “Two sailors standing watch for passersby while a third went down on a fourth.”\u003c/p>\n\u003cp>Pier 16 was demolished in the early 1970s and today, there’s no sign of the building that once housed Sailor Boy. Its influence and spirit, however, live on in SoMa, with the plethora of leather bars that followed Sailor Boy’s lead.\u003c/p>\n\u003ch2>The Silver Rail\u003c/h2>\n\u003cp>By the time the Silver Rail opened on June 18, 1941, the area around 974 Market St. was, on a nightly basis, awash with gay men looking to party. The cruising and hustling that had been happening in the streets for at least a decade started moving inside when the first gay bars — the College Inn and the Pirates’ Cave —arrived in 1933 with the end of prohibition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite being a relative latecomer to the downtown gay scene (which was nicknamed “the Meat Rack,” incidentally), the Silver Rail was a notorious dive from day one. It was a far cry from how one newspaper ad described the bar right before it first opened, claiming that the Silver Rail would “add new lustre to the town’s old traditions of the finest in foods, drinks and merriment … and a sparkling atmosphere to match.”\u003c/p>\n\u003cp>What the Silver Rail actually excelled at was providing a dark, fun place for men to pick each other up. Handily, it was also designed specifically to try and keep them safe from police intervention — the bar had entry doors on both Market and Turk to give customers escape routes in the event of a raid.\u003c/p>\n\u003cfigure id=\"attachment_13930605\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930605\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/silver-rail-final-800x495.jpg\" alt=\"Newspaper clippings advertising a bar named The Silver Rail.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/silver-rail-final-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/silver-rail-final-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/silver-rail-final-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/silver-rail-final-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/silver-rail-final-1536x951.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/silver-rail-final-2048x1267.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/silver-rail-final-1920x1188.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L) A newspaper ad for the Silver Rail’s opening night, promising ‘fine food’ and ‘a sparkling atmosphere.’ (R) A newspaper ad for the Silver Rail from several years later, promising cheap drinks and ‘two entrances.’ \u003ccite>(Newpapers.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1949, the Silver Rail was officially classed by local authorities as a “disorderly premises.” At that point, one of the bar’s three owners, Louis E. Wolcher, filed for dissolution of partnership because his partners, Sidney Wolfe and Jack Rushin, were allowing “unlawful practices to be indulged in on the premises to such an extent that the military and naval authorities have denounced the manner in which the business was conducted.”\u003c/p>\n\u003cp>Every time legal action was taken against the Silver Rail, “venereal disease” was mentioned as the reason for the clampdown — but the bar had all sorts of other problems. In 1950, the Silver Rail burned down, causing $35,000 worth of damage (almost $400,000 in 2023 money). In 1952, a man named Jimmie Tarantino successfully extorted money from the bar manager in exchange for not reporting the rampant homosexual activity taking place in the joint. In 1953, it was raided at 3:30 a.m. and 14 people were arrested. (Bartender Charles Smith was charged with selling liquor to a minor, 10 customers were taken in on charges relating to drunkenness, and three others were taken in for apparent draft card violation.)\u003c/p>\n\u003cp>That was the same year the Silver Rail finally went out of business. But boy, oh boy, what glorious, hedonistic chaos it brought to the city in its time here.\u003c/p>\n\u003ch2>Fe-Be’s Bar\u003c/h2>\n\u003cfigure id=\"attachment_13959430\" class=\"wp-caption aligncenter\" style=\"max-width: 1576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959430\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Mr-Fe-Be22s-scaled.jpg\" alt=\"A white marble statue depicting a shirtless biker, with his hand hooked in one pocket.\" width=\"1576\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Mr-Fe-Be22s-scaled.jpg 1576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Mr-Fe-Be22s-800x1300.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Mr-Fe-Be22s-1020x1657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Mr-Fe-Be22s-160x260.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Mr-Fe-Be22s-768x1248.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Mr-Fe-Be22s-945x1536.jpg 945w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Mr-Fe-Be22s-1261x2048.jpg 1261w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Mr-Fe-Be22s-1920x3119.jpg 1920w\" sizes=\"auto, (max-width: 1576px) 100vw, 1576px\">\u003cfigcaption class=\"wp-caption-text\">Mike Caffee’s Leather David statue was designed specifically to be displayed in Fe-Be’s. It has lived on long after the bar. Today, this one resides in San Francisco’s GLBT Historical Society. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Folsom St.’s first-ever leather bar opened on July 26, 1966, courtesy of owners Don Geist and John Kissinger, a couple who had met while serving in the Navy in the 1940s. The city would come to realize that, in many ways, Geist and Kissinger were nightlife visionaries.\u003c/p>\n\u003cp>First, the duo garnered a faithful crowd by frequenting biker gang meetings and handing out free drink tickets. Second, Geist and Kissinger were consistently involved with the\u003ca href=\"https://www.sfimperialcouncil.org/\"> Imperial Council of San Francisco\u003c/a> — the oldest LGBTQ+ non-profit in the world — thereby making themselves part of the wider community. (The couple is also said to have donated \u003cem>a lot\u003c/em> of money to charity.) Third, the couple incorporated A Taste of Leather into Fe-Be’s — an on-site fetish store, run by a man named Nick O’Demus, that was situated upstairs from the bar. There, patrons could fulfill all their leather- and poppers-related needs on the spot. Fourth, Geist and Kissinger started “Mr. Fe-Be’s” — an annual leather daddy contest that brought in crowds of non-regulars.\u003c/p>\n\u003cp>[aside postid='arts_13859162']Needless to say, it didn’t take long for authorities to start surveilling goings on at Fe-Be’s. Starting in 1967, the Department of Alcoholic Beverage Control (ABC) held multiple meetings about the activities of staff and patrons at Fe-Be’s. In 1969, the ABC accused the bar of “behavior contrary to public morals,” including close physical contact amongst men, below the waist. At another hearing, when accused of having sex toys on the premises, Geist (somewhat comedically) claimed that they were merely being used as novelty drink stirrers.\u003c/p>\n\u003cp>In 1970, when the bar was closed down for a year, the community that Geist and Kissinger had so lovingly built rallied around Fe-Be’s, with fellow venues holding fundraisers and offering vocal support. In December 1971, the bar roared back to life and stayed put until 1986. In the end, it wasn’t legal scrutiny that put an end to Fe-Be’s; it was the toll of the AIDs epidemic on San Francisco’s gay community. Kissinger died in 1988, Geist in 1998.\u003c/p>\n\u003cp>Fe-Be’s lives on today via the \u003ca href=\"https://www.queerarthistory.com/uncategorized/mike-caffee-fe-bes-leather-david-1966/\">Leather David\u003c/a>. When Geist and Kissinger first opened the bar, they hired artist Mike Caffee to make them a version of Michaelangelo’s famous sculpture, transformed into a gay biker. Caffee’s vision went on to adorn a range of merch. When Fe-Be’s closed down and the Paradise Lounge moved in, Leather David stayed behind. Versions of Caffee’s kitsch masterpiece sit in bars today as far away as Melbourne, Australia.\u003c/p>\n\u003ch2>Black Cat Café\u003c/h2>\n\u003cfigure id=\"attachment_13930327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930327\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1298804949-scaled-e1686869423456-800x533.jpg\" alt=\"A close up image of a black and white illustration featuring two cats wearing suits and walking together in the street light, arm in arm.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1298804949-scaled-e1686869423456-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1298804949-scaled-e1686869423456-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1298804949-scaled-e1686869423456-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1298804949-scaled-e1686869423456-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1298804949-scaled-e1686869423456-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1298804949-scaled-e1686869423456.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A brochure from Black Cat Café, a historic bar at 710 Montgomery that existed between 1933 and 1963. \u003ccite>(Leah Millis/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once described by Allen Ginsberg as the “greatest gay bar in America,” the Black Cat Café started life in 1933 as a hangout for bohemians, just doors away from where the Transamerica Pyramid currently stands.\u003c/p>\n\u003cp>In the early ’40s, when the venue was taken over by Sol Stouman, the Black Cat began fearlessly embracing all things gay. Stouman was a straight man who understood the importance of safe spaces. That was something the already subversive crowd in the bar wholeheartedly embraced. Ginsberg once commented: “It was totally open … Everybody went there, heterosexual and homosexual … All the gay screaming queens would come, the heterosexual gray flannel suit types, longshoremen. All the poets went there.”\u003c/p>\n\u003cp>No one was under any illusions about the ethos of the Black Cat and those that frequented it. Legendary LGBTQ+ rights activist \u003ca href=\"https://en.wikipedia.org/wiki/Jos%C3%A9_Sarria\">José Sarria\u003c/a> regularly performed in drag there in his younger years, having started out as a Black Cat waiter. Sarria was fond of belting out a rendition of “God Save the Queen” with revised lyrics — he sang “God save us nellie queens” instead. He also performed a version of the opera \u003cem>Carmen\u003c/em>, in which he outran pursuing cops.\u003c/p>\n\u003cp>Like the Silver Rail, the Black Cat was subject to major legal scrutiny starting in the late 1940s, and was labeled “disorderly.” When Stouman had his liquor license indefinitely revoked in 1949 because “\u003ca href=\"https://casetext.com/case/stoumen-v-reilly\">persons of known homosexual tendencies patronized said premises and used said premises as a meeting place\u003c/a>,” Stouman fought back — all the way to California’s Supreme Court. And in 1951, he won.\u003c/p>\n\u003cp>The court concluded:\u003c/p>\n\u003cblockquote>\u003cp>A number of people were arrested [at the Black Cat], some for vagrancy and some because they ‘demonstrated homosexual actions,’ but there was no showing that any of those arrested were convicted. There was no evidence of any illegal or immoral conduct on the premises … The patronage of a public restaurant and bar by homosexuals … without proof of the commission of illegal or immoral acts on the premises … is not sufficient to show a violation.\u003c/p>\u003c/blockquote>\n\u003cp>The Black Cat Café stayed in operation for another decade, though harassment by local police remained a problem for the venue for the rest of its days.\u003c/p>\n\u003ch2>The Gangway\u003c/h2>\n\u003cp>If ever there was a gay bar that should have lived forever, it’s the Gangway, first founded in 1910. What was, until 2018, San Francisco’s oldest continuously surviving gay bar had made it through Prohibition, anti-LGBTQ+ legislation and the AIDs crisis — an astonishing run that ended unceremoniously after \u003ca href=\"https://www.sfweekly.com/dining/the-gangway-s-f-s-oldest-lgbt-bar-has-closed-after-57-years/article_96057518-3360-548c-96f5-b7769c2e07be.html\">a simple liquor license transfer\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13859570']The nautical bar at 841 Larkin St. made it through an entire century by being both a magnificent Tenderloin watering hole, a wedding venue before marriage equality was the law and an LGBTQ+ museum. (The bar was equipped with a history wall, historic gay ephemera and an entryway that paid tribute to 1969’s \u003ca href=\"https://www.kqed.org/arts/13859570/friday-purple-hand-gay-liberation-1969\">Friday of the Purple Hand\u003c/a> protest.)\u003c/p>\n\u003cp>Beyond that, the Gangway also acted as a sort of community center. Starting in the 1970s, it consistently raised money for LGBTQ+ charities, whether through auctions, a charitable bar crawl known as Bar Wars, or other means. The Gangway kept itself concerned with giving back to both its own community and those that lived around the venue. (During Thanksgiving 1977, the bar gave cash and turkeys to local seniors in need.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>No wonder Harvey Milk was a regular.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a lot of us in the Bay Area, \u003ca href=\"https://www.kqed.org/arts/13930587/drag-dance-and-liberation-5-parties-for-your-2023-sf-pride-weekend\">where to party for Pride\u003c/a> is an annual debate. As we sit down this year to figure out where to dance the weekend away, let’s take a moment to remember the San Francisco gay bars of yore — the foundations on which our current venues were built, and the places that went to battle with the city so future generations wouldn’t have to.\u003c/p>\n\u003cp>Here are five of the most crucial.\u003c/p>\n\u003ch2>Sailor Boy Tavern\u003c/h2>\n\u003cfigure id=\"attachment_13930268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930268\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/opensfhistory_wnp14.2717-800x601.jpg\" alt=\"The front of a pier building in San Francisco next to a large, anonymous two-story building.\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/opensfhistory_wnp14.2717-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/opensfhistory_wnp14.2717-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/opensfhistory_wnp14.2717-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/opensfhistory_wnp14.2717.jpg 1000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Sailor Boy Tavern was housed in the unassuming building on the left, positioned directly next to Pier 16. \u003ccite>(OpenSFHistory / wnp14.2717)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the first leather bars in San Francisco, this joint at 24 Howard St. stayed open between 1936 and 1953, though its ownership changed hands in 1938. In its earliest days, the tavern garnered a reputation for entertaining naval men who were on leave and looking for a good (and very gay!) time in San Francisco. Later, it was also frequented by residents of the nearby Army Navy YMCA on Steuart St. — a hotbed of gay socializing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In Justin Spring’s \u003cem>\u003ca href=\"https://www.amazon.com/Secret-Historian-Steward-Professor-Renegade/dp/0374533024\">Secret Historian, The Life and Times of Samuel Steward, Professor, Tattoo Artist and Sexual Renegade\u003c/a>, \u003c/em>Steward’s diary describes the scene at the time. “Saw a fantastic thing down by the piers,” he wrote. “Two sailors standing watch for passersby while a third went down on a fourth.”\u003c/p>\n\u003cp>Pier 16 was demolished in the early 1970s and today, there’s no sign of the building that once housed Sailor Boy. Its influence and spirit, however, live on in SoMa, with the plethora of leather bars that followed Sailor Boy’s lead.\u003c/p>\n\u003ch2>The Silver Rail\u003c/h2>\n\u003cp>By the time the Silver Rail opened on June 18, 1941, the area around 974 Market St. was, on a nightly basis, awash with gay men looking to party. The cruising and hustling that had been happening in the streets for at least a decade started moving inside when the first gay bars — the College Inn and the Pirates’ Cave —arrived in 1933 with the end of prohibition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite being a relative latecomer to the downtown gay scene (which was nicknamed “the Meat Rack,” incidentally), the Silver Rail was a notorious dive from day one. It was a far cry from how one newspaper ad described the bar right before it first opened, claiming that the Silver Rail would “add new lustre to the town’s old traditions of the finest in foods, drinks and merriment … and a sparkling atmosphere to match.”\u003c/p>\n\u003cp>What the Silver Rail actually excelled at was providing a dark, fun place for men to pick each other up. Handily, it was also designed specifically to try and keep them safe from police intervention — the bar had entry doors on both Market and Turk to give customers escape routes in the event of a raid.\u003c/p>\n\u003cfigure id=\"attachment_13930605\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930605\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/silver-rail-final-800x495.jpg\" alt=\"Newspaper clippings advertising a bar named The Silver Rail.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/silver-rail-final-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/silver-rail-final-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/silver-rail-final-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/silver-rail-final-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/silver-rail-final-1536x951.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/silver-rail-final-2048x1267.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/silver-rail-final-1920x1188.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L) A newspaper ad for the Silver Rail’s opening night, promising ‘fine food’ and ‘a sparkling atmosphere.’ (R) A newspaper ad for the Silver Rail from several years later, promising cheap drinks and ‘two entrances.’ \u003ccite>(Newpapers.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1949, the Silver Rail was officially classed by local authorities as a “disorderly premises.” At that point, one of the bar’s three owners, Louis E. Wolcher, filed for dissolution of partnership because his partners, Sidney Wolfe and Jack Rushin, were allowing “unlawful practices to be indulged in on the premises to such an extent that the military and naval authorities have denounced the manner in which the business was conducted.”\u003c/p>\n\u003cp>Every time legal action was taken against the Silver Rail, “venereal disease” was mentioned as the reason for the clampdown — but the bar had all sorts of other problems. In 1950, the Silver Rail burned down, causing $35,000 worth of damage (almost $400,000 in 2023 money). In 1952, a man named Jimmie Tarantino successfully extorted money from the bar manager in exchange for not reporting the rampant homosexual activity taking place in the joint. In 1953, it was raided at 3:30 a.m. and 14 people were arrested. (Bartender Charles Smith was charged with selling liquor to a minor, 10 customers were taken in on charges relating to drunkenness, and three others were taken in for apparent draft card violation.)\u003c/p>\n\u003cp>That was the same year the Silver Rail finally went out of business. But boy, oh boy, what glorious, hedonistic chaos it brought to the city in its time here.\u003c/p>\n\u003ch2>Fe-Be’s Bar\u003c/h2>\n\u003cfigure id=\"attachment_13959430\" class=\"wp-caption aligncenter\" style=\"max-width: 1576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959430\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Mr-Fe-Be22s-scaled.jpg\" alt=\"A white marble statue depicting a shirtless biker, with his hand hooked in one pocket.\" width=\"1576\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Mr-Fe-Be22s-scaled.jpg 1576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Mr-Fe-Be22s-800x1300.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Mr-Fe-Be22s-1020x1657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Mr-Fe-Be22s-160x260.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Mr-Fe-Be22s-768x1248.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Mr-Fe-Be22s-945x1536.jpg 945w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Mr-Fe-Be22s-1261x2048.jpg 1261w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Mr-Fe-Be22s-1920x3119.jpg 1920w\" sizes=\"auto, (max-width: 1576px) 100vw, 1576px\">\u003cfigcaption class=\"wp-caption-text\">Mike Caffee’s Leather David statue was designed specifically to be displayed in Fe-Be’s. It has lived on long after the bar. Today, this one resides in San Francisco’s GLBT Historical Society. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Folsom St.’s first-ever leather bar opened on July 26, 1966, courtesy of owners Don Geist and John Kissinger, a couple who had met while serving in the Navy in the 1940s. The city would come to realize that, in many ways, Geist and Kissinger were nightlife visionaries.\u003c/p>\n\u003cp>First, the duo garnered a faithful crowd by frequenting biker gang meetings and handing out free drink tickets. Second, Geist and Kissinger were consistently involved with the\u003ca href=\"https://www.sfimperialcouncil.org/\"> Imperial Council of San Francisco\u003c/a> — the oldest LGBTQ+ non-profit in the world — thereby making themselves part of the wider community. (The couple is also said to have donated \u003cem>a lot\u003c/em> of money to charity.) Third, the couple incorporated A Taste of Leather into Fe-Be’s — an on-site fetish store, run by a man named Nick O’Demus, that was situated upstairs from the bar. There, patrons could fulfill all their leather- and poppers-related needs on the spot. Fourth, Geist and Kissinger started “Mr. Fe-Be’s” — an annual leather daddy contest that brought in crowds of non-regulars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Needless to say, it didn’t take long for authorities to start surveilling goings on at Fe-Be’s. Starting in 1967, the Department of Alcoholic Beverage Control (ABC) held multiple meetings about the activities of staff and patrons at Fe-Be’s. In 1969, the ABC accused the bar of “behavior contrary to public morals,” including close physical contact amongst men, below the waist. At another hearing, when accused of having sex toys on the premises, Geist (somewhat comedically) claimed that they were merely being used as novelty drink stirrers.\u003c/p>\n\u003cp>In 1970, when the bar was closed down for a year, the community that Geist and Kissinger had so lovingly built rallied around Fe-Be’s, with fellow venues holding fundraisers and offering vocal support. In December 1971, the bar roared back to life and stayed put until 1986. In the end, it wasn’t legal scrutiny that put an end to Fe-Be’s; it was the toll of the AIDs epidemic on San Francisco’s gay community. Kissinger died in 1988, Geist in 1998.\u003c/p>\n\u003cp>Fe-Be’s lives on today via the \u003ca href=\"https://www.queerarthistory.com/uncategorized/mike-caffee-fe-bes-leather-david-1966/\">Leather David\u003c/a>. When Geist and Kissinger first opened the bar, they hired artist Mike Caffee to make them a version of Michaelangelo’s famous sculpture, transformed into a gay biker. Caffee’s vision went on to adorn a range of merch. When Fe-Be’s closed down and the Paradise Lounge moved in, Leather David stayed behind. Versions of Caffee’s kitsch masterpiece sit in bars today as far away as Melbourne, Australia.\u003c/p>\n\u003ch2>Black Cat Café\u003c/h2>\n\u003cfigure id=\"attachment_13930327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930327\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1298804949-scaled-e1686869423456-800x533.jpg\" alt=\"A close up image of a black and white illustration featuring two cats wearing suits and walking together in the street light, arm in arm.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1298804949-scaled-e1686869423456-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1298804949-scaled-e1686869423456-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1298804949-scaled-e1686869423456-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1298804949-scaled-e1686869423456-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1298804949-scaled-e1686869423456-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1298804949-scaled-e1686869423456.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A brochure from Black Cat Café, a historic bar at 710 Montgomery that existed between 1933 and 1963. \u003ccite>(Leah Millis/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once described by Allen Ginsberg as the “greatest gay bar in America,” the Black Cat Café started life in 1933 as a hangout for bohemians, just doors away from where the Transamerica Pyramid currently stands.\u003c/p>\n\u003cp>In the early ’40s, when the venue was taken over by Sol Stouman, the Black Cat began fearlessly embracing all things gay. Stouman was a straight man who understood the importance of safe spaces. That was something the already subversive crowd in the bar wholeheartedly embraced. Ginsberg once commented: “It was totally open … Everybody went there, heterosexual and homosexual … All the gay screaming queens would come, the heterosexual gray flannel suit types, longshoremen. All the poets went there.”\u003c/p>\n\u003cp>No one was under any illusions about the ethos of the Black Cat and those that frequented it. Legendary LGBTQ+ rights activist \u003ca href=\"https://en.wikipedia.org/wiki/Jos%C3%A9_Sarria\">José Sarria\u003c/a> regularly performed in drag there in his younger years, having started out as a Black Cat waiter. Sarria was fond of belting out a rendition of “God Save the Queen” with revised lyrics — he sang “God save us nellie queens” instead. He also performed a version of the opera \u003cem>Carmen\u003c/em>, in which he outran pursuing cops.\u003c/p>\n\u003cp>Like the Silver Rail, the Black Cat was subject to major legal scrutiny starting in the late 1940s, and was labeled “disorderly.” When Stouman had his liquor license indefinitely revoked in 1949 because “\u003ca href=\"https://casetext.com/case/stoumen-v-reilly\">persons of known homosexual tendencies patronized said premises and used said premises as a meeting place\u003c/a>,” Stouman fought back — all the way to California’s Supreme Court. And in 1951, he won.\u003c/p>\n\u003cp>The court concluded:\u003c/p>\n\u003cblockquote>\u003cp>A number of people were arrested [at the Black Cat], some for vagrancy and some because they ‘demonstrated homosexual actions,’ but there was no showing that any of those arrested were convicted. There was no evidence of any illegal or immoral conduct on the premises … The patronage of a public restaurant and bar by homosexuals … without proof of the commission of illegal or immoral acts on the premises … is not sufficient to show a violation.\u003c/p>\u003c/blockquote>\n\u003cp>The Black Cat Café stayed in operation for another decade, though harassment by local police remained a problem for the venue for the rest of its days.\u003c/p>\n\u003ch2>The Gangway\u003c/h2>\n\u003cp>If ever there was a gay bar that should have lived forever, it’s the Gangway, first founded in 1910. What was, until 2018, San Francisco’s oldest continuously surviving gay bar had made it through Prohibition, anti-LGBTQ+ legislation and the AIDs crisis — an astonishing run that ended unceremoniously after \u003ca href=\"https://www.sfweekly.com/dining/the-gangway-s-f-s-oldest-lgbt-bar-has-closed-after-57-years/article_96057518-3360-548c-96f5-b7769c2e07be.html\">a simple liquor license transfer\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The nautical bar at 841 Larkin St. made it through an entire century by being both a magnificent Tenderloin watering hole, a wedding venue before marriage equality was the law and an LGBTQ+ museum. (The bar was equipped with a history wall, historic gay ephemera and an entryway that paid tribute to 1969’s \u003ca href=\"https://www.kqed.org/arts/13859570/friday-purple-hand-gay-liberation-1969\">Friday of the Purple Hand\u003c/a> protest.)\u003c/p>\n\u003cp>Beyond that, the Gangway also acted as a sort of community center. Starting in the 1970s, it consistently raised money for LGBTQ+ charities, whether through auctions, a charitable bar crawl known as Bar Wars, or other means. The Gangway kept itself concerned with giving back to both its own community and those that lived around the venue. (During Thanksgiving 1977, the bar gave cash and turkeys to local seniors in need.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No wonder Harvey Milk was a regular.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "historic-lesbian-bars-san-francisco-mauds-pegs-front-anns-monas-440-tommy-vasu",
"title": "5 Historic San Francisco Lesbian Bars We Wish Still Existed",
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"content": "\u003cfigure id=\"attachment_13930420\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930420\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-800x630.jpg\" alt=\"Three women sit on the laps of three other women, each of whom are dressed in masculine suits and hats.\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-800x630.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-1020x803.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-768x604.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-1536x1209.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A glorious gathering of lesbians, circa 1910. \u003ccite>(Kirn Vintage Stock/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back in March, thanks to my ongoing obsession with the city’s dives, I decided to compile a list of \u003ca href=\"https://www.kqed.org/arts/13927137/san-francisco-bars-monas-440-cobweb-palace-chinese-pagoda-elite-varieties\">five supremely entertaining bars from San Francisco history\u003c/a>. I found some gems in the archives — a spider-filled tavern in North Beach and a lawless basement bar on the edge of Chinatown, among them.\u003c/p>\n\u003cp>In the course of that research I also discovered Mona’s 440 Club — a bar for lesbians, crossdressers and genderfluid folks that was active in the 1940s. Finding a place “where girls [could] be boys” from that era prompted me to wonder: How many other fantastic little lesbian venues existed in Bay Area history that few of us know anything about today?\u003c/p>\n\u003cp>Here are five that are particularly noteworthy.\u003c/p>\n\u003ch2>Ann’s 440 Club\u003c/h2>\n\u003cfigure id=\"attachment_13930367\" class=\"wp-caption alignright\" style=\"max-width: 618px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930367\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-3.21.42-PM.png\" alt=\"A newspaper ad for 'Miss Wiggles — the Marvel in Motion’ performing at Ann's 440 Club.\" width=\"618\" height=\"784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-3.21.42-PM.png 618w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-3.21.42-PM-160x203.png 160w\" sizes=\"auto, (max-width: 618px) 100vw, 618px\">\u003cfigcaption class=\"wp-caption-text\">A newspaper ad for Ann’s 440 Club, as seen in ‘The San Francisco Examiner’ on April 30, 1960. \u003ccite>(The San Francisco Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the early 1950s, when Mona’s 440 Club was sold by Mona and Jimmie Sargeant to Ann Dee she, rather naturally, renamed it Ann’s. Dee understood that her core audience should remain genderfluid lesbians and she catered to them with exotic performers like Miss Wiggles, Carol “the Dangerous Curver” Hill and “Cuban bombshell” Delia Martine. In a departure from Mona’s, however, Dee also opened up the in-house entertainment to include more male musicians and comedians — Lenny Bruce and Johnny Mathis among them.\u003c/p>\n\u003cp>Ann’s carefully curated choice of entertainers often prompted local critics to attend. In 1953, \u003cem>The San Francisco Examiner\u003c/em> praised an “Original Pantomime” show that was quite obviously a drag performance of sorts. “In a nutshell, it’s group pantomiming of Broadway hit musicals … go[ing] through the motions of the play, the songs and the dances, in a clever, sparkling and original way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mona’s had established a safe nightclub space for lesbians in San Francisco throughout the 1940s, but it was Ann’s that helped bring sapphic culture to mainstream city nightlife.\u003c/p>\n\u003ch2>The Front\u003c/h2>\n\u003cfigure id=\"attachment_13930419\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930419\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/front-800x507.jpg\" alt=\"Two women dance together in a nightclub. Other women mill around in the background.\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-768x487.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-1536x973.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-1920x1217.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front.jpg 1976w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">No photos of The Front exist today. But we imagine it a little something like this… \u003ccite>(GENNA MARTIN/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The legacy that The Front’s owner Charlotte Coleman left on LGBTQ+ nightlife in San Francisco is immense — and it only happened because homophobia pushed her out of her day job at the IRS. Forced to resign after her employer discovered she was a lesbian, Coleman took her retirement savings — and a cue from her father, a Prohibition-era rum-runner — and went into the bar trade.\u003c/p>\n\u003cp>[aside postid='arts_13911589']Coleman bought The Blind Mouse in 1958 — a gay restaurant at 600 Front St. — and renamed it The Front. The bar had a stage and a piano, and was known for its drag shows (featuring both male and female impersonators). Coleman opened the bar in a relatively deserted part of town specifically with the goal of avoiding police harassment. Sadly, the location didn’t help. Coleman got slapped with multiple morals charges, lost her license and was forced to close The Front in 1962.\u003c/p>\n\u003cp>Coleman went on to open nine other gay venues around the city — including still-beloved bars like Twin Peaks and \u003ca href=\"https://www.kqed.org/arts/13911589/sfmoma-soapbox-derby-san-francisco-wacky-races-pops-mint-parkside-tricycle-mclaren-park\">The Mint\u003c/a> — and became known for her charitable fundraising for LGBTQ+ causes, as well as her work with the \u003ca href=\"https://en.wikipedia.org/wiki/Tavern_Guild\">Tavern Guild\u003c/a>. The Front, however, would be her last lesbian venue.\u003c/p>\n\u003cp>“The women got into so many fights, pulling hair and dumping beers over each other!” she once explained. “I always was in the middle trying to break things up. And I really didn’t make any money either, so I decided that was a lot of fun, but I couldn’t make a living.”\u003c/p>\n\u003ch2>Tommy’s Joint/ 12 Adler Place\u003c/h2>\n\u003cfigure id=\"attachment_13930430\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930430\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-800x600.jpg\" alt=\"A courtyard containing a bar with a fire escape and apartments above. A sign reads ‘12 Adler Museum.’\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Specs’ in North Beach was once a lesbian bar known as 12 Adler Place. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1948, inside a four-story brick building at 299 Broadway, San Francisco acquired its first queer bar opened by an out lesbian.\u003c/p>\n\u003cp>The owner went by the name Tommy Vasu; Vasu had dressed in masculine attire since the age of 12. Despite once being described by Herb Caen as “a gentleman among ladies,” Vasu was known to be involved in organized crime and often associated with sex workers. (The 299 Club operated on the two bottom floors of the bar’s address. The top two acted as a hotel known to be a venue for prostitution.)\u003c/p>\n\u003cp>[aside postid='arts_13927137']“Anything you wanted, Tommy could get it for you,” historian \u003ca href=\"http://www.elisarolle.com/queerplaces/ch-d-e/Eleanor%20Vasu.html\">Pat Bond once said\u003c/a>. “You wanted a watch, she’d bring out 40 watches. She liked being a gangster.”\u003c/p>\n\u003cp>Four years into successful operation, the 299 Club moved to 529 Broadway (today’s \u003ca href=\"https://www.yelp.com/biz/garden-of-eden-san-francisco?osq=garden+of+eden\">Garden of Eden\u003c/a> strip club) and was renamed Tommy’s Joint. Tommy’s was a popular venue with live entertainment. It also backed directly onto a lively lesbian bar known as 12 Adler Place, also owned by Vasu.\u003c/p>\n\u003cp>Vasu’s North Beach success was short-lived. Vice squad officers closed the adjoining bars down after just two years, revoking Vasu’s license and landing one of the venue’s bartenders in jail for allegedly serving minors. It was a major local scandal at the time, milked in the media to scaremonger about the corrupting nature of homosexuality on youth. (\u003cem>The Examiner\u003c/em> referred to 12 Adler as a “sex thrill bar.”)\u003c/p>\n\u003cp>Today, \u003ca href=\"https://www.specsbarsf.com/\">Specs’\u003c/a> pays tribute to its former incarnation with a sign in its doorway that reads “12 Adler Museum.” Sadly, zero ephemera from the original Tommy’s Joint or 12 Adler Place remains in Specs’ today. Still not quite as sad as the ending that Vasu got, however — the former bar owner was murdered in 1978, four years after serving time for dealing heroin.\u003c/p>\n\u003ch2>Peg’s Place\u003c/h2>\n\u003cfigure id=\"attachment_13930424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-800x565.jpg\" alt=\"An art deco illustration of a kiss between two women. The first, smoking, sensual and in underwear lying on a bed. The second is dressed smartly in red dress and hat.\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-1536x1084.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When Peg’s Place first opened, it was known for its air of refinement. (Illustration by Leon Bonnotte from ‘Le Sourire.’ Paris, France, 1925.) \u003ccite>(Fototeca Gilardi/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peg’s Place forged a reputation in its early years for being a refined bar where patrons weren’t even permitted to wear jeans. (Pants were okay.) \u003cem>The San Francisco Examiner\u003c/em> once described the joint at 4737 Geary as a “small bar with Norman-style stone arches, pool table, dance floor and open fire,” and “a cozy haven from the claimed harassments of the straight world.”\u003c/p>\n\u003cp>“I think they wanted you to be — maybe they call it classy,” a regular named Jackie later recalled. “They didn’t want to think they catered to bums or truck-driver types.”\u003c/p>\n\u003cp>[aside postid='arts_13930106']While in its earliest days, dancing at Peg’s wasn’t permitted because of anti-LGBTQ+ laws, the bar rules relaxed as police monitoring did. A regular named Virginia Benavides remembered a lively scene at Peg’s by the 1980s. “There was dancing, with a DJ, and the crowd was mostly white women and Black women,” she said. “I loved the energy.”\u003c/p>\n\u003cp>Owner Linda Symaco was a Filipina who first moved to the city in 1965 — and she was fierce. When the bar was attacked by a bachelor party of angry men — two of whom were off-duty cops — late one night in March 1979, Symaco relentlessly pursued justice. She, along with bouncer Arlene Levine and a customer named Kathryn Miller filed a lawsuit against three of the men in question, the city and the SFPD. Even while dealing with harassing phone calls and bomb threats to Peg’s Place, Symaco remained undeterred.\u003c/p>\n\u003cp>In the end, one of the police officers was convicted of battery and he and another man were also convicted of disturbing the peace. It took until 1985 for the San Francisco Police Commission to pay the three women $75,000 in damages.\u003c/p>\n\u003cp>Even for those who frequented Peg’s Place, it all feels like ancient history now. Today, what’s left of Peg’s is a Chinese restaurant named Dong Bei Mama.\u003c/p>\n\u003ch2>Maud’s\u003c/h2>\n\u003cfigure id=\"attachment_13930417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/mauds-800x530.png\" alt=\"A woman with cropped short hair smiles broadly as she embraces a taller woman from behind. Another pair of women embrace in the background.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-2048x1357.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-1920x1272.png 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrons of Maud’s, living it up in the Haight in the ’80s. \u003ccite>(‘Last Call at Maud’s.’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nowadays, you might know it as Finnegan’s Wake, but between April 1966 and September 1989, 937 Cole St. was Maud’s, the Haight’s greatest ever lesbian bar. The owner was Rikki Streicher, a self-confessed “bar person” who wanted women who loved women to have a safe space to make connections and community together.\u003c/p>\n\u003cp>“I’ve always felt that bars were the most honest, open, free place that women could go,” Streicher said in 1993 documentary \u003ca href=\"https://www.imdb.com/title/tt0107366/?ref_=fn_al_tt_1\">\u003cem>Last Call at Maud’s\u003c/em>\u003c/a>. “So when I made this bar, I wanted it to be a composite of probably all the bars that I’ve gone to and all of the good things I’ve found in each of those bars.”\u003c/p>\n\u003cp>The wood-paneled venue was equipped with pinball and a pool table inside, a ping-pong table in the yard and — because women couldn’t legally bartend in California until 1971 (!) — a variety of men pouring the drinks (at least in the early days). Originally named The Study, it morphed into Maud’s Study, then finally just Maud’s.\u003c/p>\n\u003cp>[aside postid='arts_13930349']As late as the mid-1970s, patrons and staff were under such scrutiny that Streicher had to install an alarm to warn customers when cops were approaching. If any of the women were caught dancing or touching, there would almost certainly be legal consequences. So a red light would flash on, a short noise would sound and the women knew exactly what to do.\u003c/p>\n\u003cp>“You know, it really looks strange for anyone to walk into this bar,” one customer later recalled, “and there’s 200 dykes standing in the middle of the floor all looking at each other, not doing anything.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In its earliest years, the bar was overrun with gay hippies thanks to its proximity to Haight-Ashbury. (Even Janis Joplin stopped by once in a while.) Into the ’70s and ’80s, there were variety shows and performances. Annual (raucous) anniversary parties were held, a bar softball team was formed and many relationships and affairs forged. Maud’s most important asset, however, was its customers. The bar fostered and nurtured an incredibly tight community of gay women. Its final closing was indeed a sad one — a fact surely true of every bygone watering hole on this list.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13930420\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930420\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-800x630.jpg\" alt=\"Three women sit on the laps of three other women, each of whom are dressed in masculine suits and hats.\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-800x630.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-1020x803.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-768x604.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-1536x1209.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A glorious gathering of lesbians, circa 1910. \u003ccite>(Kirn Vintage Stock/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back in March, thanks to my ongoing obsession with the city’s dives, I decided to compile a list of \u003ca href=\"https://www.kqed.org/arts/13927137/san-francisco-bars-monas-440-cobweb-palace-chinese-pagoda-elite-varieties\">five supremely entertaining bars from San Francisco history\u003c/a>. I found some gems in the archives — a spider-filled tavern in North Beach and a lawless basement bar on the edge of Chinatown, among them.\u003c/p>\n\u003cp>In the course of that research I also discovered Mona’s 440 Club — a bar for lesbians, crossdressers and genderfluid folks that was active in the 1940s. Finding a place “where girls [could] be boys” from that era prompted me to wonder: How many other fantastic little lesbian venues existed in Bay Area history that few of us know anything about today?\u003c/p>\n\u003cp>Here are five that are particularly noteworthy.\u003c/p>\n\u003ch2>Ann’s 440 Club\u003c/h2>\n\u003cfigure id=\"attachment_13930367\" class=\"wp-caption alignright\" style=\"max-width: 618px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930367\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-3.21.42-PM.png\" alt=\"A newspaper ad for 'Miss Wiggles — the Marvel in Motion’ performing at Ann's 440 Club.\" width=\"618\" height=\"784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-3.21.42-PM.png 618w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-3.21.42-PM-160x203.png 160w\" sizes=\"auto, (max-width: 618px) 100vw, 618px\">\u003cfigcaption class=\"wp-caption-text\">A newspaper ad for Ann’s 440 Club, as seen in ‘The San Francisco Examiner’ on April 30, 1960. \u003ccite>(The San Francisco Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the early 1950s, when Mona’s 440 Club was sold by Mona and Jimmie Sargeant to Ann Dee she, rather naturally, renamed it Ann’s. Dee understood that her core audience should remain genderfluid lesbians and she catered to them with exotic performers like Miss Wiggles, Carol “the Dangerous Curver” Hill and “Cuban bombshell” Delia Martine. In a departure from Mona’s, however, Dee also opened up the in-house entertainment to include more male musicians and comedians — Lenny Bruce and Johnny Mathis among them.\u003c/p>\n\u003cp>Ann’s carefully curated choice of entertainers often prompted local critics to attend. In 1953, \u003cem>The San Francisco Examiner\u003c/em> praised an “Original Pantomime” show that was quite obviously a drag performance of sorts. “In a nutshell, it’s group pantomiming of Broadway hit musicals … go[ing] through the motions of the play, the songs and the dances, in a clever, sparkling and original way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mona’s had established a safe nightclub space for lesbians in San Francisco throughout the 1940s, but it was Ann’s that helped bring sapphic culture to mainstream city nightlife.\u003c/p>\n\u003ch2>The Front\u003c/h2>\n\u003cfigure id=\"attachment_13930419\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930419\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/front-800x507.jpg\" alt=\"Two women dance together in a nightclub. Other women mill around in the background.\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-768x487.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-1536x973.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-1920x1217.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front.jpg 1976w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">No photos of The Front exist today. But we imagine it a little something like this… \u003ccite>(GENNA MARTIN/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The legacy that The Front’s owner Charlotte Coleman left on LGBTQ+ nightlife in San Francisco is immense — and it only happened because homophobia pushed her out of her day job at the IRS. Forced to resign after her employer discovered she was a lesbian, Coleman took her retirement savings — and a cue from her father, a Prohibition-era rum-runner — and went into the bar trade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Coleman bought The Blind Mouse in 1958 — a gay restaurant at 600 Front St. — and renamed it The Front. The bar had a stage and a piano, and was known for its drag shows (featuring both male and female impersonators). Coleman opened the bar in a relatively deserted part of town specifically with the goal of avoiding police harassment. Sadly, the location didn’t help. Coleman got slapped with multiple morals charges, lost her license and was forced to close The Front in 1962.\u003c/p>\n\u003cp>Coleman went on to open nine other gay venues around the city — including still-beloved bars like Twin Peaks and \u003ca href=\"https://www.kqed.org/arts/13911589/sfmoma-soapbox-derby-san-francisco-wacky-races-pops-mint-parkside-tricycle-mclaren-park\">The Mint\u003c/a> — and became known for her charitable fundraising for LGBTQ+ causes, as well as her work with the \u003ca href=\"https://en.wikipedia.org/wiki/Tavern_Guild\">Tavern Guild\u003c/a>. The Front, however, would be her last lesbian venue.\u003c/p>\n\u003cp>“The women got into so many fights, pulling hair and dumping beers over each other!” she once explained. “I always was in the middle trying to break things up. And I really didn’t make any money either, so I decided that was a lot of fun, but I couldn’t make a living.”\u003c/p>\n\u003ch2>Tommy’s Joint/ 12 Adler Place\u003c/h2>\n\u003cfigure id=\"attachment_13930430\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930430\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-800x600.jpg\" alt=\"A courtyard containing a bar with a fire escape and apartments above. A sign reads ‘12 Adler Museum.’\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Specs’ in North Beach was once a lesbian bar known as 12 Adler Place. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1948, inside a four-story brick building at 299 Broadway, San Francisco acquired its first queer bar opened by an out lesbian.\u003c/p>\n\u003cp>The owner went by the name Tommy Vasu; Vasu had dressed in masculine attire since the age of 12. Despite once being described by Herb Caen as “a gentleman among ladies,” Vasu was known to be involved in organized crime and often associated with sex workers. (The 299 Club operated on the two bottom floors of the bar’s address. The top two acted as a hotel known to be a venue for prostitution.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Anything you wanted, Tommy could get it for you,” historian \u003ca href=\"http://www.elisarolle.com/queerplaces/ch-d-e/Eleanor%20Vasu.html\">Pat Bond once said\u003c/a>. “You wanted a watch, she’d bring out 40 watches. She liked being a gangster.”\u003c/p>\n\u003cp>Four years into successful operation, the 299 Club moved to 529 Broadway (today’s \u003ca href=\"https://www.yelp.com/biz/garden-of-eden-san-francisco?osq=garden+of+eden\">Garden of Eden\u003c/a> strip club) and was renamed Tommy’s Joint. Tommy’s was a popular venue with live entertainment. It also backed directly onto a lively lesbian bar known as 12 Adler Place, also owned by Vasu.\u003c/p>\n\u003cp>Vasu’s North Beach success was short-lived. Vice squad officers closed the adjoining bars down after just two years, revoking Vasu’s license and landing one of the venue’s bartenders in jail for allegedly serving minors. It was a major local scandal at the time, milked in the media to scaremonger about the corrupting nature of homosexuality on youth. (\u003cem>The Examiner\u003c/em> referred to 12 Adler as a “sex thrill bar.”)\u003c/p>\n\u003cp>Today, \u003ca href=\"https://www.specsbarsf.com/\">Specs’\u003c/a> pays tribute to its former incarnation with a sign in its doorway that reads “12 Adler Museum.” Sadly, zero ephemera from the original Tommy’s Joint or 12 Adler Place remains in Specs’ today. Still not quite as sad as the ending that Vasu got, however — the former bar owner was murdered in 1978, four years after serving time for dealing heroin.\u003c/p>\n\u003ch2>Peg’s Place\u003c/h2>\n\u003cfigure id=\"attachment_13930424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-800x565.jpg\" alt=\"An art deco illustration of a kiss between two women. The first, smoking, sensual and in underwear lying on a bed. The second is dressed smartly in red dress and hat.\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-1536x1084.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When Peg’s Place first opened, it was known for its air of refinement. (Illustration by Leon Bonnotte from ‘Le Sourire.’ Paris, France, 1925.) \u003ccite>(Fototeca Gilardi/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peg’s Place forged a reputation in its early years for being a refined bar where patrons weren’t even permitted to wear jeans. (Pants were okay.) \u003cem>The San Francisco Examiner\u003c/em> once described the joint at 4737 Geary as a “small bar with Norman-style stone arches, pool table, dance floor and open fire,” and “a cozy haven from the claimed harassments of the straight world.”\u003c/p>\n\u003cp>“I think they wanted you to be — maybe they call it classy,” a regular named Jackie later recalled. “They didn’t want to think they catered to bums or truck-driver types.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While in its earliest days, dancing at Peg’s wasn’t permitted because of anti-LGBTQ+ laws, the bar rules relaxed as police monitoring did. A regular named Virginia Benavides remembered a lively scene at Peg’s by the 1980s. “There was dancing, with a DJ, and the crowd was mostly white women and Black women,” she said. “I loved the energy.”\u003c/p>\n\u003cp>Owner Linda Symaco was a Filipina who first moved to the city in 1965 — and she was fierce. When the bar was attacked by a bachelor party of angry men — two of whom were off-duty cops — late one night in March 1979, Symaco relentlessly pursued justice. She, along with bouncer Arlene Levine and a customer named Kathryn Miller filed a lawsuit against three of the men in question, the city and the SFPD. Even while dealing with harassing phone calls and bomb threats to Peg’s Place, Symaco remained undeterred.\u003c/p>\n\u003cp>In the end, one of the police officers was convicted of battery and he and another man were also convicted of disturbing the peace. It took until 1985 for the San Francisco Police Commission to pay the three women $75,000 in damages.\u003c/p>\n\u003cp>Even for those who frequented Peg’s Place, it all feels like ancient history now. Today, what’s left of Peg’s is a Chinese restaurant named Dong Bei Mama.\u003c/p>\n\u003ch2>Maud’s\u003c/h2>\n\u003cfigure id=\"attachment_13930417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/mauds-800x530.png\" alt=\"A woman with cropped short hair smiles broadly as she embraces a taller woman from behind. Another pair of women embrace in the background.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-2048x1357.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-1920x1272.png 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrons of Maud’s, living it up in the Haight in the ’80s. \u003ccite>(‘Last Call at Maud’s.’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nowadays, you might know it as Finnegan’s Wake, but between April 1966 and September 1989, 937 Cole St. was Maud’s, the Haight’s greatest ever lesbian bar. The owner was Rikki Streicher, a self-confessed “bar person” who wanted women who loved women to have a safe space to make connections and community together.\u003c/p>\n\u003cp>“I’ve always felt that bars were the most honest, open, free place that women could go,” Streicher said in 1993 documentary \u003ca href=\"https://www.imdb.com/title/tt0107366/?ref_=fn_al_tt_1\">\u003cem>Last Call at Maud’s\u003c/em>\u003c/a>. “So when I made this bar, I wanted it to be a composite of probably all the bars that I’ve gone to and all of the good things I’ve found in each of those bars.”\u003c/p>\n\u003cp>The wood-paneled venue was equipped with pinball and a pool table inside, a ping-pong table in the yard and — because women couldn’t legally bartend in California until 1971 (!) — a variety of men pouring the drinks (at least in the early days). Originally named The Study, it morphed into Maud’s Study, then finally just Maud’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As late as the mid-1970s, patrons and staff were under such scrutiny that Streicher had to install an alarm to warn customers when cops were approaching. If any of the women were caught dancing or touching, there would almost certainly be legal consequences. So a red light would flash on, a short noise would sound and the women knew exactly what to do.\u003c/p>\n\u003cp>“You know, it really looks strange for anyone to walk into this bar,” one customer later recalled, “and there’s 200 dykes standing in the middle of the floor all looking at each other, not doing anything.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In its earliest years, the bar was overrun with gay hippies thanks to its proximity to Haight-Ashbury. (Even Janis Joplin stopped by once in a while.) Into the ’70s and ’80s, there were variety shows and performances. Annual (raucous) anniversary parties were held, a bar softball team was formed and many relationships and affairs forged. Maud’s most important asset, however, was its customers. The bar fostered and nurtured an incredibly tight community of gay women. Its final closing was indeed a sad one — a fact surely true of every bygone watering hole on this list.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Blue Jean,’ a Nuanced Picture of Life as a Lesbian in Margaret Thatcher’s Britain",
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"content": "\u003cp>A high school gym teacher grappling with her sexual identity is challenged on both a micro and macro level in 1988 England in \u003cem>Blue Jean\u003c/em>, a quietly complex portrait of compartmentalization and self-actualization.\u003c/p>\n\u003cp>[aside postid='arts_13929913']In October 1987, British Prime Minister Margaret Thatcher gave a speech in which she bemoaned the state of education and said that “Children who need to be taught to respect traditional moral values are being taught that they have an inalienable right to be gay.” This was just part of her critique of the state of education and the agenda of “extremist teachers” pushing “political slogans” and “anti-racist mathematics” who are cheating children out of a “sound start in life.” By May of 1988, a law was passed (Section 28) that would “prohibit the promotion of homosexuality” and would remain in effect in some form until 2003. Don’t worry if the law doesn’t sound familiar either — it was news to both the film’s director and star.\u003c/p>\n\u003cp>The film, which opens in limited release Friday, is the assured directorial debut of Georgia Oakley, who focuses her script not on the women who went out to protest as the House of Lords debated Section 28, but on one who was still coming to terms with her own identity. Jean (Rosy McEwen) is not terribly political, and, like most teachers, keeps her private life to herself. But she’s also one whose livelihood and passion (teaching) would be directly threatened by the law. Her journey in the film is a human one — there are mistakes, deep regrets, and casualties — and it’s her flaws that make her relatable. She is not, in other words, exactly an inspirational hero.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mGGRNmIU7fc\u003c/p>\n\u003cp>At the beginning, Jean leads a quiet life. She lives alone in an apartment and commutes to teach gym to high schoolers and coach the girls’ netball team. She loves her work and takes it seriously but keeps a distance from both the students and her fellow teachers, eating alone at lunch and declining persistent requests to go out for a pint after work. Some nights she meets up with her girlfriend, Viv (Kerrie Hayes), and a group of other lesbians at an underground bar. Unlike Jean, who is described as a deer in headlights, these other women are out and proud. When an older woman sneers at Jean and Viv eating together, Jean shrinks while Viv goes on the offensive. In the background, radio news broadcasts speak about the looming Section 28.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The message Jean takes from all of this is to hide. In her mind, this makes sense because teachers need to set boundaries with their students and co-workers. But then a new girl arrives at school, Lois (Lucy Halliday) who is also gay, and Jean’s meticulously segregated life starts to crumble — especially after Lois sees her out with Viv and friends, and Jean retreats further into herself. Is it her responsibility to look, protect or guide Lois through this aspect of her life? Jean will make a shocking decision before the end of the film.\u003c/p>\n\u003cfigure id=\"attachment_13930351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-800x478.png\" alt=\"A woman with a shaved head and a blonde woman sit in a pub at a table, pints of beer in front of them. Two friends sit opposite them.\" width=\"800\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-800x478.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-1020x610.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-768x459.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM.png 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kerrie Hayes, background left, and Rosy McEwen in a scene from ‘Blue Jean.’ \u003ccite>(Magnolia Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jean is both an introvert and a product of her environment — she doesn’t speak to her mother anymore and her more conservative, heterosexual sister’s attempts at supporting Jean mostly make her feel worse. She scolds Jean for exposing her 5-year-old son to Viv, even though she drops the kid off at her apartment without any warning. Jean is also scolded by Viv for telling her nephew that she’s “a friend.”\u003c/p>\n\u003cp>[aside postid='arts_13930047']Oakley has said she wanted to present a protagonist “without glamorization or misrepresentation,” inspired by filmmakers like Kelly Reichardt and Chantal Akerman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Blue Jean\u003c/em> is a perfect film to debut during Pride. It’s a reminder of the very recent past and the generational effects of institutionalized homophobia.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In October 1987, British Prime Minister Margaret Thatcher gave a speech in which she bemoaned the state of education and said that “Children who need to be taught to respect traditional moral values are being taught that they have an inalienable right to be gay.” This was just part of her critique of the state of education and the agenda of “extremist teachers” pushing “political slogans” and “anti-racist mathematics” who are cheating children out of a “sound start in life.” By May of 1988, a law was passed (Section 28) that would “prohibit the promotion of homosexuality” and would remain in effect in some form until 2003. Don’t worry if the law doesn’t sound familiar either — it was news to both the film’s director and star.\u003c/p>\n\u003cp>The film, which opens in limited release Friday, is the assured directorial debut of Georgia Oakley, who focuses her script not on the women who went out to protest as the House of Lords debated Section 28, but on one who was still coming to terms with her own identity. Jean (Rosy McEwen) is not terribly political, and, like most teachers, keeps her private life to herself. But she’s also one whose livelihood and passion (teaching) would be directly threatened by the law. Her journey in the film is a human one — there are mistakes, deep regrets, and casualties — and it’s her flaws that make her relatable. She is not, in other words, exactly an inspirational hero.\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/mGGRNmIU7fc'\n title='//www.youtube.com/embed/mGGRNmIU7fc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the beginning, Jean leads a quiet life. She lives alone in an apartment and commutes to teach gym to high schoolers and coach the girls’ netball team. She loves her work and takes it seriously but keeps a distance from both the students and her fellow teachers, eating alone at lunch and declining persistent requests to go out for a pint after work. Some nights she meets up with her girlfriend, Viv (Kerrie Hayes), and a group of other lesbians at an underground bar. Unlike Jean, who is described as a deer in headlights, these other women are out and proud. When an older woman sneers at Jean and Viv eating together, Jean shrinks while Viv goes on the offensive. In the background, radio news broadcasts speak about the looming Section 28.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The message Jean takes from all of this is to hide. In her mind, this makes sense because teachers need to set boundaries with their students and co-workers. But then a new girl arrives at school, Lois (Lucy Halliday) who is also gay, and Jean’s meticulously segregated life starts to crumble — especially after Lois sees her out with Viv and friends, and Jean retreats further into herself. Is it her responsibility to look, protect or guide Lois through this aspect of her life? Jean will make a shocking decision before the end of the film.\u003c/p>\n\u003cfigure id=\"attachment_13930351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-800x478.png\" alt=\"A woman with a shaved head and a blonde woman sit in a pub at a table, pints of beer in front of them. Two friends sit opposite them.\" width=\"800\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-800x478.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-1020x610.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-768x459.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM.png 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kerrie Hayes, background left, and Rosy McEwen in a scene from ‘Blue Jean.’ \u003ccite>(Magnolia Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jean is both an introvert and a product of her environment — she doesn’t speak to her mother anymore and her more conservative, heterosexual sister’s attempts at supporting Jean mostly make her feel worse. She scolds Jean for exposing her 5-year-old son to Viv, even though she drops the kid off at her apartment without any warning. Jean is also scolded by Viv for telling her nephew that she’s “a friend.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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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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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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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": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"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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"meta": {
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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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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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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",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"here-and-now": {
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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": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"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
},
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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",
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"order": 18
},
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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/",
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"source": "npr"
},
"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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"officialWebsiteLink": "https://mastersofscale.com/",
"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",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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