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"content": "\u003cfigure id=\"attachment_13925406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925406\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-4.11.31-PM-800x1048.png\" alt=\"A sour-faced white woman in high collared Victorian clothing and feathered hat stands with a numbered card attached to her chest.\" width=\"800\" height=\"1048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-4.11.31-PM-800x1048.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-4.11.31-PM-160x210.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-4.11.31-PM-768x1006.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-4.11.31-PM.png 812w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isabella J. Martin after her 1908 arrest.\u003c/figcaption>\u003c/figure>\n\u003cp>She was deceitful, she was depraved, and she might have been truly dangerous if she’d ever stopped being so dim.\u003c/p>\n\u003cp>This was Isabella J. Martin, a woman whose attempted crimes spanned locations from San Francisco and Oakland all the way up to Weaverville, a small Gold Rush town 200 miles north of Sacramento. In her lifetime, Isabella committed a lot of offenses. They just rarely gave her the result she’d been hoping for.\u003c/p>\n\u003cp>[aside postid='arts_13925848']A New Yorker by birth, Isabella became California’s problem in 1882, when she turned 21 and moved west to Weaverville. Four years later, Isabella married a wealthy mine owner named John Martin who was 30 years her senior. A year into their marriage, Isabella came home from a trip to New York with a baby son and claimed he was John’s. She even named the child after him. A year after that, John Sr. was dead in mysterious circumstances and his brother Henry suspected Isabella had poisoned him. No one ever proved the murder either way, but the accusation thoroughly infuriated Isabella. So much so that when Henry, a San Francisco resident with his own family, died in 1893, Isabella came up with a preposterous scheme to try and get her hands on some of his cash.\u003c/p>\n\u003cp>In 1894, Isabella sued Henry’s family, presenting them with a forged will that said Henry wanted to leave her and John Jr. a third of his estate. She did this despite Henry’s family already being in possession of his actual will — one that he had written alongside his wife. Isabella repeatedly insinuated that John Jr. was really Henry’s son, the result of an illicit affair. She made this claim despite the fact that Henry had openly despised, badmouthed and actively avoided Isabella when he was alive.\u003c/p>\n\u003cp>At this point, Isabella was no doubt spurred on by the fact that she had used a child to extort money out of someone before. In 1885, she’d managed to convince a former lover named Andrew Crawford that she’d given birth to his baby. He sent her $1,000 to disappear. It would appear to be the first and last time one of Isabella’s crimes went according to plan.\u003c/p>\n\u003cfigure id=\"attachment_13927045\" class=\"wp-caption aligncenter\" style=\"max-width: 568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927045\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-28-at-12.12.39-PM.png\" alt=\"A black and white courtroom sketch from the turn of the century depicting a stern looking woman, wearing dark suit and hat.\" width=\"568\" height=\"647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-28-at-12.12.39-PM.png 568w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-28-at-12.12.39-PM-160x182.png 160w\" sizes=\"(max-width: 568px) 100vw, 568px\">\u003cfigcaption class=\"wp-caption-text\">Isabella J. Martin, as sketched in court. She reportedly wore a different outfit every day of her high profile trial against Henry Martin’s family.\u003c/figcaption>\u003c/figure>\n\u003cp>Isabella’s court case against Henry’s family dragged on for three months — and the public couldn’t have been happier about it. Hundreds of spectators packed the court daily and San Francisco newspapers had a field day reporting on every tiny detail. Isabella’s self-confidence remained steadfast throughout the trial, despite her reputation getting torn to shreds in both the courtroom and the press on a daily basis. She was prone to violent outbursts that disrupted testimony. She also insisted on bringing her three-year-old son to the court every day — at one point even suggesting that the judge might like to take care of John Jr.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My goodness, no!” Judge Coffey exclaimed, according to a \u003cem>San Francisco Call\u003c/em> report at the time. “I’m too busy! I’ve got work to do! Take the child anywhere. Put him on the desk, put him on the roof, but don’t bring him to me.”\u003c/p>\n\u003cp>By the end of the case, Isabella was a laughingstock. Having learned absolutely nothing from any of it, in 1895 Isabella decided to go after Arthur Rodgers, the attorney who had exposed her lies in court. Isabella sued him for defamation of character because of Rodgers’ suggestion at the trial that John Jr. was, in fact, secretly adopted and was neither the biological son of John Sr. \u003cem>or\u003c/em> Henry.\u003c/p>\n\u003cp>[aside postid='arts_13924208']Isabella filed a second suit on behalf of John Jr. alleging that Rodgers had “defamed the child by attempting to bastardize him.” All told, she asked for $1 million in compensation — that’s almost $36 million in today’s money. While all of this was going on, Isabella was also sending Rodgers’ wife vaguely threatening letters. (“Arthur Rodgers can never, while life lasts, undertake or attempt anything that will not be closely followed by myself,” Isabella wrote in one.)\u003c/p>\n\u003cp>Needless to say, Isabella didn’t win a penny. Moreover, the suits against Rodgers took on a whole new level of absurdity in 1907 when Isabella began claiming that John Jr. was, in fact, the biological son of the \u003ca href=\"https://en.wikipedia.org/wiki/Clara_Ward,_Princesse_de_Caraman-Chimay\">Princess de Chimay\u003c/a>— a Detroit socialite named Clara Ward who’d married into Belgian royalty. Isabella of course, thought this assertion might entitle her to some of Ward’s money. It did not.\u003c/p>\n\u003cp>At that point, Martin could’ve cut her losses and given up on her life of failed schemes. But she wasn’t done. In 1901, she forced her son to burn down two Oakland cottages she owned so she could collect the insurance money. When the Westchester Fire Insurance company refused to pay out, rightfully suspecting arson, Isabella — the genius! — sued them. That case was dismissed four years later by a judge named Frank B. Ogden who also suspected Isabella of foul play.\u003c/p>\n\u003cp>It is at this point that Isabella left the neighborhood of money-hungry scam artist and flew headlong into unhinged maniac territory.\u003c/p>\n\u003cp>Two years after Judge Ogden threw her case out, Isabella hatched a plot to kill him and perhaps his family. One night, Isabella invited over a male admirer so she would have an alibi. She then gave John Jr. “an oil-skin coat and overalls” to wear, handed him a bomb she had made, and demanded he leave the device at Judge Ogden’s Alice Street home in Oakland. John Jr. lived in fear of his abusive mother, so did as he was told.\u003c/p>\n\u003cp>Not wishing to have blood on his hands, however, John Jr. did not put the bomb at the front of the house, as his mother had instructed. Seeing Ogden’s family gathered in the parlor there, John Jr. instead took the device around to the back of the house and left it on their veranda. When the bomb detonated, the veranda was destroyed and a portion of Judge Ogden’s house badly damaged, but nobody got hurt.\u003c/p>\n\u003cp>Isabella’s house of cards really started collapsing after John Jr. (now 16) was arrested after attempting to burn down a Weaverville barn on her behalf. He later told police that the man living in the barn had once failed to give Isabella “permission to stop in the New York Hotel on the ground that there was no room,” and that she still felt slighted by the incident.\u003c/p>\n\u003cp>[aside postid='arts_13863165']Once John Jr. was in police custody, he sang like a bird, relieved to finally be away from his domineering mother. He revealed that Isabella was in the process of building a bomb for another judge, George Samuels, because Samuels had once given Isabella what she considered bad legal advice. John Jr. even took the cops to his mom’s dynamite stashes to prove it.\u003c/p>\n\u003cp>John Jr. also revealed details about the time that he and his mom had poisoned a barrel of sugar with lead powder at Hansen’s, an Oakland grocery store. “She had no grievance against Hansen,” John Jr. later testified, “but she wanted to get every person in town; she wanted to poison every man, woman and child in this city.”\u003c/p>\n\u003cp>The lead-in-the-sugar incident wasn’t the first time Isabella had sought to murder an entire community either. At one point, she had also put a combination of acetate and arsenic into what she thought was Weaverville’s water supply. In classic Isabella style, she put the poison in the wrong water spring. No humans were harmed.\u003c/p>\n\u003cp>On another occasion, Isabella had forced John Jr. to throw phosphorus onto the home and property of some neighbors she was having a spat with.\u003c/p>\n\u003cp>In December 1908, a jury took just a few hours to convict Isabella of the bomb plot to kill Judge Ogden. Her defense during the trial was simply to blame her son for everything. Isabella testified against John Jr. at great length, emphasizing:\u003c/p>\n\u003cblockquote>\u003cp>He has been insane from his earlier youth. My life has been terrible watching him. I have seen him pin my canary to a fence and dance and clap his hands until the canary died… He has always played with fire… All his habits of life are those of a degenerate… He was born that way. I do not know to whom in heredity this reprehensible conduct is to be charged, but I do know it is not to me.\u003c/p>\u003c/blockquote>\n\u003cp>The jury believed none of it. Isabella was sentenced to life in prison, the latter half of which was served in a Napa mental institution — though, as far as records indicate, she never received a formal diagnosis. John Jr. went on to lead a good, law-abiding life once out of the clutches of his mother. Isabella wound up being one of the most ambitious but somehow least successful criminals in California history.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Isabella J. Martin spent her whole life wanting to watch the whole world burn. Fortunately, she never quite figured out how to light the match.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A New Yorker by birth, Isabella became California’s problem in 1882, when she turned 21 and moved west to Weaverville. Four years later, Isabella married a wealthy mine owner named John Martin who was 30 years her senior. A year into their marriage, Isabella came home from a trip to New York with a baby son and claimed he was John’s. She even named the child after him. A year after that, John Sr. was dead in mysterious circumstances and his brother Henry suspected Isabella had poisoned him. No one ever proved the murder either way, but the accusation thoroughly infuriated Isabella. So much so that when Henry, a San Francisco resident with his own family, died in 1893, Isabella came up with a preposterous scheme to try and get her hands on some of his cash.\u003c/p>\n\u003cp>In 1894, Isabella sued Henry’s family, presenting them with a forged will that said Henry wanted to leave her and John Jr. a third of his estate. She did this despite Henry’s family already being in possession of his actual will — one that he had written alongside his wife. Isabella repeatedly insinuated that John Jr. was really Henry’s son, the result of an illicit affair. She made this claim despite the fact that Henry had openly despised, badmouthed and actively avoided Isabella when he was alive.\u003c/p>\n\u003cp>At this point, Isabella was no doubt spurred on by the fact that she had used a child to extort money out of someone before. In 1885, she’d managed to convince a former lover named Andrew Crawford that she’d given birth to his baby. He sent her $1,000 to disappear. It would appear to be the first and last time one of Isabella’s crimes went according to plan.\u003c/p>\n\u003cfigure id=\"attachment_13927045\" class=\"wp-caption aligncenter\" style=\"max-width: 568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927045\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-28-at-12.12.39-PM.png\" alt=\"A black and white courtroom sketch from the turn of the century depicting a stern looking woman, wearing dark suit and hat.\" width=\"568\" height=\"647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-28-at-12.12.39-PM.png 568w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-28-at-12.12.39-PM-160x182.png 160w\" sizes=\"(max-width: 568px) 100vw, 568px\">\u003cfigcaption class=\"wp-caption-text\">Isabella J. Martin, as sketched in court. She reportedly wore a different outfit every day of her high profile trial against Henry Martin’s family.\u003c/figcaption>\u003c/figure>\n\u003cp>Isabella’s court case against Henry’s family dragged on for three months — and the public couldn’t have been happier about it. Hundreds of spectators packed the court daily and San Francisco newspapers had a field day reporting on every tiny detail. Isabella’s self-confidence remained steadfast throughout the trial, despite her reputation getting torn to shreds in both the courtroom and the press on a daily basis. She was prone to violent outbursts that disrupted testimony. She also insisted on bringing her three-year-old son to the court every day — at one point even suggesting that the judge might like to take care of John Jr.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My goodness, no!” Judge Coffey exclaimed, according to a \u003cem>San Francisco Call\u003c/em> report at the time. “I’m too busy! I’ve got work to do! Take the child anywhere. Put him on the desk, put him on the roof, but don’t bring him to me.”\u003c/p>\n\u003cp>By the end of the case, Isabella was a laughingstock. Having learned absolutely nothing from any of it, in 1895 Isabella decided to go after Arthur Rodgers, the attorney who had exposed her lies in court. Isabella sued him for defamation of character because of Rodgers’ suggestion at the trial that John Jr. was, in fact, secretly adopted and was neither the biological son of John Sr. \u003cem>or\u003c/em> Henry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Isabella filed a second suit on behalf of John Jr. alleging that Rodgers had “defamed the child by attempting to bastardize him.” All told, she asked for $1 million in compensation — that’s almost $36 million in today’s money. While all of this was going on, Isabella was also sending Rodgers’ wife vaguely threatening letters. (“Arthur Rodgers can never, while life lasts, undertake or attempt anything that will not be closely followed by myself,” Isabella wrote in one.)\u003c/p>\n\u003cp>Needless to say, Isabella didn’t win a penny. Moreover, the suits against Rodgers took on a whole new level of absurdity in 1907 when Isabella began claiming that John Jr. was, in fact, the biological son of the \u003ca href=\"https://en.wikipedia.org/wiki/Clara_Ward,_Princesse_de_Caraman-Chimay\">Princess de Chimay\u003c/a>— a Detroit socialite named Clara Ward who’d married into Belgian royalty. Isabella of course, thought this assertion might entitle her to some of Ward’s money. It did not.\u003c/p>\n\u003cp>At that point, Martin could’ve cut her losses and given up on her life of failed schemes. But she wasn’t done. In 1901, she forced her son to burn down two Oakland cottages she owned so she could collect the insurance money. When the Westchester Fire Insurance company refused to pay out, rightfully suspecting arson, Isabella — the genius! — sued them. That case was dismissed four years later by a judge named Frank B. Ogden who also suspected Isabella of foul play.\u003c/p>\n\u003cp>It is at this point that Isabella left the neighborhood of money-hungry scam artist and flew headlong into unhinged maniac territory.\u003c/p>\n\u003cp>Two years after Judge Ogden threw her case out, Isabella hatched a plot to kill him and perhaps his family. One night, Isabella invited over a male admirer so she would have an alibi. She then gave John Jr. “an oil-skin coat and overalls” to wear, handed him a bomb she had made, and demanded he leave the device at Judge Ogden’s Alice Street home in Oakland. John Jr. lived in fear of his abusive mother, so did as he was told.\u003c/p>\n\u003cp>Not wishing to have blood on his hands, however, John Jr. did not put the bomb at the front of the house, as his mother had instructed. Seeing Ogden’s family gathered in the parlor there, John Jr. instead took the device around to the back of the house and left it on their veranda. When the bomb detonated, the veranda was destroyed and a portion of Judge Ogden’s house badly damaged, but nobody got hurt.\u003c/p>\n\u003cp>Isabella’s house of cards really started collapsing after John Jr. (now 16) was arrested after attempting to burn down a Weaverville barn on her behalf. He later told police that the man living in the barn had once failed to give Isabella “permission to stop in the New York Hotel on the ground that there was no room,” and that she still felt slighted by the incident.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Once John Jr. was in police custody, he sang like a bird, relieved to finally be away from his domineering mother. He revealed that Isabella was in the process of building a bomb for another judge, George Samuels, because Samuels had once given Isabella what she considered bad legal advice. John Jr. even took the cops to his mom’s dynamite stashes to prove it.\u003c/p>\n\u003cp>John Jr. also revealed details about the time that he and his mom had poisoned a barrel of sugar with lead powder at Hansen’s, an Oakland grocery store. “She had no grievance against Hansen,” John Jr. later testified, “but she wanted to get every person in town; she wanted to poison every man, woman and child in this city.”\u003c/p>\n\u003cp>The lead-in-the-sugar incident wasn’t the first time Isabella had sought to murder an entire community either. At one point, she had also put a combination of acetate and arsenic into what she thought was Weaverville’s water supply. In classic Isabella style, she put the poison in the wrong water spring. No humans were harmed.\u003c/p>\n\u003cp>On another occasion, Isabella had forced John Jr. to throw phosphorus onto the home and property of some neighbors she was having a spat with.\u003c/p>\n\u003cp>In December 1908, a jury took just a few hours to convict Isabella of the bomb plot to kill Judge Ogden. Her defense during the trial was simply to blame her son for everything. Isabella testified against John Jr. at great length, emphasizing:\u003c/p>\n\u003cblockquote>\u003cp>He has been insane from his earlier youth. My life has been terrible watching him. I have seen him pin my canary to a fence and dance and clap his hands until the canary died… He has always played with fire… All his habits of life are those of a degenerate… He was born that way. I do not know to whom in heredity this reprehensible conduct is to be charged, but I do know it is not to me.\u003c/p>\u003c/blockquote>\n\u003cp>The jury believed none of it. Isabella was sentenced to life in prison, the latter half of which was served in a Napa mental institution — though, as far as records indicate, she never received a formal diagnosis. John Jr. went on to lead a good, law-abiding life once out of the clutches of his mother. Isabella wound up being one of the most ambitious but somehow least successful criminals in California history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Isabella J. Martin spent her whole life wanting to watch the whole world burn. Fortunately, she never quite figured out how to light the match.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Filipinos in the Mission Recorded the First Asian American Rock Album",
"headTitle": "How Filipinos in the Mission Recorded the First Asian American Rock Album | KQED",
"content": "\u003cfigure id=\"attachment_13926505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926505\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1-800x630.jpg\" alt=\"\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1-800x630.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1-768x605.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1.jpg 813w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Frank Magtoto, David Bustamante, Bert Ancheta, Carlos Bato Badia, Romeo Bustamante, Michael Gopaul and David ‘D’ Zandos. \u003ccite>(Guerssen Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dakila begins their debut album with a call to arms for the young Filipinos, Latinos, and Black kids they rubbed shoulders with as teenagers living in the Mission. “We are all brothers and sisters / Let’s work together,” they sing in Tagalog over a Latin rock groove.\u003c/p>\n\u003cp>“We were right in the middle of this wave of activism. I was hoping our band would encourage Filipinos to go out there and be counted,” says Dakila’s drummer Frank Magtoto, recalling his youth in the ’70s.\u003c/p>\n\u003cp>For a band now considered obscure, Dakila can claim some incredible achievements. After Fanny, they were the second Filipino band signed to a major label, and the first to put their Filipino identity front and center. They were the first American band to record a track in Tagalog. In their time, they were popular, playing shows for Bill Graham alongside the biggest names of their generation.\u003c/p>\n\u003cp>“Santana and Malo, the Pointer Sisters and Sly, and us. We practiced alongside them, we covered their songs, and we sometimes performed with them,” guitar player David Bustamante reminisces.\u003c/p>\n\u003cp>Along with vocalist Romeo Bustamante and conguero Carlos Badia, Frank and David were part of a crowded scene in the Mission, the Black and Brown counterpart to the San Francisco sound up in Haight-Ashbury.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We had all these other bands around us. We felt like we had to come up with a brand of our own, in music or in identity. We’re not Latinos, we’re actually Filipinos from the Mission,” recalls David, “and, on our first record, I think we wanted to expand on that.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=868204738/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Dakila is now getting the attention they have always deserved. Their debut album was reissued in Europe last year, just in time for the 50th anniversary of its release. They are the subject of a \u003ca href=\"https://www.facebook.com/dakilamovie/\">documentary\u003c/a> coming out this year called \u003ca href=\"https://www.dakilamovie.com/\">\u003cem>Searchin’ For My Soul: The Dakila Story\u003c/em>\u003c/a>, directed by local filmmaker Paul Abueg-Igaz. And David, the youngest surviving member of the band, is preparing to take Dakila to concerts across the Bay for the first time since the pandemic started, hoping to capitalize on their newfound popularity.\u003c/p>\n\u003cp>In recent interviews, what he and Frank told me was simply incredible. The story of Dakila connects with the major social struggles shaking the Bay at the time, including the birth of the Asian American protest movement and the United Farm Workers’ fight for labor rights. This political consciousness animated their work — and led to what was likely the first truly Asian American rock album in music history.\u003c/p>\n\u003ch2>The first politically Asian American album\u003c/h2>\n\u003cp>The story of Asian immigrants and their descendants in American music is as long as the history of Asian immigration itself. Every moment in American music history had their representative: Jazz had Japanese American pianist Toshiko Akiyoshi, for example, and early rock ’n’ roll had Filipino four-piece The Rocky Fellers. They certainly broke barriers for Asians in American pop culture, but these forerunners generally lacked an explicitly political, pan-continental self-image; after all, they existed before the term “Asian American” was even coined. That broader political identity only came into being in 1968, when graduate students \u003ca href=\"https://time.com/5837805/asian-american-history/\">Yuji Ichioka and Emma Gee coined the term\u003c/a> to unify activists at UC Berkeley.\u003c/p>\n\u003cp>Yellow Pearl’s folk album \u003cem>A Grain of Sand\u003c/em>, released independently in 1973, is usually cited as the first consciously Asian American album by music critics, thanks to its radical lyrics and pan-Asian philosophy. But perhaps this judgment reflects a pattern, all too common in Asian American studies, of overlooking the achievements of Filipinos. In fact, Dakila’s self-titled came out a year earlier than Yellow Pearl’s work, in 1972, and clearly expresses an Asian American consciousness, down to the decision to sing proudly in Tagalog.\u003c/p>\n\u003cp>Dakila wanted their music to represent Asian Americans, and they made several radical choices to support that movement. On their debut album’s promotional tour, they played for Asian American student groups in campuses across the West Coast. They also performed benefit concerts to fundraise for Cesar Chavez as part of the oft-forgotten Filipino contingent of the United Farm Workers movement.\u003c/p>\n\u003cfigure id=\"attachment_13926507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/WINTERLAND-SF-1972-800x643.jpg\" alt=\"An overhead shot of Dakila performing in front of a large club crowd. \" width=\"800\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WINTERLAND-SF-1972-800x643.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WINTERLAND-SF-1972-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WINTERLAND-SF-1972-768x618.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WINTERLAND-SF-1972.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dakila perform at the Winterland Ballroom in San Francisco in 1972. \u003ccite>(Guerssen Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first track on their album nods to their involvement in local activism; it includes the slogan “Makibaka,” Tagalog for “struggle,” in its lyrics.\u003c/p>\n\u003cp>“Makibaka was a protest chant that was happening here in the U.S.,” says Frank, who had never spoken about Dakila in the press prior to our interview. “Filipinos were using that when they were protesting our colleges, our government.”\u003c/p>\n\u003cp>Dakila’s background probably contributed to their prescient activist turn. The band’s history is intimately connected with the issues that animated the ’70s generation of Filipino American activists: the American occupation of the Philippines, the Vietnam War and the search for a uniquely Fil-Am identity.\u003c/p>\n\u003ch2>Dakila’s rise to fame\u003c/h2>\n\u003cp>Every Filipino member of Dakila has family ties to the military bases that dot the Bay, the legacy of a government program that granted citizenship to those who served in the Army or Navy during the American occupation of the Philippines. For the Bustamante brothers, Romeo and David, as well as their cousin Frank, the rhythms of military life defined their childhood. Their dads’ army band music was the soundtrack of those years, but once they caught the Beatlemania bug as teenagers, they ditched it for the electric sound of rock’n’roll.\u003c/p>\n\u003cp>David and Romeo got their start rocking out for the school crowds of Vallejo, while Frank did the same over in the Mission, where they respectively grew up. But they didn’t get together and try to make it big until many years later, after Romeo got back from his Vietnam War conscription in Germany with an itch to make a change in his life.\u003c/p>\n\u003cp>David, who was younger than Romeo by almost a decade, was still a senior in high school when his older brother informed him of his plans. “Romeo wanted to form a band because when Santana came out in ’69, he fell in love with that music,” says David. “He had moved to the Mission and his tastes had changed — before that we were playing R&B and funk for school crowds. So he told me that when I got out of high school, I should go play with him in San Francisco.”\u003c/p>\n\u003cp>Romeo assembled a talented, multiracial group of musicians for his band, including the Ancheta cousins, two Filipino guitarists who went on to found the first Asian American hard rock band \u003ca href=\"https://goldendragonband.bandcamp.com/album/golden-dragon\">Golden Dragon\u003c/a>, and Michael Gopaul, Romeo’s brother-in-law who was also a timbales player.\u003c/p>\n\u003cp>“One of our original members was Raul Rekow,” David says, referring to Santana’s longtime conga drummer. “He actually got his start with us before he joined Santana.” In the final lineup, though, Rekow was replaced by another conguero, Carlos Badia.\u003c/p>\n\u003cp>They quickly attained prominence in the Mission’s Latin rock scene, then the focus of intense major label interest after the success of bands like Santana and Malo.\u003c/p>\n\u003cp>“Three record companies approached us and wanted to give us a record deal,” recalls David. “We were in a bidding war with our friends in Malo, but they ended up signed to Warner Brothers while we went with Epic.”\u003c/p>\n\u003cfigure id=\"attachment_13926508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926508\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n-800x530.jpg\" alt=\"A photo of Dakila rocking out on an outdoor festival stage. \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dakila live in the ’70s. \u003ccite>(Guerssen Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, the band performed under the name Soul Sacrifice — but Romeo felt like they should change their name to something that stood out, something perhaps in Tagalog, their first language. Romeo’s dad was the one who proposed the winning name Dakila, Tagalog for “great.” It put the band’s Filipino heritage front and center, and had another appeal as well.\u003c/p>\n\u003cp>“It kind of sounded like \u003cspan style=\"font-weight: 400\">‘\u003c/span>tequila,’” says Frank, laughing. “And that wasn’t a bad thing for a band to be associated with.”\u003c/p>\n\u003ch2>Dakila tries for the big leagues\u003c/h2>\n\u003cp>Dakila was up to this point a live band, and this was their first time in a record studio. “We practiced every day so we don’t waste any studio time,” says David. “We played like ten original songs for them, which the producers cut and spliced into six tracks on the album.”\u003c/p>\n\u003cp>David is still disgruntled by the producers’ edits, which the band had no say in. “They were like, you’re done recording, you guys come back in the week. Meanwhile, they sped things up and played things backwards and did studio tricks. When we finally heard it, we thought it didn’t sound like us.”\u003c/p>\n\u003cp>The meddling didn’t end with their production. For unknown reasons, Epic decided to release Dakila’s first single, the patchouli-tinged instrumental “El Dùbi,” with a comedic spoken word A-side called “\u003ca href=\"https://www.youtube.com/watch?v=ag1Lg1eTrdI\">Language Lessons\u003c/a>,” created without the band’s involvement.\u003c/p>\n\u003cp>“I didn’t know why [Epic] had to do this language thing,” says Frank with irritation. The spoken word piece posed as an instruction manual for DJs struggling to pronounce Dakila’s Tagalog song titles, but this was just an elaborate set-up for racist jokes about Filipino people (“small but wiry”) and the Tagalog language.\u003c/p>\n\u003cfigure id=\"attachment_13926522\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926522\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/dakila-album-cover-800x800.jpg\" alt=\"The members of Dakila pose around a wicker chair, surrounded by trees. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Dakila’s self-titled debut album, shot by Herb Greene in Golden Gate Park.\u003c/figcaption>\u003c/figure>\n\u003cp>Nevertheless, there was one thing about the release the band did have control over: the album cover. Shot by \u003ca href=\"https://www.herbgreenefoto.com/\">Herb Greene\u003c/a> in Golden Gate Park, it features the band members arrayed around a large, round wicker chair, an \u003ca href=\"https://www.youtube.com/watch?v=_V10kWLh71U\">omnipresent feature of album covers in the ’70s\u003c/a>.\u003c/p>\n\u003cp>“We borrowed that chair from \u003ca href=\"https://en.wikipedia.org/wiki/Mabuhay_Gardens\">Mabuhay [Gardens]\u003c/a> – it was a Filipino restaurant before it became a punk venue, you know,” says Frank. “A lot of people didn’t know this when it was trendy in the ’70s, but it was a Filipino chair, with Filipino origins.”\u003c/p>\n\u003cp>The “peacock” chair, as it is sometimes called, was first built by Filipino prisoners forced into manufacturing goods for American export during the country’s occupation by the United States. The band’s reclamation of that chair was also a reclamation of that history. In their image and in their music, Filipinos were now speaking back to their former colonizers. [aside postid='arts_13924042,arts_13905208,news_11943512']\u003c/p>\n\u003cp>Epic Records, though, didn’t know how to promote a proudly Filipino American band. After making a last ditch effort to boost sales by touring the band through Asian American hotspots in California and Hawaii, Epic quietly dropped the band and scrapped their in-progress second album.\u003c/p>\n\u003cp>“In the band, there was a lot of dissatisfaction with the way things were going,” says Frank. “Not just about the label, but also the band. Members were getting restless, saying we’re not making it because of you, because of this.”\u003c/p>\n\u003cp>“I decided to leave,” says David. “I thought, if this wasn’t going to work out, I’d rather go back to school and get a degree in something that will get me money.”\u003c/p>\n\u003cp>David wasn’t alone in thinking this way: The rest of Dakila called it quits a year after they left Epic.\u003c/p>\n\u003ch2>The band breaks up, but they aren’t forgotten\u003c/h2>\n\u003cp>Carlos Badia and Michael Gopaul left the music industry and disappeared from their bandmates’ lives after Dakila broke up, while the Ancheta cousins moved on to their other band, Golden Dragon. Frank worked his way up from a floor job at a company warehouse to becoming a programmer for that company, all without a degree, while David went to school for nursing and got a job at John Muir Health, in Concord.\u003c/p>\n\u003cp>While they got on with their lives, the band had no idea that their music was still out there, circulating in bootlegged copies in Europe, Asia and South America.\u003c/p>\n\u003cp>“A while ago, some people started telling me that my old band had been up on YouTube for a couple years now,” says David. “I was like, \u003cspan style=\"font-weight: 400\">‘\u003c/span>I don’t know.’ I wasn’t on the internet back then. I guess there are some underground people, a younger generation, who like our music. I started looking it up, and wow, people were selling us on eBay. Cassettes. CDs. Eight tracks!”\u003c/p>\n\u003cfigure id=\"attachment_13926509\" class=\"wp-caption alignright\" style=\"max-width: 776px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/David-Bustamante-in-Dakila-SF-Winterland-with-Malo-and-Buddy-Miles-Band.-1973..jpg\" alt=\"David Bustamante plays a guitar solo with great concentration.\" width=\"776\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/David-Bustamante-in-Dakila-SF-Winterland-with-Malo-and-Buddy-Miles-Band.-1973..jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/David-Bustamante-in-Dakila-SF-Winterland-with-Malo-and-Buddy-Miles-Band.-1973.-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/David-Bustamante-in-Dakila-SF-Winterland-with-Malo-and-Buddy-Miles-Band.-1973.-768x950.jpg 768w\" sizes=\"(max-width: 776px) 100vw, 776px\">\u003cfigcaption class=\"wp-caption-text\">David Bustamante at a 1973 Dakila Concert at Winterland in San Francisco, where the band performed with Malo and Buddy Miles. \u003ccite>(Guerssen Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David, now retired from his job, dedicates his time to preserving the legacy of Dakila. He tried to iron out the ownership rights from Epic Records, copyrighted Dakila’s logo and, most importantly, got the band back together.\u003c/p>\n\u003cp>“David started calling all the band members who were still around for a concert called Voices of Latin Rock,” says Frank. “The promoter of the event wanted to get all the groups that used to play in the ’70s, and he knew Dakila from way back when.”\u003c/p>\n\u003cp>What was supposed to be a one-off reunion turned into multiple event appearances throughout the Bay. The reunion began with David, Romeo, Frank and a new crop of Filipino musicians playing Dakila’s back catalog, but eventually Romeo and Frank decided to retire. Now, David, a full-time musician again, is the only one keeping Dakila alive, performing both their released music and tracks off their scrapped album that never saw the light of day.\u003c/p>\n\u003cp>Last year, for their album’s 50th anniversary, the newly reunited band partnered with Spain’s \u003ca href=\"https://guerssen.com/\">Guerssen Records\u003c/a> to put out the only official reissue of \u003cem>Dakila\u003c/em>. And David finally got his revenge on the producers: “I asked them to digitally slow the tempo down on some tracks to reflect how we wanted it,” David says. “It’s not perfect, but it’s better in my ears.”\u003c/p>\n\u003cp>As for the rest of the living members, they’re all appearing in the forthcoming documentary on the band, \u003cem>Searchin’ For My Soul\u003c/em>, which takes its title from the final track on their album.\u003c/p>\n\u003cp>“Michael wrote that one,” muses David. “It’s really about searching for your identity, you know? A lot of our music is about speaking up and showing who you are. We were one of a kind; you weren’t seeing people like us on the main stage, or on movies, or TV. Now it’s common. We have a lot of Filipino artists, like H.E.R. What we were trying to say back then is becoming reality today.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>For Dakila concert announcements and updates on their upcoming documentary, follow \u003ca href=\"https://www.instagram.com/dakilaband/\">David Bustamante \u003c/a>and the \u003c/em>\u003ca href=\"https://www.instagram.com/dakilamovie/\">Searchin’ for My Soul\u003c/a>\u003cem> film on Instagram. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13926505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926505\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1-800x630.jpg\" alt=\"\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1-800x630.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1-768x605.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/From-left-to-right-Frank-Magtoto-David-Bustamante-Bert-Ancheta-Carlos-Bato-Badia-Rome-Bustamante-Michael-Gopaul-David-DZandos-1.jpg 813w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Frank Magtoto, David Bustamante, Bert Ancheta, Carlos Bato Badia, Romeo Bustamante, Michael Gopaul and David ‘D’ Zandos. \u003ccite>(Guerssen Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dakila begins their debut album with a call to arms for the young Filipinos, Latinos, and Black kids they rubbed shoulders with as teenagers living in the Mission. “We are all brothers and sisters / Let’s work together,” they sing in Tagalog over a Latin rock groove.\u003c/p>\n\u003cp>“We were right in the middle of this wave of activism. I was hoping our band would encourage Filipinos to go out there and be counted,” says Dakila’s drummer Frank Magtoto, recalling his youth in the ’70s.\u003c/p>\n\u003cp>For a band now considered obscure, Dakila can claim some incredible achievements. After Fanny, they were the second Filipino band signed to a major label, and the first to put their Filipino identity front and center. They were the first American band to record a track in Tagalog. In their time, they were popular, playing shows for Bill Graham alongside the biggest names of their generation.\u003c/p>\n\u003cp>“Santana and Malo, the Pointer Sisters and Sly, and us. We practiced alongside them, we covered their songs, and we sometimes performed with them,” guitar player David Bustamante reminisces.\u003c/p>\n\u003cp>Along with vocalist Romeo Bustamante and conguero Carlos Badia, Frank and David were part of a crowded scene in the Mission, the Black and Brown counterpart to the San Francisco sound up in Haight-Ashbury.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We had all these other bands around us. We felt like we had to come up with a brand of our own, in music or in identity. We’re not Latinos, we’re actually Filipinos from the Mission,” recalls David, “and, on our first record, I think we wanted to expand on that.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=868204738/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Dakila is now getting the attention they have always deserved. Their debut album was reissued in Europe last year, just in time for the 50th anniversary of its release. They are the subject of a \u003ca href=\"https://www.facebook.com/dakilamovie/\">documentary\u003c/a> coming out this year called \u003ca href=\"https://www.dakilamovie.com/\">\u003cem>Searchin’ For My Soul: The Dakila Story\u003c/em>\u003c/a>, directed by local filmmaker Paul Abueg-Igaz. And David, the youngest surviving member of the band, is preparing to take Dakila to concerts across the Bay for the first time since the pandemic started, hoping to capitalize on their newfound popularity.\u003c/p>\n\u003cp>In recent interviews, what he and Frank told me was simply incredible. The story of Dakila connects with the major social struggles shaking the Bay at the time, including the birth of the Asian American protest movement and the United Farm Workers’ fight for labor rights. This political consciousness animated their work — and led to what was likely the first truly Asian American rock album in music history.\u003c/p>\n\u003ch2>The first politically Asian American album\u003c/h2>\n\u003cp>The story of Asian immigrants and their descendants in American music is as long as the history of Asian immigration itself. Every moment in American music history had their representative: Jazz had Japanese American pianist Toshiko Akiyoshi, for example, and early rock ’n’ roll had Filipino four-piece The Rocky Fellers. They certainly broke barriers for Asians in American pop culture, but these forerunners generally lacked an explicitly political, pan-continental self-image; after all, they existed before the term “Asian American” was even coined. That broader political identity only came into being in 1968, when graduate students \u003ca href=\"https://time.com/5837805/asian-american-history/\">Yuji Ichioka and Emma Gee coined the term\u003c/a> to unify activists at UC Berkeley.\u003c/p>\n\u003cp>Yellow Pearl’s folk album \u003cem>A Grain of Sand\u003c/em>, released independently in 1973, is usually cited as the first consciously Asian American album by music critics, thanks to its radical lyrics and pan-Asian philosophy. But perhaps this judgment reflects a pattern, all too common in Asian American studies, of overlooking the achievements of Filipinos. In fact, Dakila’s self-titled came out a year earlier than Yellow Pearl’s work, in 1972, and clearly expresses an Asian American consciousness, down to the decision to sing proudly in Tagalog.\u003c/p>\n\u003cp>Dakila wanted their music to represent Asian Americans, and they made several radical choices to support that movement. On their debut album’s promotional tour, they played for Asian American student groups in campuses across the West Coast. They also performed benefit concerts to fundraise for Cesar Chavez as part of the oft-forgotten Filipino contingent of the United Farm Workers movement.\u003c/p>\n\u003cfigure id=\"attachment_13926507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/WINTERLAND-SF-1972-800x643.jpg\" alt=\"An overhead shot of Dakila performing in front of a large club crowd. \" width=\"800\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WINTERLAND-SF-1972-800x643.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WINTERLAND-SF-1972-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WINTERLAND-SF-1972-768x618.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WINTERLAND-SF-1972.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dakila perform at the Winterland Ballroom in San Francisco in 1972. \u003ccite>(Guerssen Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first track on their album nods to their involvement in local activism; it includes the slogan “Makibaka,” Tagalog for “struggle,” in its lyrics.\u003c/p>\n\u003cp>“Makibaka was a protest chant that was happening here in the U.S.,” says Frank, who had never spoken about Dakila in the press prior to our interview. “Filipinos were using that when they were protesting our colleges, our government.”\u003c/p>\n\u003cp>Dakila’s background probably contributed to their prescient activist turn. The band’s history is intimately connected with the issues that animated the ’70s generation of Filipino American activists: the American occupation of the Philippines, the Vietnam War and the search for a uniquely Fil-Am identity.\u003c/p>\n\u003ch2>Dakila’s rise to fame\u003c/h2>\n\u003cp>Every Filipino member of Dakila has family ties to the military bases that dot the Bay, the legacy of a government program that granted citizenship to those who served in the Army or Navy during the American occupation of the Philippines. For the Bustamante brothers, Romeo and David, as well as their cousin Frank, the rhythms of military life defined their childhood. Their dads’ army band music was the soundtrack of those years, but once they caught the Beatlemania bug as teenagers, they ditched it for the electric sound of rock’n’roll.\u003c/p>\n\u003cp>David and Romeo got their start rocking out for the school crowds of Vallejo, while Frank did the same over in the Mission, where they respectively grew up. But they didn’t get together and try to make it big until many years later, after Romeo got back from his Vietnam War conscription in Germany with an itch to make a change in his life.\u003c/p>\n\u003cp>David, who was younger than Romeo by almost a decade, was still a senior in high school when his older brother informed him of his plans. “Romeo wanted to form a band because when Santana came out in ’69, he fell in love with that music,” says David. “He had moved to the Mission and his tastes had changed — before that we were playing R&B and funk for school crowds. So he told me that when I got out of high school, I should go play with him in San Francisco.”\u003c/p>\n\u003cp>Romeo assembled a talented, multiracial group of musicians for his band, including the Ancheta cousins, two Filipino guitarists who went on to found the first Asian American hard rock band \u003ca href=\"https://goldendragonband.bandcamp.com/album/golden-dragon\">Golden Dragon\u003c/a>, and Michael Gopaul, Romeo’s brother-in-law who was also a timbales player.\u003c/p>\n\u003cp>“One of our original members was Raul Rekow,” David says, referring to Santana’s longtime conga drummer. “He actually got his start with us before he joined Santana.” In the final lineup, though, Rekow was replaced by another conguero, Carlos Badia.\u003c/p>\n\u003cp>They quickly attained prominence in the Mission’s Latin rock scene, then the focus of intense major label interest after the success of bands like Santana and Malo.\u003c/p>\n\u003cp>“Three record companies approached us and wanted to give us a record deal,” recalls David. “We were in a bidding war with our friends in Malo, but they ended up signed to Warner Brothers while we went with Epic.”\u003c/p>\n\u003cfigure id=\"attachment_13926508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926508\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n-800x530.jpg\" alt=\"A photo of Dakila rocking out on an outdoor festival stage. \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/20615_462202417150574_1324443240_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dakila live in the ’70s. \u003ccite>(Guerssen Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, the band performed under the name Soul Sacrifice — but Romeo felt like they should change their name to something that stood out, something perhaps in Tagalog, their first language. Romeo’s dad was the one who proposed the winning name Dakila, Tagalog for “great.” It put the band’s Filipino heritage front and center, and had another appeal as well.\u003c/p>\n\u003cp>“It kind of sounded like \u003cspan style=\"font-weight: 400\">‘\u003c/span>tequila,’” says Frank, laughing. “And that wasn’t a bad thing for a band to be associated with.”\u003c/p>\n\u003ch2>Dakila tries for the big leagues\u003c/h2>\n\u003cp>Dakila was up to this point a live band, and this was their first time in a record studio. “We practiced every day so we don’t waste any studio time,” says David. “We played like ten original songs for them, which the producers cut and spliced into six tracks on the album.”\u003c/p>\n\u003cp>David is still disgruntled by the producers’ edits, which the band had no say in. “They were like, you’re done recording, you guys come back in the week. Meanwhile, they sped things up and played things backwards and did studio tricks. When we finally heard it, we thought it didn’t sound like us.”\u003c/p>\n\u003cp>The meddling didn’t end with their production. For unknown reasons, Epic decided to release Dakila’s first single, the patchouli-tinged instrumental “El Dùbi,” with a comedic spoken word A-side called “\u003ca href=\"https://www.youtube.com/watch?v=ag1Lg1eTrdI\">Language Lessons\u003c/a>,” created without the band’s involvement.\u003c/p>\n\u003cp>“I didn’t know why [Epic] had to do this language thing,” says Frank with irritation. The spoken word piece posed as an instruction manual for DJs struggling to pronounce Dakila’s Tagalog song titles, but this was just an elaborate set-up for racist jokes about Filipino people (“small but wiry”) and the Tagalog language.\u003c/p>\n\u003cfigure id=\"attachment_13926522\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926522\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/dakila-album-cover-800x800.jpg\" alt=\"The members of Dakila pose around a wicker chair, surrounded by trees. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/dakila-album-cover.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Dakila’s self-titled debut album, shot by Herb Greene in Golden Gate Park.\u003c/figcaption>\u003c/figure>\n\u003cp>Nevertheless, there was one thing about the release the band did have control over: the album cover. Shot by \u003ca href=\"https://www.herbgreenefoto.com/\">Herb Greene\u003c/a> in Golden Gate Park, it features the band members arrayed around a large, round wicker chair, an \u003ca href=\"https://www.youtube.com/watch?v=_V10kWLh71U\">omnipresent feature of album covers in the ’70s\u003c/a>.\u003c/p>\n\u003cp>“We borrowed that chair from \u003ca href=\"https://en.wikipedia.org/wiki/Mabuhay_Gardens\">Mabuhay [Gardens]\u003c/a> – it was a Filipino restaurant before it became a punk venue, you know,” says Frank. “A lot of people didn’t know this when it was trendy in the ’70s, but it was a Filipino chair, with Filipino origins.”\u003c/p>\n\u003cp>The “peacock” chair, as it is sometimes called, was first built by Filipino prisoners forced into manufacturing goods for American export during the country’s occupation by the United States. The band’s reclamation of that chair was also a reclamation of that history. In their image and in their music, Filipinos were now speaking back to their former colonizers. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Epic Records, though, didn’t know how to promote a proudly Filipino American band. After making a last ditch effort to boost sales by touring the band through Asian American hotspots in California and Hawaii, Epic quietly dropped the band and scrapped their in-progress second album.\u003c/p>\n\u003cp>“In the band, there was a lot of dissatisfaction with the way things were going,” says Frank. “Not just about the label, but also the band. Members were getting restless, saying we’re not making it because of you, because of this.”\u003c/p>\n\u003cp>“I decided to leave,” says David. “I thought, if this wasn’t going to work out, I’d rather go back to school and get a degree in something that will get me money.”\u003c/p>\n\u003cp>David wasn’t alone in thinking this way: The rest of Dakila called it quits a year after they left Epic.\u003c/p>\n\u003ch2>The band breaks up, but they aren’t forgotten\u003c/h2>\n\u003cp>Carlos Badia and Michael Gopaul left the music industry and disappeared from their bandmates’ lives after Dakila broke up, while the Ancheta cousins moved on to their other band, Golden Dragon. Frank worked his way up from a floor job at a company warehouse to becoming a programmer for that company, all without a degree, while David went to school for nursing and got a job at John Muir Health, in Concord.\u003c/p>\n\u003cp>While they got on with their lives, the band had no idea that their music was still out there, circulating in bootlegged copies in Europe, Asia and South America.\u003c/p>\n\u003cp>“A while ago, some people started telling me that my old band had been up on YouTube for a couple years now,” says David. “I was like, \u003cspan style=\"font-weight: 400\">‘\u003c/span>I don’t know.’ I wasn’t on the internet back then. I guess there are some underground people, a younger generation, who like our music. I started looking it up, and wow, people were selling us on eBay. Cassettes. CDs. Eight tracks!”\u003c/p>\n\u003cfigure id=\"attachment_13926509\" class=\"wp-caption alignright\" style=\"max-width: 776px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/David-Bustamante-in-Dakila-SF-Winterland-with-Malo-and-Buddy-Miles-Band.-1973..jpg\" alt=\"David Bustamante plays a guitar solo with great concentration.\" width=\"776\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/David-Bustamante-in-Dakila-SF-Winterland-with-Malo-and-Buddy-Miles-Band.-1973..jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/David-Bustamante-in-Dakila-SF-Winterland-with-Malo-and-Buddy-Miles-Band.-1973.-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/David-Bustamante-in-Dakila-SF-Winterland-with-Malo-and-Buddy-Miles-Band.-1973.-768x950.jpg 768w\" sizes=\"(max-width: 776px) 100vw, 776px\">\u003cfigcaption class=\"wp-caption-text\">David Bustamante at a 1973 Dakila Concert at Winterland in San Francisco, where the band performed with Malo and Buddy Miles. \u003ccite>(Guerssen Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David, now retired from his job, dedicates his time to preserving the legacy of Dakila. He tried to iron out the ownership rights from Epic Records, copyrighted Dakila’s logo and, most importantly, got the band back together.\u003c/p>\n\u003cp>“David started calling all the band members who were still around for a concert called Voices of Latin Rock,” says Frank. “The promoter of the event wanted to get all the groups that used to play in the ’70s, and he knew Dakila from way back when.”\u003c/p>\n\u003cp>What was supposed to be a one-off reunion turned into multiple event appearances throughout the Bay. The reunion began with David, Romeo, Frank and a new crop of Filipino musicians playing Dakila’s back catalog, but eventually Romeo and Frank decided to retire. Now, David, a full-time musician again, is the only one keeping Dakila alive, performing both their released music and tracks off their scrapped album that never saw the light of day.\u003c/p>\n\u003cp>Last year, for their album’s 50th anniversary, the newly reunited band partnered with Spain’s \u003ca href=\"https://guerssen.com/\">Guerssen Records\u003c/a> to put out the only official reissue of \u003cem>Dakila\u003c/em>. And David finally got his revenge on the producers: “I asked them to digitally slow the tempo down on some tracks to reflect how we wanted it,” David says. “It’s not perfect, but it’s better in my ears.”\u003c/p>\n\u003cp>As for the rest of the living members, they’re all appearing in the forthcoming documentary on the band, \u003cem>Searchin’ For My Soul\u003c/em>, which takes its title from the final track on their album.\u003c/p>\n\u003cp>“Michael wrote that one,” muses David. “It’s really about searching for your identity, you know? A lot of our music is about speaking up and showing who you are. We were one of a kind; you weren’t seeing people like us on the main stage, or on movies, or TV. Now it’s common. We have a lot of Filipino artists, like H.E.R. What we were trying to say back then is becoming reality today.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>For Dakila concert announcements and updates on their upcoming documentary, follow \u003ca href=\"https://www.instagram.com/dakilaband/\">David Bustamante \u003c/a>and the \u003c/em>\u003ca href=\"https://www.instagram.com/dakilamovie/\">Searchin’ for My Soul\u003c/a>\u003cem> film on Instagram. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "identities-penelope-houston-xandra-ibarra-mugshots-sfpl",
"title": "Two SFPL Shows Look for Humanity in City Mugshots and Official IDs",
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"content": "\u003cp>On the sixth floor of San Francisco’s main public library, there are two large antique cabinets currently serving as holding cells. Inside them are century-old mugshots from the city’s past. The cabinets are split by gender, like jails — six men in one, six women in the other. The subjects’ faces are depicted face-forward and in profile, as the cops would have directed. But these are no ordinary mugshots.\u003c/p>\n\u003cp>Their faces are alive with expression and color, painted out of their respective black-and-white corners from history and back into vibrant existence.\u003c/p>\n\u003cp>These oil paintings are the work of \u003ca href=\"http://penelopehouston.com/\">Penelope Houston\u003c/a>, one-time vocalist for the legendary San Francisco punk band \u003ca href=\"https://www.youtube.com/watch?v=zUmBCPbCNdg\">The Avengers\u003c/a> and current-day artist and \u003ca href=\"https://www.youtube.com/watch?v=oh2CRYn2qSQ\">solo singer-songwriter\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13926416\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926416\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/William700_comp.jpg\" alt=\"Two paintings of mugshots of The bottom row shows a Black man with chiseled features looking defiant\" width=\"1440\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-800x389.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-1020x496.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-768x373.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Penelope Houston’s painting of William Williams, arrested in 1919. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Houston’s paintings of alleged criminals from San Francisco history bring humanity back to the individuals who were photographed in the middle of what was probably a thoroughly dehumanizing experience. Houston effectively relays their expressions, which vacillate between resigned indifference and barely contained contempt. One man arrested on charges related to homosexuality, William Williams, holds his head high and unrepentant. He was photographed in 1919.\u003c/p>\n\u003cp>Houston’s series, titled \u003cem>The Accused\u003c/em>, is on display as part of \u003cem>\u003ca href=\"https://sfpl.org/exhibits/2023/03/11/artists-archive\">Artists in the Archive\u003c/a>\u003c/em>, a two-person show with \u003ca href=\"https://www.xandraibarra.com/about/\">Xandra Ibarra\u003c/a>, whose work transforms SFPD mugshots into large-scale photo collages. Ibarra’s images, the result of a \u003ca href=\"https://www.sfartscommission.org/content/artist-residence-program\">San Francisco Arts Commission residency\u003c/a> at the SFPL, invite the viewer to focus particularly on the eyes of the accused. In one piece, \u003cem>Keeping a Disorderly House of Prostitution\u003c/em>, a plump white woman with rail-thin eyebrows wears a hardened expression — but her eyes look close to tears.\u003c/p>\n\u003cfigure id=\"attachment_13926423\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution.jpg\" alt=\"Mugshot of woman on cream paper with information on her arrest\" width=\"2000\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-1020x408.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-1536x614.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-1920x768.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, ‘Keeping a Disorderly House of Prostitution.’ \u003ccite>(Courtesy of SFPL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Accompanying Houston and Ibarra’s work is a video screen showing page after page of mugshots taken between December 1918 and June 1919, as well as a seven-month period of 1938. The scans are from the SFPD Records held at the San Francisco History Center, also \u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A204847?solr_nav%5Bid%5D=6cdfe4bd235a376eb26e&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=1#page/4/mode/2up\">available online\u003c/a>. The men featured are accused of a variety of sex crimes, including pimping. The women are all accused of sex work. The faces of the more mature women speak volumes about the toughness of their alleged profession.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In tandem with the \u003cem>Artists in the Archive\u003c/em> show is \u003cem>\u003ca href=\"https://sfpl.org/exhibits/2023/03/11/san-francisco-identities\">San Francisco IDentities\u003c/a>\u003c/em>, also on display on the library’s sixth floor. This exhibit is a mishmash of identification documents from the History Center’s collections that are mostly interesting in their own right but don’t always make a lot of sense together.\u003c/p>\n\u003cp>There are joyous little nuggets from the city’s past, like ticket books for 1915’s Panama-Pacific International Exposition, complete with the photo IDs of official vendors. There are fascinating mugshot books and headshots of enlisted men serving in World War II. There is even, shamefully, the paperwork of German citizens residing in California who were forced to register as “Alien Enemies” in 1917.\u003c/p>\n\u003cfigure id=\"attachment_13926427\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/sfid-title-collage-220316.jpg\" alt=\"Various forms of identification overlaid\" width=\"1500\" height=\"973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-768x498.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Materials included in the ‘San Francisco IDentities’ exhibition. \u003ccite>(Courtesy of SFPL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are less compelling artifacts on display too. Random drivers’ licenses, school photos, festival laminate passes that are less than 20 years old, and a head-scratching collection of passports. (Even as a fan of \u003ca href=\"https://en.wikipedia.org/wiki/Gay_American_Indians\">Gay American Indians\u003c/a> founder \u003ca href=\"https://www.kqed.org/arts/13889944/the-indigenous-activist-who-demanded-inclusion-for-all-lgbtq-people\">Barbara May Cameron\u003c/a>, I remain perplexed about how to receive seeing a copy of her passport.)\u003c/p>\n\u003cp>Had \u003cem>San Francisco IDentities\u003c/em> stuck solely to issues relating to criminal justice — as \u003cem>Artists in the Archive\u003c/em> does — a more cohesive pairing would have resulted. Still, there is much to enjoy in these companion exhibits and a mountain of food for thought. In particular, years from now, how would you best like to be remembered? For anyone who has ever been accused of a crime, you might not have much say in the matter.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Artists in the Archive’ and ‘San Francisco IDentities’ are on display outside the San Francisco History Center, on the sixth floor of the San Francisco Public Library (100 Larkin St.), through June 8, 2023. \u003ca href=\"https://sfpl.org/exhibits/2023/03/11/artists-archive\">Details here\u003c/a>. Houston and Ibarra will be discussing their work there on Saturday, March 18 at 1 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the sixth floor of San Francisco’s main public library, there are two large antique cabinets currently serving as holding cells. Inside them are century-old mugshots from the city’s past. The cabinets are split by gender, like jails — six men in one, six women in the other. The subjects’ faces are depicted face-forward and in profile, as the cops would have directed. But these are no ordinary mugshots.\u003c/p>\n\u003cp>Their faces are alive with expression and color, painted out of their respective black-and-white corners from history and back into vibrant existence.\u003c/p>\n\u003cp>These oil paintings are the work of \u003ca href=\"http://penelopehouston.com/\">Penelope Houston\u003c/a>, one-time vocalist for the legendary San Francisco punk band \u003ca href=\"https://www.youtube.com/watch?v=zUmBCPbCNdg\">The Avengers\u003c/a> and current-day artist and \u003ca href=\"https://www.youtube.com/watch?v=oh2CRYn2qSQ\">solo singer-songwriter\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13926416\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926416\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/William700_comp.jpg\" alt=\"Two paintings of mugshots of The bottom row shows a Black man with chiseled features looking defiant\" width=\"1440\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-800x389.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-1020x496.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-768x373.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Penelope Houston’s painting of William Williams, arrested in 1919. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Houston’s paintings of alleged criminals from San Francisco history bring humanity back to the individuals who were photographed in the middle of what was probably a thoroughly dehumanizing experience. Houston effectively relays their expressions, which vacillate between resigned indifference and barely contained contempt. One man arrested on charges related to homosexuality, William Williams, holds his head high and unrepentant. He was photographed in 1919.\u003c/p>\n\u003cp>Houston’s series, titled \u003cem>The Accused\u003c/em>, is on display as part of \u003cem>\u003ca href=\"https://sfpl.org/exhibits/2023/03/11/artists-archive\">Artists in the Archive\u003c/a>\u003c/em>, a two-person show with \u003ca href=\"https://www.xandraibarra.com/about/\">Xandra Ibarra\u003c/a>, whose work transforms SFPD mugshots into large-scale photo collages. Ibarra’s images, the result of a \u003ca href=\"https://www.sfartscommission.org/content/artist-residence-program\">San Francisco Arts Commission residency\u003c/a> at the SFPL, invite the viewer to focus particularly on the eyes of the accused. In one piece, \u003cem>Keeping a Disorderly House of Prostitution\u003c/em>, a plump white woman with rail-thin eyebrows wears a hardened expression — but her eyes look close to tears.\u003c/p>\n\u003cfigure id=\"attachment_13926423\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution.jpg\" alt=\"Mugshot of woman on cream paper with information on her arrest\" width=\"2000\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-1020x408.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-1536x614.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-1920x768.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, ‘Keeping a Disorderly House of Prostitution.’ \u003ccite>(Courtesy of SFPL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Accompanying Houston and Ibarra’s work is a video screen showing page after page of mugshots taken between December 1918 and June 1919, as well as a seven-month period of 1938. The scans are from the SFPD Records held at the San Francisco History Center, also \u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A204847?solr_nav%5Bid%5D=6cdfe4bd235a376eb26e&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=1#page/4/mode/2up\">available online\u003c/a>. The men featured are accused of a variety of sex crimes, including pimping. The women are all accused of sex work. The faces of the more mature women speak volumes about the toughness of their alleged profession.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In tandem with the \u003cem>Artists in the Archive\u003c/em> show is \u003cem>\u003ca href=\"https://sfpl.org/exhibits/2023/03/11/san-francisco-identities\">San Francisco IDentities\u003c/a>\u003c/em>, also on display on the library’s sixth floor. This exhibit is a mishmash of identification documents from the History Center’s collections that are mostly interesting in their own right but don’t always make a lot of sense together.\u003c/p>\n\u003cp>There are joyous little nuggets from the city’s past, like ticket books for 1915’s Panama-Pacific International Exposition, complete with the photo IDs of official vendors. There are fascinating mugshot books and headshots of enlisted men serving in World War II. There is even, shamefully, the paperwork of German citizens residing in California who were forced to register as “Alien Enemies” in 1917.\u003c/p>\n\u003cfigure id=\"attachment_13926427\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/sfid-title-collage-220316.jpg\" alt=\"Various forms of identification overlaid\" width=\"1500\" height=\"973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-768x498.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Materials included in the ‘San Francisco IDentities’ exhibition. \u003ccite>(Courtesy of SFPL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are less compelling artifacts on display too. Random drivers’ licenses, school photos, festival laminate passes that are less than 20 years old, and a head-scratching collection of passports. (Even as a fan of \u003ca href=\"https://en.wikipedia.org/wiki/Gay_American_Indians\">Gay American Indians\u003c/a> founder \u003ca href=\"https://www.kqed.org/arts/13889944/the-indigenous-activist-who-demanded-inclusion-for-all-lgbtq-people\">Barbara May Cameron\u003c/a>, I remain perplexed about how to receive seeing a copy of her passport.)\u003c/p>\n\u003cp>Had \u003cem>San Francisco IDentities\u003c/em> stuck solely to issues relating to criminal justice — as \u003cem>Artists in the Archive\u003c/em> does — a more cohesive pairing would have resulted. Still, there is much to enjoy in these companion exhibits and a mountain of food for thought. In particular, years from now, how would you best like to be remembered? For anyone who has ever been accused of a crime, you might not have much say in the matter.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Artists in the Archive’ and ‘San Francisco IDentities’ are on display outside the San Francisco History Center, on the sixth floor of the San Francisco Public Library (100 Larkin St.), through June 8, 2023. \u003ca href=\"https://sfpl.org/exhibits/2023/03/11/artists-archive\">Details here\u003c/a>. Houston and Ibarra will be discussing their work there on Saturday, March 18 at 1 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Birds’ Is Turning 60 — What’s That Creepy-Ass Song the Kids Were Singing Anyway?",
"headTitle": "‘The Birds’ Is Turning 60 — What’s That Creepy-Ass Song the Kids Were Singing Anyway? | KQED",
"content": "\u003cp>\u003cem>The Birds\u003c/em> turns 60 on March 28, and the film remains just as unnerving now as it was when it came out in 1963. Based on a \u003ca href=\"https://en.wikipedia.org/wiki/The_Birds_(story)\" target=\"_blank\" rel=\"noopener noreferrer\">1952 Daphne du Maurier story\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13904911/bay-area-horror-movies\" target=\"_blank\" rel=\"noopener noreferrer\">inspired by a real-life incident\u003c/a> in which \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">residents of Capitola were attacked\u003c/a> by unhinged seabirds, the Hitchcock classic remains a Bay Area favorite.\u003c/p>\n\u003cp>In case you’re one of the three people here who hasn’t yet seen it, the story goes a little something like this: After San Francisco gal-about-town Melanie Daniels (played by Tippi Hedren) goes to Bodega Bay (for what can only be described as a thirsty prank), the small community is subjected to increasingly violent attacks by a variety of birds. Chimneys are invaded! Windows are smashed! Eyes are pecked out! Teachers are murdered! As the attacks increase in severity, Melanie is transformed from a confident practical joker into a shell of herself.\u003c/p>\n\u003cp>[aside postid='arts_13904911']At Melanie’s side is the Brenner family. There’s her love interest, Mitch (Rod Taylor), Mitch’s mom Lydia (Jessica Tandy) and his little sister Cathy (Veronica Cartwright). Try to ignore the fact that the math in this family makes no sense at all. Lydia is in her fifties, Mitch is in his thirties, but Cathy is \u003cem>just\u003c/em> turning 11? (Talk about a 1950s miracle baby!)\u003c/p>\n\u003cp>At one point, after the first avian-inflicted deaths start to occur, Melanie goes to collect Cathy from school. What follows is probably the most iconic scene in the whole movie. As Melanie waits on a bench outside, smoking a cigarette, crows eerily gather on a climbing frame behind her. All the while, the children inside can be heard singing a folksy refrain, heightening the sense of impending doom.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=19r7ctge2lI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Given that \u003cem>The Birds\u003c/em> has no musical score and is soundtracked almost entirely by the sound of screeching birds, the children’s song carries a particular sense of foreboding. Their repetitive little ditty has creeped me out since I was a child myself, and it continues to do so. In part, because it sounds like a song that is intrinsically designed to drive you mad if you listen to it for long enough.\u003c/p>\n\u003cp>So where the hell did this thing come from?\u003c/p>\n\u003cp>It’s called “Risselty Rosselty” and the version that we hear in \u003cem>The Birds\u003c/em> goes a little something like this:\u003c/p>\n\u003cblockquote>\u003cp>I married my wife in the month of June,\u003cbr>\nRisselty rosselty, now, now, now,\u003cbr>\nI brought her home by the light of the moon,\u003cbr>\nRisselty rosselty, hey Johnny Dosselty,\u003cbr>\nNickety nackety, rustical quality,\u003cbr>\nWillickey wallackey now, now, now.\u003c/p>\u003c/blockquote>\n\u003cp>In subsequent verses, while the more nonsensical lines remain roughly the same, the first and third lines often change to push the song’s narrative along.\u003c/p>\n\u003cp>In the second verse, we find out that the wife “combed her hair but once a year,” and that “with every stroke, she shed a tear.” In the fifth we hear that she “swept up the floor but once a year,” and “said that brooms were much too dear.” In the seventh, the wife churns “butter in her dad’s old boot,” and “for a catch, she used her foot.” In the seventh, things get even grosser: “The butter, it came out a grisly grey,” and “the cheese, it took legs and ran away.” In the ninth, her husband finally tries to put his foot down and fails. “I asked my wife to wash the floor,” this verse goes, “she gave me my hat and she showed me the door.”\u003c/p>\n\u003cp>The version of “Risselty Rosselty” that we hear in \u003cem>The Birds\u003c/em> is actually a sanitized rendition of a 19th century Scottish folk song called “Wee Cooper O’Fife,” in which a wife is failing to perform her household duties.\u003c/p>\n\u003cp>Sample verse:\u003c/p>\n\u003cblockquote>\u003cp>She wadna wash, nor she wadna wring,\u003cbr>\nNickety, Nackety, noo, noo, noo,\u003cbr>\nFor the spoiling o’ her gowden ring,\u003cbr>\nHey Willy Wallacky, hoo John Dougal,\u003cbr>\nA lane, quo’Rushity, roue, roue, roue.\u003c/p>\u003c/blockquote>\n\u003cp>In this original, wee Cooper (the husband), frustrated by his wife’s vanity and laziness, takes to physically abusing her to teach her a lesson.\u003c/p>\n\u003cp>Yeah.\u003c/p>\n\u003cp>At one point he lays “sheep’s skin” on her back before beating her.\u003c/p>\n\u003cblockquote>\u003cp>The Cooper has gane to his woo’ pack,\u003cbr>\nNickety, Nackety, noo, noo, noo,\u003cbr>\nAnd he’s laid a sheep’s skin on his wife’s back,\u003cbr>\nHey Willy Wallacky, hoo John Dougal,\u003cbr>\nA lane, quo’Rushity, roue, roue, roue.\u003c/p>\n\u003cp>It’s I’ll no thrash ye for your gentle kin,\u003cbr>\nNickety, Nackety, noo, noo, noo,\u003cbr>\nBut I will thrash my ain sheep’s skin,\u003cbr>\nHey Willy Wallacky, hoo John Dougal,\u003cbr>\nA lane, quo’Rushity, roue, roue, roue.\u003c/p>\u003c/blockquote>\n\u003cp>(No wonder \u003cem>The Birds\u003c/em> didn’t go with the original.)\u003c/p>\n\u003cp>“Wee Cooper O’ Fife,” it turns out, originally arrived in the United States sometime at the turn of the 19th century, and was later recorded by a variety of American folk artists including \u003ca href=\"https://www.youtube.com/watch?v=QFb_xMF5GTI\" target=\"_blank\" rel=\"noopener noreferrer\">Burl Ives\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=dagbxOZ9D5Q\" target=\"_blank\" rel=\"noopener noreferrer\">Glenn Yarbrough\u003c/a>. The version we hear in \u003cem>The Birds\u003c/em>, however, is more closely based on a rendition by Pete Seeger from 1957 that erased all of that uncomfortable domestic violence stuff.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mzguForOrjI\u003c/p>\n\u003cp>(Seeger’s sister \u003ca href=\"https://www.youtube.com/watch?v=nzB_EjRA5j0\" target=\"_blank\" rel=\"noopener noreferrer\">Peggy also recorded a version\u003c/a>.)\u003c/p>\n\u003cp>[aside postid='arts_13921101']“Risselty-Rosselty” wound up in \u003cem>The Birds\u003c/em> almost by happenstance. Legend has it that Alfred Hitchcock asked the movie’s scriptwriter \u003ca href=\"https://en.wikipedia.org/wiki/Evan_Hunter\" target=\"_blank\" rel=\"noopener noreferrer\">Evan Hunter\u003c/a> to come up with an appropriate song to soundtrack Melanie’s anxiety as she waits for Cathy outside the schoolhouse. For inspiration, Hunter asked his three sons about songs they were singing at school and “Risselty-Rosselty” happened to be one of them. Hunter picked up the lyrics from a teacher at his sons’ school in Westchester, New York, and updated them to better fit the movie, and the times.\u003c/p>\n\u003cp>The scene of course culminates in \u003ca href=\"https://www.youtube.com/watch?v=hplpQt424Ls\" target=\"_blank\" rel=\"noopener noreferrer\">scores of children getting attacked by the crows\u003c/a>, as they run screaming from their school. Gloriously, the original schoolhouse still stands in Bodega Bay, albeit with a fence around it and a request from its residents not to approach the front door.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Should you wish to pay it a visit, you know what the soundtrack should be.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Birds\u003c/em> turns 60 on March 28, and the film remains just as unnerving now as it was when it came out in 1963. Based on a \u003ca href=\"https://en.wikipedia.org/wiki/The_Birds_(story)\" target=\"_blank\" rel=\"noopener noreferrer\">1952 Daphne du Maurier story\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13904911/bay-area-horror-movies\" target=\"_blank\" rel=\"noopener noreferrer\">inspired by a real-life incident\u003c/a> in which \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">residents of Capitola were attacked\u003c/a> by unhinged seabirds, the Hitchcock classic remains a Bay Area favorite.\u003c/p>\n\u003cp>In case you’re one of the three people here who hasn’t yet seen it, the story goes a little something like this: After San Francisco gal-about-town Melanie Daniels (played by Tippi Hedren) goes to Bodega Bay (for what can only be described as a thirsty prank), the small community is subjected to increasingly violent attacks by a variety of birds. Chimneys are invaded! Windows are smashed! Eyes are pecked out! Teachers are murdered! As the attacks increase in severity, Melanie is transformed from a confident practical joker into a shell of herself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Given that \u003cem>The Birds\u003c/em> has no musical score and is soundtracked almost entirely by the sound of screeching birds, the children’s song carries a particular sense of foreboding. Their repetitive little ditty has creeped me out since I was a child myself, and it continues to do so. In part, because it sounds like a song that is intrinsically designed to drive you mad if you listen to it for long enough.\u003c/p>\n\u003cp>So where the hell did this thing come from?\u003c/p>\n\u003cp>It’s called “Risselty Rosselty” and the version that we hear in \u003cem>The Birds\u003c/em> goes a little something like this:\u003c/p>\n\u003cblockquote>\u003cp>I married my wife in the month of June,\u003cbr>\nRisselty rosselty, now, now, now,\u003cbr>\nI brought her home by the light of the moon,\u003cbr>\nRisselty rosselty, hey Johnny Dosselty,\u003cbr>\nNickety nackety, rustical quality,\u003cbr>\nWillickey wallackey now, now, now.\u003c/p>\u003c/blockquote>\n\u003cp>In subsequent verses, while the more nonsensical lines remain roughly the same, the first and third lines often change to push the song’s narrative along.\u003c/p>\n\u003cp>In the second verse, we find out that the wife “combed her hair but once a year,” and that “with every stroke, she shed a tear.” In the fifth we hear that she “swept up the floor but once a year,” and “said that brooms were much too dear.” In the seventh, the wife churns “butter in her dad’s old boot,” and “for a catch, she used her foot.” In the seventh, things get even grosser: “The butter, it came out a grisly grey,” and “the cheese, it took legs and ran away.” In the ninth, her husband finally tries to put his foot down and fails. “I asked my wife to wash the floor,” this verse goes, “she gave me my hat and she showed me the door.”\u003c/p>\n\u003cp>The version of “Risselty Rosselty” that we hear in \u003cem>The Birds\u003c/em> is actually a sanitized rendition of a 19th century Scottish folk song called “Wee Cooper O’Fife,” in which a wife is failing to perform her household duties.\u003c/p>\n\u003cp>Sample verse:\u003c/p>\n\u003cblockquote>\u003cp>She wadna wash, nor she wadna wring,\u003cbr>\nNickety, Nackety, noo, noo, noo,\u003cbr>\nFor the spoiling o’ her gowden ring,\u003cbr>\nHey Willy Wallacky, hoo John Dougal,\u003cbr>\nA lane, quo’Rushity, roue, roue, roue.\u003c/p>\u003c/blockquote>\n\u003cp>In this original, wee Cooper (the husband), frustrated by his wife’s vanity and laziness, takes to physically abusing her to teach her a lesson.\u003c/p>\n\u003cp>Yeah.\u003c/p>\n\u003cp>At one point he lays “sheep’s skin” on her back before beating her.\u003c/p>\n\u003cblockquote>\u003cp>The Cooper has gane to his woo’ pack,\u003cbr>\nNickety, Nackety, noo, noo, noo,\u003cbr>\nAnd he’s laid a sheep’s skin on his wife’s back,\u003cbr>\nHey Willy Wallacky, hoo John Dougal,\u003cbr>\nA lane, quo’Rushity, roue, roue, roue.\u003c/p>\n\u003cp>It’s I’ll no thrash ye for your gentle kin,\u003cbr>\nNickety, Nackety, noo, noo, noo,\u003cbr>\nBut I will thrash my ain sheep’s skin,\u003cbr>\nHey Willy Wallacky, hoo John Dougal,\u003cbr>\nA lane, quo’Rushity, roue, roue, roue.\u003c/p>\u003c/blockquote>\n\u003cp>(No wonder \u003cem>The Birds\u003c/em> didn’t go with the original.)\u003c/p>\n\u003cp>“Wee Cooper O’ Fife,” it turns out, originally arrived in the United States sometime at the turn of the 19th century, and was later recorded by a variety of American folk artists including \u003ca href=\"https://www.youtube.com/watch?v=QFb_xMF5GTI\" target=\"_blank\" rel=\"noopener noreferrer\">Burl Ives\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=dagbxOZ9D5Q\" target=\"_blank\" rel=\"noopener noreferrer\">Glenn Yarbrough\u003c/a>. The version we hear in \u003cem>The Birds\u003c/em>, however, is more closely based on a rendition by Pete Seeger from 1957 that erased all of that uncomfortable domestic violence stuff.\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/mzguForOrjI'\n title='//www.youtube.com/embed/mzguForOrjI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>(Seeger’s sister \u003ca href=\"https://www.youtube.com/watch?v=nzB_EjRA5j0\" target=\"_blank\" rel=\"noopener noreferrer\">Peggy also recorded a version\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Risselty-Rosselty” wound up in \u003cem>The Birds\u003c/em> almost by happenstance. Legend has it that Alfred Hitchcock asked the movie’s scriptwriter \u003ca href=\"https://en.wikipedia.org/wiki/Evan_Hunter\" target=\"_blank\" rel=\"noopener noreferrer\">Evan Hunter\u003c/a> to come up with an appropriate song to soundtrack Melanie’s anxiety as she waits for Cathy outside the schoolhouse. For inspiration, Hunter asked his three sons about songs they were singing at school and “Risselty-Rosselty” happened to be one of them. Hunter picked up the lyrics from a teacher at his sons’ school in Westchester, New York, and updated them to better fit the movie, and the times.\u003c/p>\n\u003cp>The scene of course culminates in \u003ca href=\"https://www.youtube.com/watch?v=hplpQt424Ls\" target=\"_blank\" rel=\"noopener noreferrer\">scores of children getting attacked by the crows\u003c/a>, as they run screaming from their school. Gloriously, the original schoolhouse still stands in Bodega Bay, albeit with a fence around it and a request from its residents not to approach the front door.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Should you wish to pay it a visit, you know what the soundtrack should be.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From The Soil: Protecting Sacred Land In The South Bay",
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"content": "\u003cp>At the southern edge of the South Bay in Santa Clara County, where the foothills of the Santa Cruz Mountains meet the town of Gilroy, there is a grassy pasture. Here, a small stream runs through acres of land while cattle graze and birds fly above.\u003c/p>\n\u003cp>This piece of land is a proposed mining site—but it’s also traditional ceremonial ground for the \u003ca href=\"https://amahmutsun.org/\" target=\"_blank\" rel=\"noopener\">Amah Mutsun Tribal Band\u003c/a>.\u003c/p>\n\u003cp>For over 200 years, the Amah Mutsun have been unable to access one of their most sacred sites, known as \u003ca href=\"https://www.protectjuristac.org/about/\">Juristac.\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Juristac translates to the place of the Big Head. \u003c/span>\u003cspan style=\"font-weight: 400\">Our most important ceremonies were Big Head ceremonies. And so this location is where our ancestors, for thousands and thousands of years, held Big Head dances and ceremony,” says Valentin Lopez, chairman of the Amah Mutsun Tribal Band.\u003c/span>\u003c/p>\n\u003cp>For the last seven years the tribal band has organized support from the local community, religious leaders, conservation groups and nearby city councils to stand in support against the development of the Sargent Quarry project, a proposal to use the land for mining purposes.\u003c/p>\n\u003cfigure id=\"attachment_13926062\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13926062 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/DSC05038-800x533.jpg\" alt=\"A view of Juristac's grassy fields with a stream running through it and cows grazing amongst rolling hills in the distance.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05038-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05038-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05038-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05038-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05038-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05038-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juristac’s grasslands, oak woodland, freshwater ponds and streams offer vital habitat for an array of species. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Santa Clara Board of Supervisors is currently reviewing the proposed mining project’s \u003ca href=\"https://plandev.sccgov.org/policies-programs/smara/sargent\">environmental impact report\u003c/a>.\u003c/p>\n\u003cp>This week we hear from Valentin Lopez , the tribal chairman of the Amah Mutsun, speak about the historical and spiritual significance of Juristac, and the movement to protect the land for the Amah Mutsun.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC1911012959\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"http://bit.ly/3J6DGQJ\">Read the episode transcript.\u003c/a>\u003c/p>\n\u003cp>\u003cem>Below are lightly edited excerpts of our conversation with Valentin Lopez. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Marisol: The proposed plans for this mining project include making three open-pit quarries that would extend 250 feet deep in order to remove sand and gravel from this site, for the next 30 years. On a personal level, what did it feel like when you first heard about this private firm wanting to develop a mine? \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Valentin\u003cspan style=\"font-weight: 400\">: When we see this mining permit come in, we say that this is just the continuation of that brutality, that erasure, that destruction of the Amah Mutsun. \u003c/span>\u003cspan style=\"font-weight: 400\">When you look at our history in those periods of colonization, there were actually three periods of very brutal, brutal colonization in which the populations of our tribe was reduced by 96% to 98%.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Spanish mission period, the Mexican period, and then the American California period. You know, all three of those periods wanted to destroy our spirituality. They wanted to destroy our culture. They wanted to destroy our Indigenous knowledge. They wanted to destroy our environments. F\u003c/span>\u003cspan style=\"font-weight: 400\">or example, just to the east of here, there were four natural lakes. We had seven villages at those four lakes and we had large populations at those lakes. But, they drained those lakes for agriculture. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marisol: What is like the ideal scenario to happen here? How do you want this land to be used? \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Valentin: Well, the most important thing is to stop the mining permit from being approved. And then after that, finding a way for the conservation organizations to somehow come into possession of the lands so that we can ensure that it’s never again threatened by any development. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But then beyond that, we would like our tribe to have rights to return to these lands for ceremony, for managing and stewarding the land so that we can bring back our food plants and our medicine plants. But a\u003c/span>\u003cspan style=\"font-weight: 400\">lso education of the public to let them know about the true history of Amah Mutsun and the true history of Native American tribes in California.\u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marisol: How do you keep motivated to fight this long fight? \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Valentin: I see the way that the one, two or three generations before me and what they had to deal with and the conditions they had to live in. \u003c/span>And I see the impact of the historic trauma that resulted from that history has impacted our members.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For us to accept the laws of the county that allow them to destroy our most sacred site with the mining permit, we can’t accept that. \u003c/span>To allow them to have laws that they continue to keep us landless, to keep us in poverty, we can’t accept that.\u003c/p>\n\u003cfigure id=\"attachment_13926029\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13926029 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/DSC05045-800x533.jpg\" alt=\"Amah Mutsun tribal chair leader Valentin Lopez looks at a green pasture where cattle graze on either side of a small stream; this is a sacred site for the tribe known as Juristac. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05045-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05045-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05045-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05045-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05045-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05045-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05045-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amah Mutsun tribal chair leader Valentin Lopez looks at a green pasture where cattle graze on either side of a small stream; this is a sacred site known as Juristac. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the southern edge of the South Bay in Santa Clara County, where the foothills of the Santa Cruz Mountains meet the town of Gilroy, there is a grassy pasture. Here, a small stream runs through acres of land while cattle graze and birds fly above.\u003c/p>\n\u003cp>This piece of land is a proposed mining site—but it’s also traditional ceremonial ground for the \u003ca href=\"https://amahmutsun.org/\" target=\"_blank\" rel=\"noopener\">Amah Mutsun Tribal Band\u003c/a>.\u003c/p>\n\u003cp>For over 200 years, the Amah Mutsun have been unable to access one of their most sacred sites, known as \u003ca href=\"https://www.protectjuristac.org/about/\">Juristac.\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Juristac translates to the place of the Big Head. \u003c/span>\u003cspan style=\"font-weight: 400\">Our most important ceremonies were Big Head ceremonies. And so this location is where our ancestors, for thousands and thousands of years, held Big Head dances and ceremony,” says Valentin Lopez, chairman of the Amah Mutsun Tribal Band.\u003c/span>\u003c/p>\n\u003cp>For the last seven years the tribal band has organized support from the local community, religious leaders, conservation groups and nearby city councils to stand in support against the development of the Sargent Quarry project, a proposal to use the land for mining purposes.\u003c/p>\n\u003cfigure id=\"attachment_13926062\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13926062 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/DSC05038-800x533.jpg\" alt=\"A view of Juristac's grassy fields with a stream running through it and cows grazing amongst rolling hills in the distance.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05038-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05038-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05038-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05038-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05038-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05038-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juristac’s grasslands, oak woodland, freshwater ponds and streams offer vital habitat for an array of species. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Santa Clara Board of Supervisors is currently reviewing the proposed mining project’s \u003ca href=\"https://plandev.sccgov.org/policies-programs/smara/sargent\">environmental impact report\u003c/a>.\u003c/p>\n\u003cp>This week we hear from Valentin Lopez , the tribal chairman of the Amah Mutsun, speak about the historical and spiritual significance of Juristac, and the movement to protect the land for the Amah Mutsun.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC1911012959\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"http://bit.ly/3J6DGQJ\">Read the episode transcript.\u003c/a>\u003c/p>\n\u003cp>\u003cem>Below are lightly edited excerpts of our conversation with Valentin Lopez. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Marisol: The proposed plans for this mining project include making three open-pit quarries that would extend 250 feet deep in order to remove sand and gravel from this site, for the next 30 years. On a personal level, what did it feel like when you first heard about this private firm wanting to develop a mine? \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Valentin\u003cspan style=\"font-weight: 400\">: When we see this mining permit come in, we say that this is just the continuation of that brutality, that erasure, that destruction of the Amah Mutsun. \u003c/span>\u003cspan style=\"font-weight: 400\">When you look at our history in those periods of colonization, there were actually three periods of very brutal, brutal colonization in which the populations of our tribe was reduced by 96% to 98%.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Spanish mission period, the Mexican period, and then the American California period. You know, all three of those periods wanted to destroy our spirituality. They wanted to destroy our culture. They wanted to destroy our Indigenous knowledge. They wanted to destroy our environments. F\u003c/span>\u003cspan style=\"font-weight: 400\">or example, just to the east of here, there were four natural lakes. We had seven villages at those four lakes and we had large populations at those lakes. But, they drained those lakes for agriculture. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marisol: What is like the ideal scenario to happen here? How do you want this land to be used? \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Valentin: Well, the most important thing is to stop the mining permit from being approved. And then after that, finding a way for the conservation organizations to somehow come into possession of the lands so that we can ensure that it’s never again threatened by any development. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But then beyond that, we would like our tribe to have rights to return to these lands for ceremony, for managing and stewarding the land so that we can bring back our food plants and our medicine plants. But a\u003c/span>\u003cspan style=\"font-weight: 400\">lso education of the public to let them know about the true history of Amah Mutsun and the true history of Native American tribes in California.\u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marisol: How do you keep motivated to fight this long fight? \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Valentin: I see the way that the one, two or three generations before me and what they had to deal with and the conditions they had to live in. \u003c/span>And I see the impact of the historic trauma that resulted from that history has impacted our members.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For us to accept the laws of the county that allow them to destroy our most sacred site with the mining permit, we can’t accept that. \u003c/span>To allow them to have laws that they continue to keep us landless, to keep us in poverty, we can’t accept that.\u003c/p>\n\u003cfigure id=\"attachment_13926029\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13926029 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/DSC05045-800x533.jpg\" alt=\"Amah Mutsun tribal chair leader Valentin Lopez looks at a green pasture where cattle graze on either side of a small stream; this is a sacred site for the tribe known as Juristac. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05045-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05045-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05045-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05045-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05045-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05045-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05045-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amah Mutsun tribal chair leader Valentin Lopez looks at a green pasture where cattle graze on either side of a small stream; this is a sacred site known as Juristac. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Tragedy of SF Stunt Pilot Lincoln Beachey — and the Daredevils Who Followed Him",
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"content": "\u003cp>On March 14, 1915, less than a month into San Francisco’s Panama-Pacific International Exposition, a 28-year-old stunt pilot named \u003ca href=\"https://en.wikipedia.org/wiki/Lincoln_Beachey\">Lincoln Beachey\u003c/a> crashed his plane into the Bay. The most daring flyer in America had been killed in front of a stunned audience of approximately 50,000 people.\u003c/p>\n\u003cp>Doubts had been publicly raised for years about Beachey’s ability to stay safe while performing his hair-raising stunts. In 1912, the \u003cem>Oakland Tribune\u003c/em> described Beachey’s flying style as “curvetting with death.” Wright Brothers manager Roy Knabenshue appeared in the press expressing concern about whether or not Beachey’s planes could withstand the loop-the-loop and diving maneuvers he so loved. Despite it all, Beachey remained steadfastly confident in his own airborne abilities.\u003c/p>\n\u003cp>“I never will be killed flying,” he once declared. “Only the careless or overly daring die in falls. I am too careful. Why, I am safer in my aeroplane than walking a busy street.”\u003c/p>\n\u003cp>[aside postid='arts_13924208']It was a remarkable statement to make, given just how many of Beachey’s young, daring pilot friends had died. In 1912, less than a decade after the Wright Brothers first invented the airplane, \u003ca href=\"https://en.wikipedia.org/wiki/Rutherford_Page\">Rutherford Page\u003c/a> died during a race against Beachey. That same year, \u003ca href=\"https://en.wikipedia.org/wiki/Philip_Orin_Parmelee\">Phil Parmelee\u003c/a> died while trying to emulate one of Beachey’s stunts. (The move involved making a hands-free figure eight, using only strategic shifts with body weight to change the direction of the plane. Parmelee lost control in turbulence and died.)\u003c/p>\n\u003cp>Beachey’s friend \u003ca href=\"https://www.earlyaviators.com/ekearney.htm\">Horace Kearney\u003c/a> (and a journalist named Chester Lawrence) died over the Pacific somewhere between San Francisco and Los Angeles. Their bodies were never recovered. Other friends of Beachey’s who died in small plane crashes included Andrew Drew, \u003ca href=\"https://spokanehistorical.org/items/show/531\">Cromwell Dixon\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Calbraith_Perry_Rodgers\">Cal Rodgers\u003c/a>, \u003ca href=\"https://www.earlyaviators.com/efrisbi3.htm\">John Frisbie\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Ralph_Johnstone\">Ralph Johnston\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Archibald_Hoxsey\">Archibald Hoxey\u003c/a>. A photo of all of the pilots together, taken before misfortune began befalling the group, was later referred to as “the death reel” by newspapers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Briefly shaken by the deaths and concerned about machine failures, Beachey quit flying for six months in 1913. It was said that he felt responsible for many of his friends’ deaths as they tried to emulate his stunts. But even this degree of tragedy couldn’t keep Beachey grounded for long.\u003c/p>\n\u003cfigure id=\"attachment_13925926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925926\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/lincoln-beachey-800x600.jpg\" alt=\"A man wearing a white hood, goggles on his forehead and long leather gloves stands in front of a plane propeller.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/lincoln-beachey-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/lincoln-beachey-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/lincoln-beachey-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/lincoln-beachey-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/lincoln-beachey-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/lincoln-beachey-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/lincoln-beachey-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lincoln Beachey prepares for flight at the start of 1915’s Panama-Pacific International Exposition. At his side in the top left image is his wife, May ‘Minnie’ Wyatt. They are standing in front of the monoplane that would ultimately fail him. \u003ccite>(Archive.org/ Periscope Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A flair for the dramatic\u003c/h2>\n\u003cp>Choosing Beachey as the resident stunt pilot for the Panama-Pacific International Exposition (PPIE) was a no-brainer. Beachey was a San Francisco local, having been born in the city in 1887 and raised on Mission St. He just so happened to also be the most popular and skilled pilot of the day. Two days a week, the fearless stuntman would perform multiple shows for gathered crowds at the exposition. His popularity was such that spectators also gathered to watch him from hillsides outside of the grounds.\u003c/p>\n\u003cp>[aside postid='pop_102094']Before the PPIE, Beachey was the first pilot to fly over Niagara Falls. Elsewhere, he had broken altitude records and almost frozen in the process. Best of all, Beachey’s flair for the dramatic livened up every race he was in. (During one competition against a train, he ran his plane’s wheels along the top of the locomotive’s carriages.)\u003c/p>\n\u003cp>By 1915, Beachey’s signature move, The Dip of Death — invented four years earlier when his plane failed at an “air meet” in Los Angeles — was famous all over the country. During the maneuver, Beachey guided his aircraft into a perpendicular drop, plummeting rapidly towards the ground, only to course-correct at the very last minute. It was during a demonstration of this stunt that Beachey finally met his end.\u003c/p>\n\u003cp>On March 14, during his second PPIE show of the day, while at an altitude of 3,000 feet, Beachey shut down his brand-new monoplane’s power and began plummeting towards the water in a straight line. He made it only a few hundred feet before the wings of his light aircraft “crumpled like an umbrella in a heavy wind” and somersaulted into the Bay, not far from Fort Mason. Beachey had been accustomed to performing the trick in sturdier biplanes and did not realize his monoplane wouldn’t withstand the pressures of the elements.\u003c/p>\n\u003cfigure id=\"attachment_13925851\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925851\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-05-at-9.46.15-PM-800x524.png\" alt=\"A man wearing a suit sits in a very basic airplane from the early twentieth century.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-05-at-9.46.15-PM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-05-at-9.46.15-PM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-05-at-9.46.15-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-05-at-9.46.15-PM-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-05-at-9.46.15-PM-1536x1005.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-05-at-9.46.15-PM.png 1904w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lincoln Beachey about to take flight in one of America’s earliest airplanes. \u003ccite>(Public domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beachey was unable to release himself from his seatbelt before the plane hit the water and he ended up fatally trapped. His body was located 40 feet beneath the surface, caked in mud and still strapped in. Beachey had drowned, his only injury from the impact being a broken leg. (The engine of the monoplane was recovered intact, and subsequently used by groundbreaking female pilot \u003ca href=\"https://simpleflying.com/katherine-stinson-life-and-times/\">Katherine Stinson\u003c/a> during her 1916 flights over Japan and China.)\u003c/p>\n\u003cp>The day after Beachey’s death, the \u003cem>San Francisco Examiner\u003c/em> published a poem by George McManus in the pilot’s honor. It read, in part:\u003c/p>\n\u003cblockquote>\u003cp>Ah, Lincoln, boy, your flight is done,\u003cbr>\nNo more you’ll chart the blue.\u003cbr>\nYou’ve played with death, and death has won,\u003cbr>\nAs death must always do.\u003c/p>\n\u003cp>You died while on the wing, old chap,\u003cbr>\nAnd though we cannot know,\u003cbr>\nWe feel that after all mayhap\u003cbr>\nYou would have wished it so.\u003c/p>\u003c/blockquote>\n\u003ch2>‘The Wizard of the Air’\u003c/h2>\n\u003cp>At the time of Beachey’s death, there were still eight and a half months of the PPIE left. Organizers paused air shows for just three weeks before bringing in a replacement pilot to recommence air stunts. The unanimous choice was 25-year-old Art Smith, nicknamed “The Wizard of the Air” for his skills in the sky — and he did not disappoint. He was, after all, the only aviator of the time who performed night flights.\u003c/p>\n\u003cfigure id=\"attachment_13925852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925852\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/opensfhistory_wnp71.10139-800x460.jpg\" alt=\"A man in a suit and flat cap pulled backwards sits at the wheel of an early model biplane.\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/opensfhistory_wnp71.10139-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/opensfhistory_wnp71.10139-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/opensfhistory_wnp71.10139-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/opensfhistory_wnp71.10139.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Smith posing with his airplane on the Esplanade — today’s Marina Green — at 1915’s Panama-Pacific International Exposition. \u003ccite>(OpenSFHistory / wnp71.10139)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was at the PPIE that Smith would make the very first illuminated night flight in aviation history. With lights and fireworks attached to his craft, Smith performed his loops and dives before rapt audiences. On July 29, 1915, Oklahoma’s \u003cem>Davis News\u003c/em> reported of the spectacle: “The presentation has been termed wonderfully beautiful. It is spectacular, thrilling and is the most popular feature with the thousands who visit the Panama-Pacific Exposition.”\u003c/p>\n\u003cp>[aside postid='arts_13912657']Still, Smith found himself dealing with his own set of near-misses in San Francisco. On June 22, while looping-the-loop at 2,500 feet, Smith’s engine stopped suddenly while he was in an upside-down position. He somehow managed to right himself and glide safely down to the ground, avoiding injury entirely.\u003c/p>\n\u003cp>On the final night of the exposition, Dec. 14, 1915, Smith performed his most stunning spectacle yet. As huge fireworks exploded all around him, Smith dipped in and out of the booming display in his small plane. All the while, huge Roman candles streamed gold sparks from his aircraft’s tail, giving him the appearance of a comet.\u003c/p>\n\u003cfigure id=\"attachment_13925853\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925853\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/opensfhistory_wnp70.0646-800x490.jpg\" alt=\"Glowing trails spin down the night sky over a brightly lit landscape of glowing white buildings.\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/opensfhistory_wnp70.0646-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/opensfhistory_wnp70.0646-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/opensfhistory_wnp70.0646-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/opensfhistory_wnp70.0646.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Smith and his trail across the sky at the Panama-Pacific International Exposition. \u003ccite>(OpenSFHistory / wnp70.0646)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the PPIE was all over, despite being more famous than ever, Smith wanted to fight in World War I. He was denied entry into the U.S. Army because of his many flight-related injuries and short stature (he was just 5 feet 3 inches tall). Instead, Smith served as a test pilot and flight instructor until the war ended in 1918.\u003c/p>\n\u003cp>[aside postid='arts_13915169']That same year, the post office started its very first airmail routes and Smith signed up for a job. Ironically, it might have been his most dangerous position yet. Airmail pilots flew in unreliable planes, in all weather, from cockpits that left them exposed to the elements. Pilots had to navigate using landmarks, and engines frequently stopped dead. In the first nine years of service, 34 airmail pilots were killed on the job. Unfortunately, Art Smith was one of them.\u003c/p>\n\u003cp>On Feb. 12, 1926, Smith’s plane was found two miles off-course, engulfed in flames, having crashed into a tree just outside Montpelier, Ohio. He had been traveling east from Chicago, flying overnight. His death drew national attention to the conditions the postal service’s pilots were laboring under, but he was widely celebrated too.\u003c/p>\n\u003cp>The day after his death, one newspaper noted:\u003c/p>\n\u003cblockquote>\u003cp>Art Smith was a brave aviator. He was something more too; he was the perfect type of these strange, restless young men who are never satisfied with the safe, the certain, the comfortable, who must forever be skirting the borders of the unattainable frontier and laughing in the eyes of death.\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The same could be said for Lincoln Beachey and all of the other young stunt pilots of their day. On the 108th anniversary of Beachey’s death, we owe each of them a debt of gratitude. It was their willingness to risk — and sacrifice — their own lives that pushed early advances in aviation forward. They would be astounded by the aircrafts of today — almost as astounded as their own audiences were.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On March 14, 1915, less than a month into San Francisco’s Panama-Pacific International Exposition, a 28-year-old stunt pilot named \u003ca href=\"https://en.wikipedia.org/wiki/Lincoln_Beachey\">Lincoln Beachey\u003c/a> crashed his plane into the Bay. The most daring flyer in America had been killed in front of a stunned audience of approximately 50,000 people.\u003c/p>\n\u003cp>Doubts had been publicly raised for years about Beachey’s ability to stay safe while performing his hair-raising stunts. In 1912, the \u003cem>Oakland Tribune\u003c/em> described Beachey’s flying style as “curvetting with death.” Wright Brothers manager Roy Knabenshue appeared in the press expressing concern about whether or not Beachey’s planes could withstand the loop-the-loop and diving maneuvers he so loved. Despite it all, Beachey remained steadfastly confident in his own airborne abilities.\u003c/p>\n\u003cp>“I never will be killed flying,” he once declared. “Only the careless or overly daring die in falls. I am too careful. Why, I am safer in my aeroplane than walking a busy street.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It was a remarkable statement to make, given just how many of Beachey’s young, daring pilot friends had died. In 1912, less than a decade after the Wright Brothers first invented the airplane, \u003ca href=\"https://en.wikipedia.org/wiki/Rutherford_Page\">Rutherford Page\u003c/a> died during a race against Beachey. That same year, \u003ca href=\"https://en.wikipedia.org/wiki/Philip_Orin_Parmelee\">Phil Parmelee\u003c/a> died while trying to emulate one of Beachey’s stunts. (The move involved making a hands-free figure eight, using only strategic shifts with body weight to change the direction of the plane. Parmelee lost control in turbulence and died.)\u003c/p>\n\u003cp>Beachey’s friend \u003ca href=\"https://www.earlyaviators.com/ekearney.htm\">Horace Kearney\u003c/a> (and a journalist named Chester Lawrence) died over the Pacific somewhere between San Francisco and Los Angeles. Their bodies were never recovered. Other friends of Beachey’s who died in small plane crashes included Andrew Drew, \u003ca href=\"https://spokanehistorical.org/items/show/531\">Cromwell Dixon\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Calbraith_Perry_Rodgers\">Cal Rodgers\u003c/a>, \u003ca href=\"https://www.earlyaviators.com/efrisbi3.htm\">John Frisbie\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Ralph_Johnstone\">Ralph Johnston\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Archibald_Hoxsey\">Archibald Hoxey\u003c/a>. A photo of all of the pilots together, taken before misfortune began befalling the group, was later referred to as “the death reel” by newspapers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Briefly shaken by the deaths and concerned about machine failures, Beachey quit flying for six months in 1913. It was said that he felt responsible for many of his friends’ deaths as they tried to emulate his stunts. But even this degree of tragedy couldn’t keep Beachey grounded for long.\u003c/p>\n\u003cfigure id=\"attachment_13925926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925926\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/lincoln-beachey-800x600.jpg\" alt=\"A man wearing a white hood, goggles on his forehead and long leather gloves stands in front of a plane propeller.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/lincoln-beachey-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/lincoln-beachey-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/lincoln-beachey-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/lincoln-beachey-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/lincoln-beachey-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/lincoln-beachey-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/lincoln-beachey-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lincoln Beachey prepares for flight at the start of 1915’s Panama-Pacific International Exposition. At his side in the top left image is his wife, May ‘Minnie’ Wyatt. They are standing in front of the monoplane that would ultimately fail him. \u003ccite>(Archive.org/ Periscope Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A flair for the dramatic\u003c/h2>\n\u003cp>Choosing Beachey as the resident stunt pilot for the Panama-Pacific International Exposition (PPIE) was a no-brainer. Beachey was a San Francisco local, having been born in the city in 1887 and raised on Mission St. He just so happened to also be the most popular and skilled pilot of the day. Two days a week, the fearless stuntman would perform multiple shows for gathered crowds at the exposition. His popularity was such that spectators also gathered to watch him from hillsides outside of the grounds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Before the PPIE, Beachey was the first pilot to fly over Niagara Falls. Elsewhere, he had broken altitude records and almost frozen in the process. Best of all, Beachey’s flair for the dramatic livened up every race he was in. (During one competition against a train, he ran his plane’s wheels along the top of the locomotive’s carriages.)\u003c/p>\n\u003cp>By 1915, Beachey’s signature move, The Dip of Death — invented four years earlier when his plane failed at an “air meet” in Los Angeles — was famous all over the country. During the maneuver, Beachey guided his aircraft into a perpendicular drop, plummeting rapidly towards the ground, only to course-correct at the very last minute. It was during a demonstration of this stunt that Beachey finally met his end.\u003c/p>\n\u003cp>On March 14, during his second PPIE show of the day, while at an altitude of 3,000 feet, Beachey shut down his brand-new monoplane’s power and began plummeting towards the water in a straight line. He made it only a few hundred feet before the wings of his light aircraft “crumpled like an umbrella in a heavy wind” and somersaulted into the Bay, not far from Fort Mason. Beachey had been accustomed to performing the trick in sturdier biplanes and did not realize his monoplane wouldn’t withstand the pressures of the elements.\u003c/p>\n\u003cfigure id=\"attachment_13925851\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925851\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-05-at-9.46.15-PM-800x524.png\" alt=\"A man wearing a suit sits in a very basic airplane from the early twentieth century.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-05-at-9.46.15-PM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-05-at-9.46.15-PM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-05-at-9.46.15-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-05-at-9.46.15-PM-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-05-at-9.46.15-PM-1536x1005.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-05-at-9.46.15-PM.png 1904w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lincoln Beachey about to take flight in one of America’s earliest airplanes. \u003ccite>(Public domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beachey was unable to release himself from his seatbelt before the plane hit the water and he ended up fatally trapped. His body was located 40 feet beneath the surface, caked in mud and still strapped in. Beachey had drowned, his only injury from the impact being a broken leg. (The engine of the monoplane was recovered intact, and subsequently used by groundbreaking female pilot \u003ca href=\"https://simpleflying.com/katherine-stinson-life-and-times/\">Katherine Stinson\u003c/a> during her 1916 flights over Japan and China.)\u003c/p>\n\u003cp>The day after Beachey’s death, the \u003cem>San Francisco Examiner\u003c/em> published a poem by George McManus in the pilot’s honor. It read, in part:\u003c/p>\n\u003cblockquote>\u003cp>Ah, Lincoln, boy, your flight is done,\u003cbr>\nNo more you’ll chart the blue.\u003cbr>\nYou’ve played with death, and death has won,\u003cbr>\nAs death must always do.\u003c/p>\n\u003cp>You died while on the wing, old chap,\u003cbr>\nAnd though we cannot know,\u003cbr>\nWe feel that after all mayhap\u003cbr>\nYou would have wished it so.\u003c/p>\u003c/blockquote>\n\u003ch2>‘The Wizard of the Air’\u003c/h2>\n\u003cp>At the time of Beachey’s death, there were still eight and a half months of the PPIE left. Organizers paused air shows for just three weeks before bringing in a replacement pilot to recommence air stunts. The unanimous choice was 25-year-old Art Smith, nicknamed “The Wizard of the Air” for his skills in the sky — and he did not disappoint. He was, after all, the only aviator of the time who performed night flights.\u003c/p>\n\u003cfigure id=\"attachment_13925852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925852\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/opensfhistory_wnp71.10139-800x460.jpg\" alt=\"A man in a suit and flat cap pulled backwards sits at the wheel of an early model biplane.\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/opensfhistory_wnp71.10139-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/opensfhistory_wnp71.10139-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/opensfhistory_wnp71.10139-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/opensfhistory_wnp71.10139.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Smith posing with his airplane on the Esplanade — today’s Marina Green — at 1915’s Panama-Pacific International Exposition. \u003ccite>(OpenSFHistory / wnp71.10139)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was at the PPIE that Smith would make the very first illuminated night flight in aviation history. With lights and fireworks attached to his craft, Smith performed his loops and dives before rapt audiences. On July 29, 1915, Oklahoma’s \u003cem>Davis News\u003c/em> reported of the spectacle: “The presentation has been termed wonderfully beautiful. It is spectacular, thrilling and is the most popular feature with the thousands who visit the Panama-Pacific Exposition.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, Smith found himself dealing with his own set of near-misses in San Francisco. On June 22, while looping-the-loop at 2,500 feet, Smith’s engine stopped suddenly while he was in an upside-down position. He somehow managed to right himself and glide safely down to the ground, avoiding injury entirely.\u003c/p>\n\u003cp>On the final night of the exposition, Dec. 14, 1915, Smith performed his most stunning spectacle yet. As huge fireworks exploded all around him, Smith dipped in and out of the booming display in his small plane. All the while, huge Roman candles streamed gold sparks from his aircraft’s tail, giving him the appearance of a comet.\u003c/p>\n\u003cfigure id=\"attachment_13925853\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925853\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/opensfhistory_wnp70.0646-800x490.jpg\" alt=\"Glowing trails spin down the night sky over a brightly lit landscape of glowing white buildings.\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/opensfhistory_wnp70.0646-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/opensfhistory_wnp70.0646-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/opensfhistory_wnp70.0646-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/opensfhistory_wnp70.0646.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Smith and his trail across the sky at the Panama-Pacific International Exposition. \u003ccite>(OpenSFHistory / wnp70.0646)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the PPIE was all over, despite being more famous than ever, Smith wanted to fight in World War I. He was denied entry into the U.S. Army because of his many flight-related injuries and short stature (he was just 5 feet 3 inches tall). Instead, Smith served as a test pilot and flight instructor until the war ended in 1918.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That same year, the post office started its very first airmail routes and Smith signed up for a job. Ironically, it might have been his most dangerous position yet. Airmail pilots flew in unreliable planes, in all weather, from cockpits that left them exposed to the elements. Pilots had to navigate using landmarks, and engines frequently stopped dead. In the first nine years of service, 34 airmail pilots were killed on the job. Unfortunately, Art Smith was one of them.\u003c/p>\n\u003cp>On Feb. 12, 1926, Smith’s plane was found two miles off-course, engulfed in flames, having crashed into a tree just outside Montpelier, Ohio. He had been traveling east from Chicago, flying overnight. His death drew national attention to the conditions the postal service’s pilots were laboring under, but he was widely celebrated too.\u003c/p>\n\u003cp>The day after his death, one newspaper noted:\u003c/p>\n\u003cblockquote>\u003cp>Art Smith was a brave aviator. He was something more too; he was the perfect type of these strange, restless young men who are never satisfied with the safe, the certain, the comfortable, who must forever be skirting the borders of the unattainable frontier and laughing in the eyes of death.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The same could be said for Lincoln Beachey and all of the other young stunt pilots of their day. On the 108th anniversary of Beachey’s death, we owe each of them a debt of gratitude. It was their willingness to risk — and sacrifice — their own lives that pushed early advances in aviation forward. They would be astounded by the aircrafts of today — almost as astounded as their own audiences were.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "herb-greene-haight-ashbury-experience-photography-review",
"title": "Herb Greene’s Photography Offers Much More Than Music Icons",
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"headTitle": "Herb Greene’s Photography Offers Much More Than Music Icons | KQED",
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"content": "\u003cp>I couldn’t give a tiny rat’s ass about the Grateful Dead. There. I said it. Ordinarily, I’d shy away from announcing such a thing publicly, at the risk of awakening an army of pitchfork-wielding Deadheads. (Not the most measured of fanbases.) However, it would be wrong not to mention it before I start talking about a new exhibit of photography by Herb Greene given that Herb Greene is primarily remembered for his Grateful Dead portraits.\u003c/p>\n\u003cp>If you are indeed a Deadhead, or someone who is still reveling in a musical moment that existed over half a century ago, you don’t need me to explain the selling points of \u003cem>The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene\u003c/em>. You will go for the perfectly lovely photographs of the Grateful Dead, their former outfit The Warlocks and Janis Joplin. You might also go for the expertly composed portraits of Jefferson Airplane, Led Zeppelin, The Jeff Beck Group and The Charlatans.\u003c/p>\n\u003cfigure id=\"attachment_13925411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg\" alt=\"A pretty young woman kneels on a green and purple couch, twisting her head up towards the camera.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grace Slick in her Jefferson Airplane heyday. \u003ccite>(Herb Greene/ Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you are under the age of 60 or wondering why on God’s green earth San Francisco needs \u003ca href=\"https://www.kqed.org/arts/13039627/de-young-summer-of-love-50th-anniversary\">yet another exhibition glorifying the Summer of Love\u003c/a>, I have some news that might pleasantly surprise you.\u003c/p>\n\u003cp>[aside postid='arts_13039627']First and foremost, in addition to his rock photography, Greene also made a habit of immortalizing the street life in the Haight when it was just another San Francisco neighborhood. He photographed the small businesses, local children, families and elderly residents already there when the hippie invasion first began.\u003c/p>\n\u003cp>These images present the neighborhood before it was a tie-dye-soaked tourist attraction and, crucially, capture the exact moment the first wave of disaffected youth arrived and changed the area forever. Though there is an entire wall of this kind of street photography at \u003cem>The Photography of Herb Greene\u003c/em>, I found myself wishing they inhabited the whole space.\u003c/p>\n\u003cfigure id=\"attachment_13925638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg\" alt=\"A flute-playing hippie and a bohemian friend, both male, walk along a tree lined street. Behind them a man in a suit and hat walks under a sign that reads 'Sher Real Estate INCOME TAX.’\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-160x162.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-768x775.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Income tax with a side of street flautist. Haight Street in the ’60s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This exhibit also deserves kudos for painting a picture of the bohemian community of kids who were hanging around the Haight at the time. Yes, there are the requisite shots here of naked young people dancing and children clutching flowers at The Human Be-In. But Greene’s photographs also introduce us to the hitchhikers, street musicians and young optimists who migrated to San Francisco in the late 1960s and reveled in the new freedoms it offered. I am indefatigable when it comes to looking at subculture-immersed young people, no matter what era they’re from, and Greene’s photos more than do the Summer of Love kids justice.\u003c/p>\n\u003cfigure id=\"attachment_13925639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925639\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/82548-4-800x822.jpeg\" alt=\"Three teenagers, two females wearing embroidered shawls and long dresses and one young man wearing slacks and a jacket stand on a street corner huddled together. The word ASHBURY is carved into the sidewalk.\" width=\"800\" height=\"822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-800x822.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-768x789.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4.jpeg 961w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three teens hanging in the Haight, 1960s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Greene’s favorite places to photograph these young people was in front of the distinctive hieroglyph-covered wall in his studio, where he also shot famous musicians. \u003cem>The Photography of Herb Greene\u003c/em> condenses many of these portraits down onto a single collage board of images. The format hammers home that the hieroglyph wall itself was a great leveler. Famous or not, Greene treated all of his subjects the same in front of it — they became individual characters, each as important as the last.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13920973']Viewed as a collection now, it also reflects the monoculture of that scene. Though Greene himself was Chicano, every single person featured in the wall collage appears to be white.\u003c/p>\n\u003cp>That lack of diversity runs through much of Greene’s 1960s photography, a reflection of the Bay Area rock ’n’ roll scene of the time. (A portrait of Taj Mahal and his dog offers a particularly beautiful exception.) As such, Greene’s 1970s-era portraits of Sly and the Family Stone and the Pointer Sisters reflect how the mainstream music world began to open up once the Summer of Love ended. These images, shot in color, inject some vibrancy into \u003cem>The Photography of Herb Greene\u003c/em>. The original photo that Sly Stone used for the cover of 1975’s \u003ca href=\"https://www.discogs.com/release/1071382-Sly-Stone-High-On-You\" target=\"_blank\" rel=\"noopener\">\u003cem>High on You\u003c/em>\u003c/a> is a genuine joy to behold in real life.\u003c/p>\n\u003cfigure id=\"attachment_13925643\" class=\"wp-caption aligncenter\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Taj-Majal.jpg\" alt=\"A Black man with cornrows sits in a wooden chair wearing a tie-dye shirt and slacks. He is leaning forward as if in conversation. At his side is a shaggy white dog.\" width=\"496\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal-160x159.jpg 160w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Taj Majal and his dog. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greene also documented the artists (including Rick Griffin, Stanley Mouse, Victor Moscoso and Alton Kelley), writers (like Neal Cassady), concert promoters (Bill Graham and Chet Helms) and roadies who helped turn what was going on in the Haight into a national moment. Their inclusion here offers a glimpse behind the scenes — and an essential reminder that the bands didn’t do it all on their own.\u003c/p>\n\u003cp>\u003cem>The Photography of Herb Greene\u003c/em>, then, is about much more than the musicians still eulogized on Haight Street today. It’s about the larger community that made the scene what it was. It’s about how music changes and evolves over time. And it’s about a neighborhood of regular people who inadvertently got caught up in a movement. \u003ci>That’s\u003c/i> worth giving a rat’s ass about, even if you don’t care for the Grateful Dead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene’ is on view at the Haight Street Art Center (215 Haight St.) through May 29, 2023. \u003ca href=\"https://haightstreetart.org/pages/the-haight-ashbury-experience-and-the-pursuit-of-happiness-the-photography-of-herb-greene\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Herb Greene’s Haight-Ashbury Photographs: More Than Musicians | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I couldn’t give a tiny rat’s ass about the Grateful Dead. There. I said it. Ordinarily, I’d shy away from announcing such a thing publicly, at the risk of awakening an army of pitchfork-wielding Deadheads. (Not the most measured of fanbases.) However, it would be wrong not to mention it before I start talking about a new exhibit of photography by Herb Greene given that Herb Greene is primarily remembered for his Grateful Dead portraits.\u003c/p>\n\u003cp>If you are indeed a Deadhead, or someone who is still reveling in a musical moment that existed over half a century ago, you don’t need me to explain the selling points of \u003cem>The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene\u003c/em>. You will go for the perfectly lovely photographs of the Grateful Dead, their former outfit The Warlocks and Janis Joplin. You might also go for the expertly composed portraits of Jefferson Airplane, Led Zeppelin, The Jeff Beck Group and The Charlatans.\u003c/p>\n\u003cfigure id=\"attachment_13925411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg\" alt=\"A pretty young woman kneels on a green and purple couch, twisting her head up towards the camera.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grace Slick in her Jefferson Airplane heyday. \u003ccite>(Herb Greene/ Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you are under the age of 60 or wondering why on God’s green earth San Francisco needs \u003ca href=\"https://www.kqed.org/arts/13039627/de-young-summer-of-love-50th-anniversary\">yet another exhibition glorifying the Summer of Love\u003c/a>, I have some news that might pleasantly surprise you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>First and foremost, in addition to his rock photography, Greene also made a habit of immortalizing the street life in the Haight when it was just another San Francisco neighborhood. He photographed the small businesses, local children, families and elderly residents already there when the hippie invasion first began.\u003c/p>\n\u003cp>These images present the neighborhood before it was a tie-dye-soaked tourist attraction and, crucially, capture the exact moment the first wave of disaffected youth arrived and changed the area forever. Though there is an entire wall of this kind of street photography at \u003cem>The Photography of Herb Greene\u003c/em>, I found myself wishing they inhabited the whole space.\u003c/p>\n\u003cfigure id=\"attachment_13925638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg\" alt=\"A flute-playing hippie and a bohemian friend, both male, walk along a tree lined street. Behind them a man in a suit and hat walks under a sign that reads 'Sher Real Estate INCOME TAX.’\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-160x162.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-768x775.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Income tax with a side of street flautist. Haight Street in the ’60s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This exhibit also deserves kudos for painting a picture of the bohemian community of kids who were hanging around the Haight at the time. Yes, there are the requisite shots here of naked young people dancing and children clutching flowers at The Human Be-In. But Greene’s photographs also introduce us to the hitchhikers, street musicians and young optimists who migrated to San Francisco in the late 1960s and reveled in the new freedoms it offered. I am indefatigable when it comes to looking at subculture-immersed young people, no matter what era they’re from, and Greene’s photos more than do the Summer of Love kids justice.\u003c/p>\n\u003cfigure id=\"attachment_13925639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925639\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/82548-4-800x822.jpeg\" alt=\"Three teenagers, two females wearing embroidered shawls and long dresses and one young man wearing slacks and a jacket stand on a street corner huddled together. The word ASHBURY is carved into the sidewalk.\" width=\"800\" height=\"822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-800x822.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-768x789.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4.jpeg 961w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three teens hanging in the Haight, 1960s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Greene’s favorite places to photograph these young people was in front of the distinctive hieroglyph-covered wall in his studio, where he also shot famous musicians. \u003cem>The Photography of Herb Greene\u003c/em> condenses many of these portraits down onto a single collage board of images. The format hammers home that the hieroglyph wall itself was a great leveler. Famous or not, Greene treated all of his subjects the same in front of it — they became individual characters, each as important as the last.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Viewed as a collection now, it also reflects the monoculture of that scene. Though Greene himself was Chicano, every single person featured in the wall collage appears to be white.\u003c/p>\n\u003cp>That lack of diversity runs through much of Greene’s 1960s photography, a reflection of the Bay Area rock ’n’ roll scene of the time. (A portrait of Taj Mahal and his dog offers a particularly beautiful exception.) As such, Greene’s 1970s-era portraits of Sly and the Family Stone and the Pointer Sisters reflect how the mainstream music world began to open up once the Summer of Love ended. These images, shot in color, inject some vibrancy into \u003cem>The Photography of Herb Greene\u003c/em>. The original photo that Sly Stone used for the cover of 1975’s \u003ca href=\"https://www.discogs.com/release/1071382-Sly-Stone-High-On-You\" target=\"_blank\" rel=\"noopener\">\u003cem>High on You\u003c/em>\u003c/a> is a genuine joy to behold in real life.\u003c/p>\n\u003cfigure id=\"attachment_13925643\" class=\"wp-caption aligncenter\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Taj-Majal.jpg\" alt=\"A Black man with cornrows sits in a wooden chair wearing a tie-dye shirt and slacks. He is leaning forward as if in conversation. At his side is a shaggy white dog.\" width=\"496\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal-160x159.jpg 160w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Taj Majal and his dog. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greene also documented the artists (including Rick Griffin, Stanley Mouse, Victor Moscoso and Alton Kelley), writers (like Neal Cassady), concert promoters (Bill Graham and Chet Helms) and roadies who helped turn what was going on in the Haight into a national moment. Their inclusion here offers a glimpse behind the scenes — and an essential reminder that the bands didn’t do it all on their own.\u003c/p>\n\u003cp>\u003cem>The Photography of Herb Greene\u003c/em>, then, is about much more than the musicians still eulogized on Haight Street today. It’s about the larger community that made the scene what it was. It’s about how music changes and evolves over time. And it’s about a neighborhood of regular people who inadvertently got caught up in a movement. \u003ci>That’s\u003c/i> worth giving a rat’s ass about, even if you don’t care for the Grateful Dead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene’ is on view at the Haight Street Art Center (215 Haight St.) through May 29, 2023. \u003ca href=\"https://haightstreetart.org/pages/the-haight-ashbury-experience-and-the-pursuit-of-happiness-the-photography-of-herb-greene\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Relive the Beastie Boys’ Legendary Tibetan Freedom Concert in SF",
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"headTitle": "Relive the Beastie Boys’ Legendary Tibetan Freedom Concert in SF | KQED",
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"content": "\u003cp>\u003cstrong>Update, Feb. 26, 2023: Noise Pop’s scheduled screening of\u003cem> Free Tibet\u003c/em> at The Cut Outdoor Cinema has been postponed until June 15, 2023, due to poor weather conditions.\u003c/strong>\u003c/p>\n\u003cp>Back in 1996, Beastie Boys’ Adam “MCA” Yauch was going through a spiritual awakening. He had recently converted to Buddhism after years of studying the religion and Tibetan culture. Yauch had attended lessons by the Dalai Lama and spent time with the monk \u003ca href=\"https://www.nytimes.com/2018/12/07/obituaries/palden-gyatso-dead.html\">Palden Gyatso\u003c/a>, who had survived torture and imprisonment in Chinese camps for 33 years.\u003c/p>\n\u003cp>As Yauch embraced Tibetan ideologies, he felt compelled to do something to help the people of the region who had been living under Chinese occupation since 1949.\u003c/p>\n\u003cp>[aside postid='arts_13921900']“There’s really only a couple of years left that Tibetan culture is gonna survive unless something starts changing,” Yauch told \u003cem>Inside Edition\u003c/em> at the time. “At the rate that their culture is being destroyed, there’s very little time left. I think we all have a responsibility because it’s part of our world. To ignore it is to contribute to it.”\u003c/p>\n\u003cp>What Yauch came up with to assist the Tibetan people was the biggest benefit concert since 1985’s transatlantic Live Aid event. The two-day Tibetan Freedom concert in Golden Gate Park’s Polo Field ended up attracting more than 100,000 fans and raising $800,000.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s no surprise that the lineup featured a lot of the biggest alternative acts of the day. On Saturday, June 15, 1996, Beastie Boys, the Smashing Pumpkins, Foo Fighters, A Tribe Called Quest, Pavement, Cibo Matto, Biz Markie, Richie Havens and John Lee Hooker all performed. The following day, Red Hot Chili Peppers, Rage Against the Machine, Sonic Youth, Beck, Björk, Yoko Ono, De La Soul, Fugees, Buddy Guy and Skatalites hit the stage.\u003c/p>\n\u003cfigure id=\"attachment_13924959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-800x540.jpg\" alt=\"A fresh-faced woman with dirty blond hair sits calmly next to a man with a shaved head wearing a buttoned up shirt. She is wearing a puffy white winter coat.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-1536x1038.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Björk and Adam ’MCA‘ Yauch hang out backstage at the Tibetan Freedom Concert, San Francisco, June 1996. \u003ccite>(Tim Mosenfelder/CORBIS/Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shows were a huge deal at the time, and two years later resulted in a concert documentary directed by Sarah Pirozek titled \u003cem>Free Tibet\u003c/em>. The movie is a mashup of live sets, crowd footage and interviews, plus historical context about the occupation of Tibet. It’s far from a perfect film — at the time, \u003ca href=\"https://archive.nytimes.com/www.nytimes.com/library/film/091198tibet-film-review.html\">one \u003cem>New York Times\u003c/em> review\u003c/a> despaired at the “well-meaning musicians who … display a woeful lack of eloquence and coherence when given the opportunity on film to rally support.”\u003c/p>\n\u003cp>But the film does preserve footage from a significant day in San Francisco music history. It is peak-’90s viewing — the music, the fashion, the pre-cellphone mosh pits, the slackerdom. (“I care, you know,” one kid says, “but short attention span.”) Though several sets from the weekend are available to watch now on YouTube — \u003ca href=\"https://www.youtube.com/watch?v=fefr8RLwxeU&t=854s\">Rage Against the Machine\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=0kPweqWXyDw&t=806s\">Björk\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=kXf9F_UpCbE\">Smashing Pumpkins\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=-ffrdwAz_z8\">Pavement\u003c/a> — the quality of those is decidedly grainy.\u003c/p>\n\u003cp>[aside postid='arts_13925249']The \u003cem>Free Tibet\u003c/em> documentary has been lost to time in a lot of ways — there is no trailer online, and it’s not available to stream anywhere. Unless you’re willing to invest in a DVD or VHS purchase, it’s likely you’ll never see it. That is, unless you head to The Cut Outdoor Cinema on Feb. 26.\u003c/p>\n\u003cp>\u003cem>Free Tibet\u003c/em> is screening as part of this year’s \u003ca href=\"https://www.kqed.org/arts/13925249/noise-pop-2023-guide-5-must-see-bay-area-artists\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> festival, and marks the movie’s 25th anniversary. The screening will also feature a Q&A with Deyden Tethong of the \u003ca href=\"https://en.wikipedia.org/wiki/Milarepa_Fund\">Milarepa Fund\u003c/a> — the nonprofit co-founded by Yauch to raise funds and awareness for the Tibetan cause — and Stacy Horne, the Noise Pop producer who helped plan the original Tibetan Freedom concerts with Yauch.\u003c/p>\n\u003cp>Sure, the movie doesn’t know if it wants to be a concert film or a rallying cry. But in many ways, that reflects the Tibetan Freedom concert itself — and much of the 1990s musical landscape.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://thecutoutdoorcinema.com/events/free-tibet-1998\" rel=\"noopener\">Free Tibet\u003c/a>\u003cem> is showing at The Cut Outdoor Cinema (250 Main St., San Francisco) on Thursday, June. 15 at 7:30 p.m. \u003ca href=\"https://thecutoutdoorcinema.com/events/free-tibet-1998\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Feb. 26, 2023: Noise Pop’s scheduled screening of\u003cem> Free Tibet\u003c/em> at The Cut Outdoor Cinema has been postponed until June 15, 2023, due to poor weather conditions.\u003c/strong>\u003c/p>\n\u003cp>Back in 1996, Beastie Boys’ Adam “MCA” Yauch was going through a spiritual awakening. He had recently converted to Buddhism after years of studying the religion and Tibetan culture. Yauch had attended lessons by the Dalai Lama and spent time with the monk \u003ca href=\"https://www.nytimes.com/2018/12/07/obituaries/palden-gyatso-dead.html\">Palden Gyatso\u003c/a>, who had survived torture and imprisonment in Chinese camps for 33 years.\u003c/p>\n\u003cp>As Yauch embraced Tibetan ideologies, he felt compelled to do something to help the people of the region who had been living under Chinese occupation since 1949.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There’s really only a couple of years left that Tibetan culture is gonna survive unless something starts changing,” Yauch told \u003cem>Inside Edition\u003c/em> at the time. “At the rate that their culture is being destroyed, there’s very little time left. I think we all have a responsibility because it’s part of our world. To ignore it is to contribute to it.”\u003c/p>\n\u003cp>What Yauch came up with to assist the Tibetan people was the biggest benefit concert since 1985’s transatlantic Live Aid event. The two-day Tibetan Freedom concert in Golden Gate Park’s Polo Field ended up attracting more than 100,000 fans and raising $800,000.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s no surprise that the lineup featured a lot of the biggest alternative acts of the day. On Saturday, June 15, 1996, Beastie Boys, the Smashing Pumpkins, Foo Fighters, A Tribe Called Quest, Pavement, Cibo Matto, Biz Markie, Richie Havens and John Lee Hooker all performed. The following day, Red Hot Chili Peppers, Rage Against the Machine, Sonic Youth, Beck, Björk, Yoko Ono, De La Soul, Fugees, Buddy Guy and Skatalites hit the stage.\u003c/p>\n\u003cfigure id=\"attachment_13924959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-800x540.jpg\" alt=\"A fresh-faced woman with dirty blond hair sits calmly next to a man with a shaved head wearing a buttoned up shirt. She is wearing a puffy white winter coat.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-1536x1038.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Björk and Adam ’MCA‘ Yauch hang out backstage at the Tibetan Freedom Concert, San Francisco, June 1996. \u003ccite>(Tim Mosenfelder/CORBIS/Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shows were a huge deal at the time, and two years later resulted in a concert documentary directed by Sarah Pirozek titled \u003cem>Free Tibet\u003c/em>. The movie is a mashup of live sets, crowd footage and interviews, plus historical context about the occupation of Tibet. It’s far from a perfect film — at the time, \u003ca href=\"https://archive.nytimes.com/www.nytimes.com/library/film/091198tibet-film-review.html\">one \u003cem>New York Times\u003c/em> review\u003c/a> despaired at the “well-meaning musicians who … display a woeful lack of eloquence and coherence when given the opportunity on film to rally support.”\u003c/p>\n\u003cp>But the film does preserve footage from a significant day in San Francisco music history. It is peak-’90s viewing — the music, the fashion, the pre-cellphone mosh pits, the slackerdom. (“I care, you know,” one kid says, “but short attention span.”) Though several sets from the weekend are available to watch now on YouTube — \u003ca href=\"https://www.youtube.com/watch?v=fefr8RLwxeU&t=854s\">Rage Against the Machine\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=0kPweqWXyDw&t=806s\">Björk\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=kXf9F_UpCbE\">Smashing Pumpkins\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=-ffrdwAz_z8\">Pavement\u003c/a> — the quality of those is decidedly grainy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003cem>Free Tibet\u003c/em> documentary has been lost to time in a lot of ways — there is no trailer online, and it’s not available to stream anywhere. Unless you’re willing to invest in a DVD or VHS purchase, it’s likely you’ll never see it. That is, unless you head to The Cut Outdoor Cinema on Feb. 26.\u003c/p>\n\u003cp>\u003cem>Free Tibet\u003c/em> is screening as part of this year’s \u003ca href=\"https://www.kqed.org/arts/13925249/noise-pop-2023-guide-5-must-see-bay-area-artists\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> festival, and marks the movie’s 25th anniversary. The screening will also feature a Q&A with Deyden Tethong of the \u003ca href=\"https://en.wikipedia.org/wiki/Milarepa_Fund\">Milarepa Fund\u003c/a> — the nonprofit co-founded by Yauch to raise funds and awareness for the Tibetan cause — and Stacy Horne, the Noise Pop producer who helped plan the original Tibetan Freedom concerts with Yauch.\u003c/p>\n\u003cp>Sure, the movie doesn’t know if it wants to be a concert film or a rallying cry. But in many ways, that reflects the Tibetan Freedom concert itself — and much of the 1990s musical landscape.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://thecutoutdoorcinema.com/events/free-tibet-1998\" rel=\"noopener\">Free Tibet\u003c/a>\u003cem> is showing at The Cut Outdoor Cinema (250 Main St., San Francisco) on Thursday, June. 15 at 7:30 p.m. \u003ca href=\"https://thecutoutdoorcinema.com/events/free-tibet-1998\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘The 12th Victim’ Dissects the Heart of an American Tragedy",
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"content": "\u003cp>It’s a case that has inspired American pop culture since it happened 65 years ago. Charles Starkweather and Caril Ann Fugate were a teenaged Bonnie and Clyde for the 1950s. In ’58, they murdered her family, holed up in her house for almost a week, hit the roads of Nebraska and went on a merciless killing spree. Starkweather was an 18-year-old ne’er-do-well. Fugate was a 14-year-old Lolita in love with her quintessential all-American bad boy. The couple’s story inspired movies like 1963’s \u003cem>The Sadist\u003c/em>, 1993’s \u003cem>Natural Born Killers\u003c/em> and 1973’s \u003cem>Badlands\u003c/em>, as well as the Bruce Springsteen song of the same name.\u003c/p>\n\u003cp>[aside postid='arts_13924520']Unfortunately for almost everyone involved, much of this popular narrative is false. The reality, as thoroughly dissected in Showtime’s new documentary series, \u003cem>The 12th Victim\u003c/em>, paints a far more complex picture — one that thoroughly exonerates Fugate for her role in the killings. By the end of four gripping episodes, what becomes clear is that this was not a story of youthful rebellion and lust run amok. It was a kidnapping, a major miscarriage of justice and one of the most egregious incidents of victim blaming in our nation’s history.\u003c/p>\n\u003cp>Starkweather was a remorseless spree killer who murdered 11 people in cold blood, alright. But Fugate wasn’t willingly along for the ride; she was a terrified hostage. After she finally escaped from Starkweather, the newly orphaned Fugate’s fortitude and survival was rewarded with a first degree murder conviction. She was the youngest person in American history ever charged with the crime.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2Qy0ucSZuo0\u003c/p>\n\u003cp>One of the many pertinent points hammered home by \u003cem>The 12th Victim\u003c/em> is that Fugate’s version of events never wavered, no matter how many years passed. She told the same story under hypnosis and, at one point in the 1980s, she was found to be truthful by a televised lie detector test.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fugate’s version of events goes like this: After attempting to break up with Starkweather because she thought he was “crazy,” Fugate arrived home from school one day to find him in her house and armed. Starkweather told Fugate that if she didn’t do exactly as he instructed that he would have her family killed, including her beloved sister Betty-Jean, who was just two years old at the time. Starkweather told Fugate that her family were being held by associates of his and that she must go with him if she wanted them to live. She had no idea that Starkweather had already slaughtered her parents and baby sister and hidden their bodies.\u003c/p>\n\u003cp>[aside postid='pop_109009']After they hit the road, Starkweather killed almost everyone he and Fugate crossed paths with. By the time the pair were finally cornered by police officers, Fugate was in a deeply traumatized state. While Starkweather took on the cops, Fugate ran from their vehicle \u003ci>towards\u003c/i> the police, screaming for help and begging them to arrest Starkweather.\u003c/p>\n\u003cp>Once in custody, one of the first things Fugate asked for was her parents. She spent hours repeatedly begging to see her mother. Eventually an officer blurted out, “My God, girl, don’t you know they’re all dead?” Fugate became so distressed she had to be forcibly sedated.\u003c/p>\n\u003cp>In contrast, Starkweather proudly admitted to his crimes and, initially at least, stated that Fugate was indeed his hostage. As weeks dragged on, and as police found a variety of grossly inappropriate ways to pit Starkweather against Fugate, the murderer’s story began changing. By the time he was on death row and given an entire essay in \u003cem>Parade\u003c/em> magazine — one of the most popular publications of the time — Starkweather was claiming that his crimes were actually all Fugate’s idea.\u003c/p>\n\u003cp>“All the time the spree was taking place, I was scared,” Starkweather wrote in \u003cem>Parade\u003c/em>. “I was going to give up. Carol then threatened out loud that she wasn’t going to give up … With a shotgun laying across her lap with the barrel pointing directly at me, and with her fast talking, she convinced me that we didn’t have anything to gain by giving up.”\u003c/p>\n\u003cp>Despite being patently preposterous, the public ate it up. This version of events lined up with then-popular conservative ideas about the dangers of teen rebellion. And the public desire for answers that made sense were most quickly satiated by the scapegoating of Fugate. Plus, Starkweather’s version was infinitely more titillating for the press to have fun with.\u003c/p>\n\u003cp>After Starkweather was permitted to testify against Fugate at her trial, he famously stated: “If I fry in the electric chair, she should be sitting in my lap.”\u003c/p>\n\u003cp>\u003cem>The 12th Victim\u003c/em>’s primary focus is consistently the real Caril Ann Fugate — who she was before, during and after the crimes. Particularly heartbreaking to watch are her tireless attempts to prove her innocence — and to consistently demonstrate her good character — throughout the rest of her life.\u003c/p>\n\u003cp>[aside postid='arts_13913533']What elevates \u003cem>The 12th Victim\u003c/em> further is the way the series touches on how pop culture can impact justice. Popular pulp fiction of the 1950s indelibly influenced how receptive the public was to Starkweather and the authorities’ portrayal of Fugate. But that sensational false narrative has been getting fed back to us on a cultural loop ever since, keeping the issues (and misogyny) that plagued Fugate’s case ever-present in similar ways. In America, the show successfully argues, we’d always rather hear a story driven by sexualized violence than we would about a young woman surviving an impossible set of circumstances.\u003c/p>\n\u003cp>\u003cem>The 12th Victim\u003c/em>, at least, offers Caril Ann Fugate a final shot at redemption.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The 12th Victim’ premieres on Showtime on Feb. 17, 2023. \u003ca href=\"https://www.sho.com/the-12th-victim\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Unfortunately for almost everyone involved, much of this popular narrative is false. The reality, as thoroughly dissected in Showtime’s new documentary series, \u003cem>The 12th Victim\u003c/em>, paints a far more complex picture — one that thoroughly exonerates Fugate for her role in the killings. By the end of four gripping episodes, what becomes clear is that this was not a story of youthful rebellion and lust run amok. It was a kidnapping, a major miscarriage of justice and one of the most egregious incidents of victim blaming in our nation’s history.\u003c/p>\n\u003cp>Starkweather was a remorseless spree killer who murdered 11 people in cold blood, alright. But Fugate wasn’t willingly along for the ride; she was a terrified hostage. After she finally escaped from Starkweather, the newly orphaned Fugate’s fortitude and survival was rewarded with a first degree murder conviction. She was the youngest person in American history ever charged with the crime.\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/2Qy0ucSZuo0'\n title='//www.youtube.com/embed/2Qy0ucSZuo0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the many pertinent points hammered home by \u003cem>The 12th Victim\u003c/em> is that Fugate’s version of events never wavered, no matter how many years passed. She told the same story under hypnosis and, at one point in the 1980s, she was found to be truthful by a televised lie detector test.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fugate’s version of events goes like this: After attempting to break up with Starkweather because she thought he was “crazy,” Fugate arrived home from school one day to find him in her house and armed. Starkweather told Fugate that if she didn’t do exactly as he instructed that he would have her family killed, including her beloved sister Betty-Jean, who was just two years old at the time. Starkweather told Fugate that her family were being held by associates of his and that she must go with him if she wanted them to live. She had no idea that Starkweather had already slaughtered her parents and baby sister and hidden their bodies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After they hit the road, Starkweather killed almost everyone he and Fugate crossed paths with. By the time the pair were finally cornered by police officers, Fugate was in a deeply traumatized state. While Starkweather took on the cops, Fugate ran from their vehicle \u003ci>towards\u003c/i> the police, screaming for help and begging them to arrest Starkweather.\u003c/p>\n\u003cp>Once in custody, one of the first things Fugate asked for was her parents. She spent hours repeatedly begging to see her mother. Eventually an officer blurted out, “My God, girl, don’t you know they’re all dead?” Fugate became so distressed she had to be forcibly sedated.\u003c/p>\n\u003cp>In contrast, Starkweather proudly admitted to his crimes and, initially at least, stated that Fugate was indeed his hostage. As weeks dragged on, and as police found a variety of grossly inappropriate ways to pit Starkweather against Fugate, the murderer’s story began changing. By the time he was on death row and given an entire essay in \u003cem>Parade\u003c/em> magazine — one of the most popular publications of the time — Starkweather was claiming that his crimes were actually all Fugate’s idea.\u003c/p>\n\u003cp>“All the time the spree was taking place, I was scared,” Starkweather wrote in \u003cem>Parade\u003c/em>. “I was going to give up. Carol then threatened out loud that she wasn’t going to give up … With a shotgun laying across her lap with the barrel pointing directly at me, and with her fast talking, she convinced me that we didn’t have anything to gain by giving up.”\u003c/p>\n\u003cp>Despite being patently preposterous, the public ate it up. This version of events lined up with then-popular conservative ideas about the dangers of teen rebellion. And the public desire for answers that made sense were most quickly satiated by the scapegoating of Fugate. Plus, Starkweather’s version was infinitely more titillating for the press to have fun with.\u003c/p>\n\u003cp>After Starkweather was permitted to testify against Fugate at her trial, he famously stated: “If I fry in the electric chair, she should be sitting in my lap.”\u003c/p>\n\u003cp>\u003cem>The 12th Victim\u003c/em>’s primary focus is consistently the real Caril Ann Fugate — who she was before, during and after the crimes. Particularly heartbreaking to watch are her tireless attempts to prove her innocence — and to consistently demonstrate her good character — throughout the rest of her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What elevates \u003cem>The 12th Victim\u003c/em> further is the way the series touches on how pop culture can impact justice. Popular pulp fiction of the 1950s indelibly influenced how receptive the public was to Starkweather and the authorities’ portrayal of Fugate. But that sensational false narrative has been getting fed back to us on a cultural loop ever since, keeping the issues (and misogyny) that plagued Fugate’s case ever-present in similar ways. In America, the show successfully argues, we’d always rather hear a story driven by sexualized violence than we would about a young woman surviving an impossible set of circumstances.\u003c/p>\n\u003cp>\u003cem>The 12th Victim\u003c/em>, at least, offers Caril Ann Fugate a final shot at redemption.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The 12th Victim’ premieres on Showtime on Feb. 17, 2023. \u003ca href=\"https://www.sho.com/the-12th-victim\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In a San Francisco Bell Tower, SFAI’s Archive Prepares for a Big Move",
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"headTitle": "In a San Francisco Bell Tower, SFAI’s Archive Prepares for a Big Move | KQED",
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"content": "\u003cp>[dropcap]I[/dropcap]t’s been very quiet on the San Francisco Art Institute campus since the school \u003ca href=\"https://www.kqed.org/arts/13916517/sfai-closed-students-for-action-usf-aquisition\">closed its doors behind its last graduating class\u003c/a> on July 15, 2022. Except for a security guard, archivists Jeff Gunderson and Becky Alexander are the only regular visitors to 800 Chestnut St. Even the fountain’s turtles have been relocated to the Sonoma County Reptile Rescue.\u003c/p>\n\u003cp>[aside postID='arts_13916517']But that stillness belies the major work taking place behind the scenes, in Zoom meetings and over email, to create a brand new and financially separate nonprofit institution known as the \u003ca href=\"https://www.sfailegacyarchive.org/\">SFAI Legacy Foundation + Archive\u003c/a>. While the school wobbles at the edge of seemingly inevitable bankruptcy proceedings, the newly formed legacy foundation aims to shepherd SFAI’s tangible history into a safe, stable and publicly accessible future. \u003c/p>\n\u003cp>“The scenario that led SFAI to not be in the business of providing education … became the opportunity for us to do something which I think would be profoundly important even if they were still providing education,” says Charles DeSantis, legacy foundation president and board chair. He is joined by Gale Elston, a New York-based lawyer with a background in artists’ rights, and Katie Hood Morgan, the former \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">curator of exhibitions and public programs at SFAI\u003c/a>, now an independent curator.\u003c/p>\n\u003cp>DeSantis, the chief benefits officer and associate vice president for benefits and wellness at Georgetown University, also attended SFAI for what he calls his “self-appointed post-baccalaureate program” in the early 2000s, connecting deeply with the faculty, campus and student body. Elston has worked with SFAI-connected artists and used to live a few blocks from the school. \u003c/p>\n\u003cfigure id=\"attachment_13925091\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Empty Italianate courtyard with trees, fountain and shadows\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Piles of scattered leaves cover the brick ground of the courtyard of the San Francisco Art Institute in on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their connections, all three founding board members are new to leadership positions at the school. This was purposeful. After the tumult of the past three years, the legacy foundation needed to be completely separate from SFAI’s administration, board and even the \u003ca href=\"https://www.kqed.org/arts/13892120/the-san-francisco-art-institute-that-could-have-been\">Reimagine Committee\u003c/a>, a group of alumni, staff and faculty who met for six months in 2020 and early 2021 to propose a radically different SFAI.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the listening tours that current SFAI board chair Lonnie Graham and vice chair John Marx undertook following the departure of embattled board chair Pam Rorke Levy, Marx says the issue of the archive kept coming up.\u003c/p>\n\u003cp>“This came from the community,” he says. “Every time we’d have a meeting, it’s like, ‘Well, if you go bankrupt, how are we going to protect the archive? How are we going to protect the spirit of the school?’”\u003c/p>\n\u003cfigure id=\"attachment_13925092\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200.jpg\" alt=\"Booklet cover with text over black and white photograph of students playing basketball on brutalist campus\" width=\"1200\" height=\"1837\" class=\"size-full wp-image-13925092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-800x1225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-1020x1561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-768x1176.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-1003x1536.jpg 1003w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The 1973–1974 catalog advertising courses at SFAI. \u003ccite>(Courtesy the SFAI Legacy Archive + Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What the archive is\u003c/h2>\n\u003cp>The archive is expansive. Currently housed in the Anne Bremer Memorial Library and within three chilly, musty rooms in the school’s bell-less bell tower, it contains 550 linear feet of archival records from the school’s 152-year history. These include manuscripts, account books, minutes of meetings, photographs, blueprints, broadsides, ephemera, and audio and video recordings. Organization ranges from donations labeled “not yet looked through” to hyper-specific collections in acid-free boxes. \u003c/p>\n\u003cp>A sampling: a 1978 advertisement for SFAI’s summer session, featuring a “Non-Sculpture” class with Paul Kos; 1878 board minutes approving Eadweard Muybridge’s use of rooms for “the exhibition of his photographs of trotting horses”; a collection of student newspapers and periodicals, including \u003ci>The Philistine\u003c/i> (1992–1996); documents relating to the Montalvo estate in Saratoga, which SFAI once owned (!); and a well-organized section on parties thrown between 1904 and 1976. There’s even an ever-popular ghost file, which includes documentation of several visits from ghost hunters seeking out the spirit who supposedly haunts SFAI’s tower. \u003c/p>\n\u003cp>As archivist Gunderson says, “No one ever threw anything away here, you know? And the last time it really burned up was in 1906. So there’s a lot of stuff.”\u003c/p>\n\u003cfigure id=\"attachment_13925094\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Shadows fall across pages of handwritten text in elegant cursive\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A board of directors meeting log from 1878 sits open to a page that mentions Eadweard Muybridge, known for his photographic studies of motion of humans and animals, at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In November 2022, SFAI’s archive officially transferred to the newly formed legacy foundation, and with it the right to administer a 2022 National Endowment for the Humanities grant. This $234,820 award will pay for Gunderson and Alexander’s labor and materials as they arrange, describe and rehouse the materials. For while the archive has always been open to researchers, the grant application points out, informing dozens of books, articles, exhibitions, films, lectures and courses, “it has never been as accessible or discoverable as its historical value demands.”\u003c/p>\n\u003cp>[aside postID='arts_13889433']Caring for the archive in this way is also a matter of equity. Instead of just the “greatest hits,” this project will allow lesser-known stories and new voices to emerge in the school’s history. “We’ll be looking at everything at least a little bit and have a chance to see what has been buried in there, which is very cool,” Alexander explains. Eventually, all the descriptions and finding aids will be available via the \u003ca href=\"https://oac.cdlib.org/\">Online Archive of California\u003c/a>. “It’ll be just a lot more easy to find what you might not even have known you were looking for,” she adds.\u003c/p>\n\u003cp>In the immediate, the legacy foundation’s goal is to raise enough funds — DeSantis says “at least $100,000” — to rent space to house the archives, and where Gunderson and Alexander can start their work. If they can raise $250,000, DeSantis says, all the better. That would guarantee a bit of stability. The legacy foundation is looking for a minimum of 650 square feet in San Francisco, though the long-term goal is to house the archive somewhere larger, where the public could visit and programming could take place.\u003c/p>\n\u003cp>In true SFAI fashion, the deadline for when the archive must leave campus is uncertain, as is the very future of 800 Chestnut St. \u003c/p>\n\u003cfigure id=\"attachment_13925095\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Looking down on dimly lit space with empty work tables\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ceramics studio sits empty at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What the archive is not\u003c/h2>\n\u003cp>There are many things the archive is not: the Diego Rivera mural, the circulating books in the library, the studio equipment and the campus itself. The archive is not an educational institution. In fact, so long as SFAI, “the school,” exists in some form, the legacy foundation cannot offer instruction. Improbably, half a year after the proposed merger with USF fell through, SFAI “the school” endures, paying rent to the UC Regents. \u003c/p>\n\u003cp>Will SFAI have to declare bankruptcy? Marx says that is “the interesting question with no easy answer.” SFAI and the UC Regents, who now own 800 Chestnut St., are in negotiations with developers about a possible sale. Reasonable uses of the property could include education, housing or a hotel.\u003c/p>\n\u003cp>“But ultimately,” Marx explains, “the long-term success of SFAI and the ability to reemerge as a school of fine arts is dependent on being able to sell the mural.” Marx says that buyer would have to guarantee Rivera’s \u003ci>The Making of a Fresco Showing the Building of a City\u003c/i> remains publicly accessible, in situ. \u003c/p>\n\u003cfigure id=\"attachment_13925093\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Giant colorful mural lit by only skylight in otherwise empty room\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The walls in the Diego Rivera Gallery sit empty except for Diego Rivera’s mural, ‘The Making of a Fresco Showing the Building of a City,’ from 1931, at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Complicating this potential sale is the fact that SFAI no longer owns the gallery the mural exists within — the UC Regents do. In one dream scenario, a museum could buy the Rivera and establish a satellite gallery with an easement of sorts; SFAI might reemerge with a smaller footprint, perhaps just as a graduate program. \u003c/p>\n\u003cp>“We are definitely aggressively pursuing every opportunity that we still have relative to restarting the school,” Marx says. Even so, if the school loses all its assets and emerges with something like $5 million, that’s not enough to move forward. In that scenario, SFAI “the school” would pay the faculty and staff additional severance and close for good.[pullquote size='medium' align='right' citation='Becky Alexander, Archivist']‘We don’t want to be the ghosts.’[/pullquote] \u003c/p>\n\u003cp>“The goal is to restart it, not to just have it linger on in some sort of near-death experience,” Marx explains.\u003c/p>\n\u003ch2>The archive leaves SFAI\u003c/h2>\n\u003cp>For nearly 100 years, the archive has been part of the campus architecture. It lines the staircase of the bell tower, taking up nearly every available nook and cranny. Removing the material from the school will be “wrenching,” Alexander says. But at the same time, maybe it’s for the best. “We don’t want to be the ghosts,” she adds.\u003c/p>\n\u003cp>On a recent visit to SFAI, Gunderson toured me around the archive and through the empty school. Leaves had blown down hallways and into studios. A succulent grew out of a once heavily trafficked concrete step. There was a bit of a stench in the sculpture pit, where the drains used to get flushed out on a regular basis. \u003c/p>\n\u003cfigure id=\"attachment_13925099\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Cast plaster statue of Tweety bird sit inside ajar locker\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925099\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sculpture sits in an open locker at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All the creative energy that used to fill those spaces is now dispersed among the SFAI’s former staff, faculty, students and fans. The school’s \u003ca href=\"https://www.sfartistsalumni.org/\">alumni group\u003c/a>, in particular, has worked hard to keep those connections alive. That’s where the SFAI Legacy Archive + Foundation can act as a destination, and what makes its board hopeful for success.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“There’s so much desire to help and chip in and really contribute to something positive related to the school,” Morgan says of their bet on the next 152 years. “I think people have been looking for that, hoping for that, like a ray of light of some kind.”\u003c/p>\n\n",
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"title": "SFAI’s Archive Will Split From School to Protect Its Legacy | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>t’s been very quiet on the San Francisco Art Institute campus since the school \u003ca href=\"https://www.kqed.org/arts/13916517/sfai-closed-students-for-action-usf-aquisition\">closed its doors behind its last graduating class\u003c/a> on July 15, 2022. Except for a security guard, archivists Jeff Gunderson and Becky Alexander are the only regular visitors to 800 Chestnut St. Even the fountain’s turtles have been relocated to the Sonoma County Reptile Rescue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But that stillness belies the major work taking place behind the scenes, in Zoom meetings and over email, to create a brand new and financially separate nonprofit institution known as the \u003ca href=\"https://www.sfailegacyarchive.org/\">SFAI Legacy Foundation + Archive\u003c/a>. While the school wobbles at the edge of seemingly inevitable bankruptcy proceedings, the newly formed legacy foundation aims to shepherd SFAI’s tangible history into a safe, stable and publicly accessible future. \u003c/p>\n\u003cp>“The scenario that led SFAI to not be in the business of providing education … became the opportunity for us to do something which I think would be profoundly important even if they were still providing education,” says Charles DeSantis, legacy foundation president and board chair. He is joined by Gale Elston, a New York-based lawyer with a background in artists’ rights, and Katie Hood Morgan, the former \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">curator of exhibitions and public programs at SFAI\u003c/a>, now an independent curator.\u003c/p>\n\u003cp>DeSantis, the chief benefits officer and associate vice president for benefits and wellness at Georgetown University, also attended SFAI for what he calls his “self-appointed post-baccalaureate program” in the early 2000s, connecting deeply with the faculty, campus and student body. Elston has worked with SFAI-connected artists and used to live a few blocks from the school. \u003c/p>\n\u003cfigure id=\"attachment_13925091\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Empty Italianate courtyard with trees, fountain and shadows\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Piles of scattered leaves cover the brick ground of the courtyard of the San Francisco Art Institute in on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their connections, all three founding board members are new to leadership positions at the school. This was purposeful. After the tumult of the past three years, the legacy foundation needed to be completely separate from SFAI’s administration, board and even the \u003ca href=\"https://www.kqed.org/arts/13892120/the-san-francisco-art-institute-that-could-have-been\">Reimagine Committee\u003c/a>, a group of alumni, staff and faculty who met for six months in 2020 and early 2021 to propose a radically different SFAI.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the listening tours that current SFAI board chair Lonnie Graham and vice chair John Marx undertook following the departure of embattled board chair Pam Rorke Levy, Marx says the issue of the archive kept coming up.\u003c/p>\n\u003cp>“This came from the community,” he says. “Every time we’d have a meeting, it’s like, ‘Well, if you go bankrupt, how are we going to protect the archive? How are we going to protect the spirit of the school?’”\u003c/p>\n\u003cfigure id=\"attachment_13925092\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200.jpg\" alt=\"Booklet cover with text over black and white photograph of students playing basketball on brutalist campus\" width=\"1200\" height=\"1837\" class=\"size-full wp-image-13925092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-800x1225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-1020x1561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-768x1176.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-1003x1536.jpg 1003w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The 1973–1974 catalog advertising courses at SFAI. \u003ccite>(Courtesy the SFAI Legacy Archive + Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What the archive is\u003c/h2>\n\u003cp>The archive is expansive. Currently housed in the Anne Bremer Memorial Library and within three chilly, musty rooms in the school’s bell-less bell tower, it contains 550 linear feet of archival records from the school’s 152-year history. These include manuscripts, account books, minutes of meetings, photographs, blueprints, broadsides, ephemera, and audio and video recordings. Organization ranges from donations labeled “not yet looked through” to hyper-specific collections in acid-free boxes. \u003c/p>\n\u003cp>A sampling: a 1978 advertisement for SFAI’s summer session, featuring a “Non-Sculpture” class with Paul Kos; 1878 board minutes approving Eadweard Muybridge’s use of rooms for “the exhibition of his photographs of trotting horses”; a collection of student newspapers and periodicals, including \u003ci>The Philistine\u003c/i> (1992–1996); documents relating to the Montalvo estate in Saratoga, which SFAI once owned (!); and a well-organized section on parties thrown between 1904 and 1976. There’s even an ever-popular ghost file, which includes documentation of several visits from ghost hunters seeking out the spirit who supposedly haunts SFAI’s tower. \u003c/p>\n\u003cp>As archivist Gunderson says, “No one ever threw anything away here, you know? And the last time it really burned up was in 1906. So there’s a lot of stuff.”\u003c/p>\n\u003cfigure id=\"attachment_13925094\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Shadows fall across pages of handwritten text in elegant cursive\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A board of directors meeting log from 1878 sits open to a page that mentions Eadweard Muybridge, known for his photographic studies of motion of humans and animals, at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In November 2022, SFAI’s archive officially transferred to the newly formed legacy foundation, and with it the right to administer a 2022 National Endowment for the Humanities grant. This $234,820 award will pay for Gunderson and Alexander’s labor and materials as they arrange, describe and rehouse the materials. For while the archive has always been open to researchers, the grant application points out, informing dozens of books, articles, exhibitions, films, lectures and courses, “it has never been as accessible or discoverable as its historical value demands.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Caring for the archive in this way is also a matter of equity. Instead of just the “greatest hits,” this project will allow lesser-known stories and new voices to emerge in the school’s history. “We’ll be looking at everything at least a little bit and have a chance to see what has been buried in there, which is very cool,” Alexander explains. Eventually, all the descriptions and finding aids will be available via the \u003ca href=\"https://oac.cdlib.org/\">Online Archive of California\u003c/a>. “It’ll be just a lot more easy to find what you might not even have known you were looking for,” she adds.\u003c/p>\n\u003cp>In the immediate, the legacy foundation’s goal is to raise enough funds — DeSantis says “at least $100,000” — to rent space to house the archives, and where Gunderson and Alexander can start their work. If they can raise $250,000, DeSantis says, all the better. That would guarantee a bit of stability. The legacy foundation is looking for a minimum of 650 square feet in San Francisco, though the long-term goal is to house the archive somewhere larger, where the public could visit and programming could take place.\u003c/p>\n\u003cp>In true SFAI fashion, the deadline for when the archive must leave campus is uncertain, as is the very future of 800 Chestnut St. \u003c/p>\n\u003cfigure id=\"attachment_13925095\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Looking down on dimly lit space with empty work tables\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ceramics studio sits empty at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What the archive is not\u003c/h2>\n\u003cp>There are many things the archive is not: the Diego Rivera mural, the circulating books in the library, the studio equipment and the campus itself. The archive is not an educational institution. In fact, so long as SFAI, “the school,” exists in some form, the legacy foundation cannot offer instruction. Improbably, half a year after the proposed merger with USF fell through, SFAI “the school” endures, paying rent to the UC Regents. \u003c/p>\n\u003cp>Will SFAI have to declare bankruptcy? Marx says that is “the interesting question with no easy answer.” SFAI and the UC Regents, who now own 800 Chestnut St., are in negotiations with developers about a possible sale. Reasonable uses of the property could include education, housing or a hotel.\u003c/p>\n\u003cp>“But ultimately,” Marx explains, “the long-term success of SFAI and the ability to reemerge as a school of fine arts is dependent on being able to sell the mural.” Marx says that buyer would have to guarantee Rivera’s \u003ci>The Making of a Fresco Showing the Building of a City\u003c/i> remains publicly accessible, in situ. \u003c/p>\n\u003cfigure id=\"attachment_13925093\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Giant colorful mural lit by only skylight in otherwise empty room\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The walls in the Diego Rivera Gallery sit empty except for Diego Rivera’s mural, ‘The Making of a Fresco Showing the Building of a City,’ from 1931, at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Complicating this potential sale is the fact that SFAI no longer owns the gallery the mural exists within — the UC Regents do. In one dream scenario, a museum could buy the Rivera and establish a satellite gallery with an easement of sorts; SFAI might reemerge with a smaller footprint, perhaps just as a graduate program. \u003c/p>\n\u003cp>“We are definitely aggressively pursuing every opportunity that we still have relative to restarting the school,” Marx says. Even so, if the school loses all its assets and emerges with something like $5 million, that’s not enough to move forward. In that scenario, SFAI “the school” would pay the faculty and staff additional severance and close for good.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>“The goal is to restart it, not to just have it linger on in some sort of near-death experience,” Marx explains.\u003c/p>\n\u003ch2>The archive leaves SFAI\u003c/h2>\n\u003cp>For nearly 100 years, the archive has been part of the campus architecture. It lines the staircase of the bell tower, taking up nearly every available nook and cranny. Removing the material from the school will be “wrenching,” Alexander says. But at the same time, maybe it’s for the best. “We don’t want to be the ghosts,” she adds.\u003c/p>\n\u003cp>On a recent visit to SFAI, Gunderson toured me around the archive and through the empty school. Leaves had blown down hallways and into studios. A succulent grew out of a once heavily trafficked concrete step. There was a bit of a stench in the sculpture pit, where the drains used to get flushed out on a regular basis. \u003c/p>\n\u003cfigure id=\"attachment_13925099\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Cast plaster statue of Tweety bird sit inside ajar locker\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925099\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sculpture sits in an open locker at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All the creative energy that used to fill those spaces is now dispersed among the SFAI’s former staff, faculty, students and fans. The school’s \u003ca href=\"https://www.sfartistsalumni.org/\">alumni group\u003c/a>, in particular, has worked hard to keep those connections alive. That’s where the SFAI Legacy Archive + Foundation can act as a destination, and what makes its board hopeful for success.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s so much desire to help and chip in and really contribute to something positive related to the school,” Morgan says of their bet on the next 152 years. “I think people have been looking for that, hoping for that, like a ray of light of some kind.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It was Valentine’s Day 1917 in the Minnesota farming village of Lewiston, and Fred Roth — a fourth grader — seems to have come up with just the way to express his love for his sweetheart, Louise Wirt. He gave her a card.\u003c/p>\n\u003cp>The folding, pop-up Valentine’s Day card, on stock so heavy it remains in good shape 106 years later, reads: “Forget me not!/I ask of thee/Reserve one spot/In your heart for me.”\u003c/p>\n\u003cp>And so she did. Years later they married, and Louise displayed the cherished card, tucked into the fretwork of a bedroom dresser, for decades to come. She pointed it out to her daughter, and later to a granddaughter, me, and it remained near her bedside until her death at 91, a token of lasting love.\u003c/p>\n\u003cfigure id=\"attachment_13925066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925066\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1365723987-800x604.jpg\" alt=\"An image of pink roses and foliage surrounded by ornate paper cutouts, with a heart underneath and the illustration of an open book reading ‘Forget Me Not.’\" width=\"800\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723987-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723987-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723987-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723987-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723987.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A ‘Forget Me Not’ Valentine, circa 1860/69. Artist Thomas Wood. \u003ccite>(Heritage Art/Heritage Images via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the message was in English, the card is printed with the word “Germany” and is seemingly imported, as were many cards of that era. Small companies in the U.S. also were part of a flourishing commercial card business.\u003c/p>\n\u003cp>Hallmark, which began offering Valentine’s Day cards in 1913, estimates that today, 145 million Valentine’s Day cards are exchanged annually, not including the kids’ valentines popular for classroom exchanges.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fertility-related customs and rituals have been celebrated in mid-February since pagan times, says Emelie Gevalt, curator of folk art and curatorial chair for collections at the American Folk Art Museum in New York City.\u003c/p>\n\u003cp>[aside postid='pop_109425']Tokens of affection varied: In the 1600s, the practice was to give pairs of gloves in mid-February, she says.\u003c/p>\n\u003cp>“By the 18th century, we start to see something that really begins to resemble modern Valentine’s cards,” she says. “In the 19th century, this evolved further to the point where popular ladies’ magazines like \u003cem>Harper’s Weekly\u003c/em> published instructions for readers on how to craft them.”\u003c/p>\n\u003cfigure id=\"attachment_13925064\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925064\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1365723962-800x580.jpg\" alt=\"A delicate collaged card featuring layers of paper with ornate cutouts. In the center is a verse titled Affection.\" width=\"800\" height=\"580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723962-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723962-1020x739.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723962-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723962-768x557.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723962.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Valentine circa 1855/60. Artist Thomas Wood. \u003ccite>(Heritage Art/Heritage Images via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There have long been both earnest, heartfelt Valentines like Grandpa Fred’s, and ones in a more teasing, playful vein.\u003c/p>\n\u003cp>The museum’s collection includes a number of lovingly crafted tokens of affection from various periods. “You see the heart motif quite a lot,” Gevalt says.\u003c/p>\n\u003cp>[aside postid='pop_109337']Although not specifically linked to Valentine’s Day, an exhibit at the museum opening March 17, “Material Witness: Folk and Self-Taught Artists at Work,” features two examples of “fraktur,” exuberantly decorated watercolors made by German immigrants in Pennsylvania. One is called “Inverted Heart,” and another depicts a labyrinth.\u003c/p>\n\u003cp>“They were really dazzling objects, including motifs of flowers or hearts. The playfulness and cleverness of these objects is one of the most interesting aspects they have in common,” Gevalt says.\u003c/p>\n\u003cfigure id=\"attachment_13925068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925068\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-524478238-800x498.jpg\" alt=\"A greeting card featuring an illustrated cherub sitting in a golden carriage being pulled by white birds across a blue sky.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-524478238-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-524478238-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-524478238-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-524478238-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-524478238.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘To My Sweetheart,‘ a Victorian Valentine. \u003ccite>(K.J. Historical/CORBIS/Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the mid-19th century, some people shared “Vinegar Valentines,” a sort of anti-Valentine that featured playfully insulting verses, not unlike a modern-day roast.\u003c/p>\n\u003cp>[aside postid='pop_109395']Sometimes, cards involved writing in a circle or upside down, like a puzzle. Some had a decorative folded border or verses on the folds; cutwork resembling lace; or watercolor decorations of pierced hearts, lovebirds and flowers. Lover’s knots and labyrinths were also common elements.\u003c/p>\n\u003cp>“They remind me of games, like plucking the petals of a flower saying ‘she loves me, she loves me not,’” Gevalt says.\u003c/p>\n\u003cp>The boom in commercial Valentine’s Day cards in the mid-1800s was a reflection of changing courtship patterns, says Elizabeth White Nelson, associate professor of history at University of Nevada, Las Vegas.\u003c/p>\n\u003cp>“The idea of companionate marriage and love became a part of the calculus of marriage, and Valentine’s Day cards became a part of courtship,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13925069\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925069\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-137665155-800x534.jpg\" alt=\"A cardboard cherub sits in a cardboard model of a biplane. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-137665155-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-137665155-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-137665155-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-137665155-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-137665155.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An antique 3-D Valentine owned by John Dodge, who owns 1,400 antique Valentines. \u003ccite>(Tom Landers/The Boston Globe via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These days, the cards continue to evolve.\u003c/p>\n\u003cp>“Over the last few years, trends have been less about romantic love but more about letting someone know they matter,” says Jen Walker, vice president of trends and creative studios at Hallmark Cards, Inc.\u003c/p>\n\u003cp>There are “more inclusive visuals, and a larger representation of relationships — love, chosen family, friendships, parents and children, self-care,” she says.\u003c/p>\n\u003cp>[aside postid='pop_20463']A bit of mystery surrounds my Grandma Louise’s precious Valentine. It would have been out of character for Fred to buy a commercial card as opposed to, say, presenting her with a bouquet of pussy willows he had picked.\u003c/p>\n\u003cp>“That period would have been the beginning of an organized practice of exchanging Valentines in school,” says Nelson. In some classrooms, everyone was required, or at least encouraged, to give a Valentine.\u003c/p>\n\u003cp>“The giving and receiving of Valentines was always partly about performing love, for an audience,” says Nelson, “and once that Valentine’s Day card got saved, it would have become a talisman of all that love is supposed to be.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, visit \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener\">the AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was Valentine’s Day 1917 in the Minnesota farming village of Lewiston, and Fred Roth — a fourth grader — seems to have come up with just the way to express his love for his sweetheart, Louise Wirt. He gave her a card.\u003c/p>\n\u003cp>The folding, pop-up Valentine’s Day card, on stock so heavy it remains in good shape 106 years later, reads: “Forget me not!/I ask of thee/Reserve one spot/In your heart for me.”\u003c/p>\n\u003cp>And so she did. Years later they married, and Louise displayed the cherished card, tucked into the fretwork of a bedroom dresser, for decades to come. She pointed it out to her daughter, and later to a granddaughter, me, and it remained near her bedside until her death at 91, a token of lasting love.\u003c/p>\n\u003cfigure id=\"attachment_13925066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925066\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1365723987-800x604.jpg\" alt=\"An image of pink roses and foliage surrounded by ornate paper cutouts, with a heart underneath and the illustration of an open book reading ‘Forget Me Not.’\" width=\"800\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723987-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723987-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723987-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723987-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723987.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A ‘Forget Me Not’ Valentine, circa 1860/69. Artist Thomas Wood. \u003ccite>(Heritage Art/Heritage Images via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the message was in English, the card is printed with the word “Germany” and is seemingly imported, as were many cards of that era. Small companies in the U.S. also were part of a flourishing commercial card business.\u003c/p>\n\u003cp>Hallmark, which began offering Valentine’s Day cards in 1913, estimates that today, 145 million Valentine’s Day cards are exchanged annually, not including the kids’ valentines popular for classroom exchanges.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Tokens of affection varied: In the 1600s, the practice was to give pairs of gloves in mid-February, she says.\u003c/p>\n\u003cp>“By the 18th century, we start to see something that really begins to resemble modern Valentine’s cards,” she says. “In the 19th century, this evolved further to the point where popular ladies’ magazines like \u003cem>Harper’s Weekly\u003c/em> published instructions for readers on how to craft them.”\u003c/p>\n\u003cfigure id=\"attachment_13925064\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925064\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1365723962-800x580.jpg\" alt=\"A delicate collaged card featuring layers of paper with ornate cutouts. In the center is a verse titled Affection.\" width=\"800\" height=\"580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723962-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723962-1020x739.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723962-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723962-768x557.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1365723962.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Valentine circa 1855/60. Artist Thomas Wood. \u003ccite>(Heritage Art/Heritage Images via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There have long been both earnest, heartfelt Valentines like Grandpa Fred’s, and ones in a more teasing, playful vein.\u003c/p>\n\u003cp>The museum’s collection includes a number of lovingly crafted tokens of affection from various periods. “You see the heart motif quite a lot,” Gevalt says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Although not specifically linked to Valentine’s Day, an exhibit at the museum opening March 17, “Material Witness: Folk and Self-Taught Artists at Work,” features two examples of “fraktur,” exuberantly decorated watercolors made by German immigrants in Pennsylvania. One is called “Inverted Heart,” and another depicts a labyrinth.\u003c/p>\n\u003cp>“They were really dazzling objects, including motifs of flowers or hearts. The playfulness and cleverness of these objects is one of the most interesting aspects they have in common,” Gevalt says.\u003c/p>\n\u003cfigure id=\"attachment_13925068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925068\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-524478238-800x498.jpg\" alt=\"A greeting card featuring an illustrated cherub sitting in a golden carriage being pulled by white birds across a blue sky.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-524478238-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-524478238-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-524478238-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-524478238-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-524478238.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘To My Sweetheart,‘ a Victorian Valentine. \u003ccite>(K.J. Historical/CORBIS/Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the mid-19th century, some people shared “Vinegar Valentines,” a sort of anti-Valentine that featured playfully insulting verses, not unlike a modern-day roast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sometimes, cards involved writing in a circle or upside down, like a puzzle. Some had a decorative folded border or verses on the folds; cutwork resembling lace; or watercolor decorations of pierced hearts, lovebirds and flowers. Lover’s knots and labyrinths were also common elements.\u003c/p>\n\u003cp>“They remind me of games, like plucking the petals of a flower saying ‘she loves me, she loves me not,’” Gevalt says.\u003c/p>\n\u003cp>The boom in commercial Valentine’s Day cards in the mid-1800s was a reflection of changing courtship patterns, says Elizabeth White Nelson, associate professor of history at University of Nevada, Las Vegas.\u003c/p>\n\u003cp>“The idea of companionate marriage and love became a part of the calculus of marriage, and Valentine’s Day cards became a part of courtship,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13925069\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925069\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-137665155-800x534.jpg\" alt=\"A cardboard cherub sits in a cardboard model of a biplane. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-137665155-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-137665155-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-137665155-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-137665155-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-137665155.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An antique 3-D Valentine owned by John Dodge, who owns 1,400 antique Valentines. \u003ccite>(Tom Landers/The Boston Globe via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These days, the cards continue to evolve.\u003c/p>\n\u003cp>“Over the last few years, trends have been less about romantic love but more about letting someone know they matter,” says Jen Walker, vice president of trends and creative studios at Hallmark Cards, Inc.\u003c/p>\n\u003cp>There are “more inclusive visuals, and a larger representation of relationships — love, chosen family, friendships, parents and children, self-care,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A bit of mystery surrounds my Grandma Louise’s precious Valentine. It would have been out of character for Fred to buy a commercial card as opposed to, say, presenting her with a bouquet of pussy willows he had picked.\u003c/p>\n\u003cp>“That period would have been the beginning of an organized practice of exchanging Valentines in school,” says Nelson. In some classrooms, everyone was required, or at least encouraged, to give a Valentine.\u003c/p>\n\u003cp>“The giving and receiving of Valentines was always partly about performing love, for an audience,” says Nelson, “and once that Valentine’s Day card got saved, it would have become a talisman of all that love is supposed to be.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, visit \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener\">the AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From the Soil: Unfolding the Story of Black Miners Bar",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Just a few miles northeast of the California state capital, in the city of Folsom, a public recreation area has been recently renamed \u003c/span>\u003ca href=\"https://www.parks.ca.gov/?page_id=27866\">\u003cspan style=\"font-weight: 400\">Black Miners Bar \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">after decades of being called Negro Bar.\u003c/span>\u003c/p>\n\u003cp>The tree-laden piece of land sits adjacent to the American River, between Folsom Lake and Lake Natoma. Nowadays, it’s a place where people gather for boating and swimming during the summer months, while woodland creatures like birds, squirrels and snakes make it their home year-round.\u003c/p>\n\u003cfigure id=\"attachment_13924950\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924950\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screenshot-2023-02-09-at-4.46.30-PM-800x892.png\" alt=\"Michael Harris, historian and chair of Friends of Negro Bar, sits at a park bench at the site of a forthcoming community center for the park. \" width=\"800\" height=\"892\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screenshot-2023-02-09-at-4.46.30-PM-800x892.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screenshot-2023-02-09-at-4.46.30-PM-160x178.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screenshot-2023-02-09-at-4.46.30-PM-768x857.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screenshot-2023-02-09-at-4.46.30-PM.png 952w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Harris, historian and chair of Friends of Negro Bar, sits at a park bench at the site of a forthcoming community center for the park. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Historically, the site is known as a place where African American miners were relegated to panning during California’s Gold Rush of the mid-1800s, but it wasn’t \u003cem>just\u003c/em> miners who settled there.\u003c/p>\n\u003cp>There were also people who worked in industries that supported the miners, and those stories are still being explored.\u003c/p>\n\u003cp>After some debate about the origins and connotation of the park’s name, in the summer of 2022 California State Parks unanimously voted to change the name of Negro Bar to Black Miners Bar temporarily, while the department conducts more research into the true history of the area.\u003c/p>\n\u003cfigure id=\"attachment_13924953\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924953\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/download-copy-800x800.jpg\" alt=\"Susan D. Anderson, History Curator and Program Manager at the California African American Museum.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/download-copy-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/download-copy-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/download-copy-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/download-copy-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/download-copy.jpg 1229w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Susan D. Anderson, History Curator and Program Manager at the California African American Museum. \u003ccite>(Via Susan D. Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">For more on what actually transpired on this piece of land we talk to\u003c/span>\u003ca href=\"https://caamuseum.org/content/9-about/2-press/caam_2020hires_pressrelease.pdf\">\u003cspan style=\"font-weight: 400\"> Susan D. Anderson\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, History Curator and Program Manager at the California African American Museum, and one of the lead researchers on the project. We also talk to Michael Harris, a historian and chair of the \u003c/span>\u003ca href=\"https://www.facebook.com/people/Friends-of-Negro-Bar-State-Historic-Park/100064839878968/?paipv=0&eav=Afb5Rwklt-QO2INsp5C4bESuCCnMzTvmVZ2568YQDbPh1pUmlu6cDVRk6kFhWHBU54w&_rdr\">\u003cspan style=\"font-weight: 400\">Friends of Negro Bar\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> community group.\u003c/span>\u003c/p>\n\u003cp>As we simultaneously celebrate Black History Month and kick-off our series on land and life in Northern California, there’s no better way to start than by exploring the real story of one of the first places African Americans called home in California.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC1152334202&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"http://bit.ly/3IfLxMY\">Read the transcript\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversations with Susan D. Anderson and Michael Harris. \u003c/strong>\u003c/p>\n\u003cp>\u003cb>PENDARVIS HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">According to the U.S. census from 1850, there were 500 to 600 residents at the site where Black Miners Bar is now. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So how was it that Black folks arrived on the West Coast in the first place?\u003c/span>\u003c/p>\n\u003cp>\u003cb>SUSAN D. ANDERSON: \u003c/b>\u003cspan style=\"font-weight: 400\"> People of African descent have been coming to California since people have been coming to California. People of conquest in Spain, they brought African descended Spaniards with them who were navigators, soldiers, sailors, priests, enslaved people. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">And once the U.S. seized California, the migration of Black people happened for other reasons. \u003c/span>\u003c/p>\n\u003cp>\u003cb>ANDERSON: \u003c/b>\u003cspan style=\"font-weight: 400\"> The country was in a crisis, in a crisis over slavery. And the year that California came into the United States, African-Americans who were freed, who lived in places like Pennsylvania or New York or Massachusetts, they would be kidnaped on the streets by the lawful exercise of the Fugitive Slave Law. And so people became very interested in what were the possibilities in the West. Will we be able to escape this kind of danger for ourselves? So African-Americans were very interested in California as a possible beacon of freedom.\u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW:\u003c/b>\u003cspan style=\"font-weight: 400\"> Though California was a refuge, Black folks still faced racial discrimination, which is what led many black miners and their families to congregate in their own area. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">For Michael, he really wants people to understand that this settlement is more than just Black folks searching for gold, it’s about Black folks searching for liberation. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MICHAEL HARRIS:\u003c/b>\u003cspan style=\"font-weight: 400\">The people that were coming out West were yearning to be free. They were looking for freedom and a place to, like, raise their families and a place to be human beings and that was afforded to them in this area. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">Which factors into why Michael thinks “Black Miners Bar” as the name isn’t fit to describe this settlement that included more than just miners. For him he’s okay with it remaining “Negro Bar”.\u003c/span>\u003c/p>\n\u003cp>\u003cb>HARRIS:\u003c/b>\u003cspan style=\"font-weight: 400\"> Some people, they want to use 2022 nomenclature and ideas and values to talk about an 1848 story. There was no one running around talking ‘I’m Black and I’m proud.’ So to call it Black Miners Bar, you know, completely erases and like disparages that there were people of African descent here trying to figure out how to be free and set up towns, not just one. I mean, towns all up and down the American River.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>HARSHAW:\u003c/b>\u003cspan style=\"font-weight: 400\">Those towns were not too far away from the Black Miners Bar area. There were black settlements in Sacramento, Marysville, and El Dorado county. In creating towns for themselves in these California cities, Black folks also established their own institutions. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Just a few miles northeast of the California state capital, in the city of Folsom, a public recreation area has been recently renamed \u003c/span>\u003ca href=\"https://www.parks.ca.gov/?page_id=27866\">\u003cspan style=\"font-weight: 400\">Black Miners Bar \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">after decades of being called Negro Bar.\u003c/span>\u003c/p>\n\u003cp>The tree-laden piece of land sits adjacent to the American River, between Folsom Lake and Lake Natoma. Nowadays, it’s a place where people gather for boating and swimming during the summer months, while woodland creatures like birds, squirrels and snakes make it their home year-round.\u003c/p>\n\u003cfigure id=\"attachment_13924950\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924950\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screenshot-2023-02-09-at-4.46.30-PM-800x892.png\" alt=\"Michael Harris, historian and chair of Friends of Negro Bar, sits at a park bench at the site of a forthcoming community center for the park. \" width=\"800\" height=\"892\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screenshot-2023-02-09-at-4.46.30-PM-800x892.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screenshot-2023-02-09-at-4.46.30-PM-160x178.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screenshot-2023-02-09-at-4.46.30-PM-768x857.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screenshot-2023-02-09-at-4.46.30-PM.png 952w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Harris, historian and chair of Friends of Negro Bar, sits at a park bench at the site of a forthcoming community center for the park. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Historically, the site is known as a place where African American miners were relegated to panning during California’s Gold Rush of the mid-1800s, but it wasn’t \u003cem>just\u003c/em> miners who settled there.\u003c/p>\n\u003cp>There were also people who worked in industries that supported the miners, and those stories are still being explored.\u003c/p>\n\u003cp>After some debate about the origins and connotation of the park’s name, in the summer of 2022 California State Parks unanimously voted to change the name of Negro Bar to Black Miners Bar temporarily, while the department conducts more research into the true history of the area.\u003c/p>\n\u003cfigure id=\"attachment_13924953\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924953\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/download-copy-800x800.jpg\" alt=\"Susan D. Anderson, History Curator and Program Manager at the California African American Museum.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/download-copy-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/download-copy-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/download-copy-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/download-copy-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/download-copy.jpg 1229w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Susan D. Anderson, History Curator and Program Manager at the California African American Museum. \u003ccite>(Via Susan D. Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">For more on what actually transpired on this piece of land we talk to\u003c/span>\u003ca href=\"https://caamuseum.org/content/9-about/2-press/caam_2020hires_pressrelease.pdf\">\u003cspan style=\"font-weight: 400\"> Susan D. Anderson\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, History Curator and Program Manager at the California African American Museum, and one of the lead researchers on the project. We also talk to Michael Harris, a historian and chair of the \u003c/span>\u003ca href=\"https://www.facebook.com/people/Friends-of-Negro-Bar-State-Historic-Park/100064839878968/?paipv=0&eav=Afb5Rwklt-QO2INsp5C4bESuCCnMzTvmVZ2568YQDbPh1pUmlu6cDVRk6kFhWHBU54w&_rdr\">\u003cspan style=\"font-weight: 400\">Friends of Negro Bar\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> community group.\u003c/span>\u003c/p>\n\u003cp>As we simultaneously celebrate Black History Month and kick-off our series on land and life in Northern California, there’s no better way to start than by exploring the real story of one of the first places African Americans called home in California.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC1152334202&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"http://bit.ly/3IfLxMY\">Read the transcript\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversations with Susan D. Anderson and Michael Harris. \u003c/strong>\u003c/p>\n\u003cp>\u003cb>PENDARVIS HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">According to the U.S. census from 1850, there were 500 to 600 residents at the site where Black Miners Bar is now. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So how was it that Black folks arrived on the West Coast in the first place?\u003c/span>\u003c/p>\n\u003cp>\u003cb>SUSAN D. ANDERSON: \u003c/b>\u003cspan style=\"font-weight: 400\"> People of African descent have been coming to California since people have been coming to California. People of conquest in Spain, they brought African descended Spaniards with them who were navigators, soldiers, sailors, priests, enslaved people. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">And once the U.S. seized California, the migration of Black people happened for other reasons. \u003c/span>\u003c/p>\n\u003cp>\u003cb>ANDERSON: \u003c/b>\u003cspan style=\"font-weight: 400\"> The country was in a crisis, in a crisis over slavery. And the year that California came into the United States, African-Americans who were freed, who lived in places like Pennsylvania or New York or Massachusetts, they would be kidnaped on the streets by the lawful exercise of the Fugitive Slave Law. And so people became very interested in what were the possibilities in the West. Will we be able to escape this kind of danger for ourselves? So African-Americans were very interested in California as a possible beacon of freedom.\u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW:\u003c/b>\u003cspan style=\"font-weight: 400\"> Though California was a refuge, Black folks still faced racial discrimination, which is what led many black miners and their families to congregate in their own area. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">For Michael, he really wants people to understand that this settlement is more than just Black folks searching for gold, it’s about Black folks searching for liberation. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MICHAEL HARRIS:\u003c/b>\u003cspan style=\"font-weight: 400\">The people that were coming out West were yearning to be free. They were looking for freedom and a place to, like, raise their families and a place to be human beings and that was afforded to them in this area. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">Which factors into why Michael thinks “Black Miners Bar” as the name isn’t fit to describe this settlement that included more than just miners. For him he’s okay with it remaining “Negro Bar”.\u003c/span>\u003c/p>\n\u003cp>\u003cb>HARRIS:\u003c/b>\u003cspan style=\"font-weight: 400\"> Some people, they want to use 2022 nomenclature and ideas and values to talk about an 1848 story. There was no one running around talking ‘I’m Black and I’m proud.’ So to call it Black Miners Bar, you know, completely erases and like disparages that there were people of African descent here trying to figure out how to be free and set up towns, not just one. I mean, towns all up and down the American River.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>HARSHAW:\u003c/b>\u003cspan style=\"font-weight: 400\">Those towns were not too far away from the Black Miners Bar area. There were black settlements in Sacramento, Marysville, and El Dorado county. In creating towns for themselves in these California cities, Black folks also established their own institutions. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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. ",
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"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. ",
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"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>",
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"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?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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