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"content": "\u003cp>[dropcap]O[/dropcap]n Feb. 17, 1939, scores of beautiful, scantily clad women rode horses in formation through downtown San Francisco. The pedestrian-stopping trot down Market Street was an unmissable promotional stunt masterminded by Sally Rand—by then, one of the most notorious women in America. Rand was advertising her new Nude Ranch on Treasure Island—a 40-acre attraction that opened as part of the 1939 Golden Gate International Exposition. (She also had an attraction at the expo named Gay Paree.)\u003c/p>\n\u003cp>At Sally Rand’s Nude Ranch, between the hours of 1pm and 2am, visitors could observe beautiful women participating “vigorously” in an array of “outdoor sports.” By the end of the expo, the ranch had out-grossed almost every other attraction on Treasure Island. It was no wonder. Rand already had a firm handle on what San Francisco audiences wanted. She’d transformed the Music Box—today’s Great American Music Hall—into a burlesque revue three years earlier. But she’d also spent the better part of the decade scandalizing and titillating audiences around the country with, first, her legendary fan dance and, later, her bubble dance.\u003c/p>\n\u003cp>Also a licensed pilot, Rand inherently understood the power of spectacle. She chose her Nude Ranch as the starting point when she broke the light plane speed record, flying from San Francisco to Reno.\u003c/p>\n\u003cfigure id=\"attachment_13903920\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-800x625.png\" alt=\"\" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-800x625.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-1020x797.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-768x600.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-1536x1201.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-2048x1601.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-1920x1501.png 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sally Rand on Aug. 1 1939, outside her Nude Ranch, preparing to break the light plane speed record, flying from San Francisco to Reno. She did it in 1hr and 54 minutes. After completing the journey, she bought the airplane. \u003ccite>(Courtesy of the San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rand had dated \u003ca href=\"https://en.wikipedia.org/wiki/Charles_Lindbergh\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Lindbergh\u003c/a> in 1923 and it was he who first taught her how to fly a plane. By 1934, Rand had 240 hours of flying under her belt, in part because of her preference of flying herself to her own gigs. (“It’s the quickest, cleanest and most comfortable mode of travel,” she once asserted.) In 1943, during an \u003ca href=\"https://calgaryherald.com/news/local-news/stampede-100-day-countdown-1943\" target=\"_blank\" rel=\"noopener noreferrer\">interview with the \u003cem>Calgary Herald\u003c/em>\u003c/a>, Rand even expressed the desire to join the Air Force, to do her part for the war effort.\u003c/p>\n\u003cp>Even with her record-breaking flight planned, Rand knew the girls on horses parading up Market Street would provide the most effective kind of publicity of all: controversy. The horses were a nice touch too—Rand had gotten her first big break six years earlier, as a direct result of a stunt on a horse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[dropcap]A[/dropcap]round the opening of the 1933 World’s Fair in Chicago, Rand had been hired to make an appearance as Lady Godiva at the Chicago Artists Ball dinner—a high-end affair hosted by \u003ca href=\"https://en.wikipedia.org/wiki/Millicent_Hearst\" target=\"_blank\" rel=\"noopener noreferrer\">Millicent Hearst\u003c/a> at the Stevens Hotel. But instead of merely taking her $25 fee and going straight there, Rand decided to trust her gut and take a gamble. She used $10 of it to rent a white horse, and then hired a barge to take them both to a yacht landing at the World’s Fair. She arrived at the Streets of Paris attraction and was promptly waved into the fair by a security guard. Sally later said that he’d “figured that a broad that arrives on a boat with a horse is supposed to be there.”\u003c/p>\n\u003cp>[aside postid='arts_13871297']Rand, wearing only a long blonde wig and a white velvet cape, rode the entire expanse of the fair, before arriving at the hotel on South Michigan Avenue. (It was situated just outside the southeast corner of the fairgrounds.) Though Lady Godiva impersonators had been a staple at the Chicago Artists Ball for years, never had one shown up on an actual real-life horse before. When security refused to let the stallion enter the hotel with her, Rand cajoled four artists from the dinner into carrying her into the ball seated on a table, hoisted above their heads. Three thousand attendees erupted as Sally made her triumphant entrance.\u003c/p>\n\u003cp>The following morning, Rand found herself splashed across newspaper pages around the city. Visitors to the fair, meanwhile, were demanding to see Lady Godiva. Resourceful as always, Rand ran to the Cafe de la Paix—part of the Streets of Paris concession—declared who she was, and was hired on the spot. She quickly began performing her fan dance—a routine she had perfected while dancing at Chicago’s Paramount Club—12 to 16 times a day. In the first four weeks alone, 70,000 people came to see her tease the audience with her 20-pound ostrich feather props.\u003c/p>\n\u003cp>Highlights from Rand’s fan dance at the Street of Paris can be seen in the clip below, starting from 2:36.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9nxUt9M2rVw\u003c/p>\n\u003cp>By the end of the fair, the Streets of Paris had proven to be the most popular and profitable attraction there, thanks in large part to Rand’s contributions. Though at various points during and after the World’s Fair, Rand claimed audiences thought they were seeing more of her than they really were, the surviving footage proves that her nudity was not all an illusion. Still, she always insisted with a wink and a smile, “The Rand is quicker than the eye.”\u003c/p>\n\u003cp>The scrappy resourcefulness Rand displayed when securing her position at the World’s Fair was the product of years of struggle. Sally Rand was born Harriet Helen Gould Beck on April 3, 1904 in Elkton, Missouri, a tiny village in the Ozarks. Her mother was a teacher, registered nurse and a correspondent for newspapers in Kansas and Missouri. Her father was a post office clerk who was outwardly religious and strict, but who also abandoned Rand, her little brother and her mother to be with a woman he met while stationed in France during World War I. Rand later said that she never recovered from the heartbreak of losing her father this way.\u003c/p>\n\u003cp>Rand was a tomboy with a penchant for fishing and riding horses until, at the age of 10, she saw Russian prima ballerina Anna Pavlova perform. The little girl threw herself into dance lessons and by 13, Rand was dancing in the chorus of Kansas City’s Empress Theater. At 14, she ran away with the Ringling Brothers Circus. She lied and told them she was 16 so she could train as an acrobat.\u003c/p>\n\u003cp>[aside postid='arts_13895374']Her circus life was short-lived, and Rand spent the rest of her teens hustling her way through a variety of jobs—as a nude or swimsuit model, a hat check girl and a cigarette girl. She danced at amusement parks, clubs and ballet companies, and sometimes entered beauty contests—including one put on by the Ziegfeld Follies on Broadway. Around that time, Rand was so impoverished, she even spent some time sleeping rough in Central Park.\u003c/p>\n\u003cp>At 18, Rand found a way to put a roof over her head, dancing with \u003ca href=\"https://www.youtube.com/watch?v=2rYrwrHsEoc\" target=\"_blank\" rel=\"noopener noreferrer\">Lew Leslie’s Blackbirds Orchestra\u003c/a>—a mostly Black revue on Broadway featuring Cab Calloway and Bill “Bojangles” Robinson. This was the show that first took Rand to California and gave her the idea of trying to make it in Hollywood. Once in L.A., Rand found work as an extra, was hired to do a 15-foot dive in a \u003ca href=\"https://www.imdb.com/name/nm0784407/?ref_=fn_al_nm_2\" target=\"_blank\" rel=\"noopener noreferrer\">Mack Sennett\u003c/a> movie, then got spotted by \u003ca href=\"https://www.imdb.com/name/nm0001124/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Cecil B. DeMille\u003c/a>, who was the one who gave her the stage name, Sally Rand. He once called her “the most beautiful girl in America.”\u003c/p>\n\u003cp>Despite her best efforts—in 1927’s \u003ca href=\"https://www.imdb.com/title/tt0017986/?ref_=nm_flmg_act_13\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Heroes in Blue\u003c/em>\u003c/a>, Rand performed a stunt that involved jumping from the fourth floor of a burning building—she found herself relegated to bit parts. Throughout her early 20s, Rand was still posing for ads, doing vaudeville performances and, sadly, still sometimes forced to sleep in alleyways. For a time, she danced in a traveling burlesque show called Sweethearts on Parade, and soon she found herself back in Chicago. The clubs where she danced in the windy city were kind to her—in part because she handled gangsters so well. She was friends with Al Capone’s bodyguard, \u003ca href=\"https://en.wikipedia.org/wiki/Jack_McGurn\" target=\"_blank\" rel=\"noopener noreferrer\">“Machine Gun Jack” McGurn\u003c/a>, and palled around with bootleggers on their yachts.\u003c/p>\n\u003cp>Rand’s World’s Fair success, then, felt both long overdue and hard won. After the fair, things were looking up. She earned $5,000 a week on tour, and was paid $20,000 to appear in 1934’s \u003cem>Bolero\u003c/em>. Once more, she wasn’t the star of the movie, but her grace and beauty lit up the screen, and her fan dance was immortalized forever. (The camera panned all the way to the back of the room for her “big reveal” at the end of the routine.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ahldaCK0DDI&t=73s\u003c/p>\n\u003cp>Rand’s new-found fame made her popular with both men and women. Men were enthralled by her beauty; women were inspired by her devil-may-care attitude, resilience and independent spirit. After \u003cem>Bolero\u003c/em>, in addition to touring America with a troupe of roller skating, dancing girls, Rand was also a popular speaker at women’s groups, conventions, luncheons, rotary clubs and colleges. At one point, she spoke at the Junior Chamber of Commerce. At another, she addressed the Class of ’41 at Harvard. Her wise-cracks and sense of humor made her enormously endearing at these events. She once joked, “I’m a girl from the Ozarks who likes going barefooted… up to the chin.”\u003c/p>\n\u003cp>In 1938, Rand found herself back on the big screen in \u003cem>Sunset Murder Case—\u003c/em>this time, with top billing. The movie also served to immortalize her bubble dance, albeit a PG-13 version of it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=40Gvhu-Q4VQ\u003c/p>\n\u003cp>Rand never did become a true star in Hollywood, probably because it was while she was performing burlesque that Rand was at her most alluring. She resolutely believed in it as an art form, and as an expression of female empowerment. Not only did Rand continue to perform her classic burlesque routines well into her senior years, she spent much of her life in and out of police stations and courtrooms in defense of it.\u003c/p>\n\u003cp>[dropcap]R[/dropcap]and was arrested too many times to count, for a litany of offenses related to her onstage nudity. It cost her a fortune in legal costs and fines. At the World’s Fair, because people filed complaints against the fair’s “lewd and lascivious dances and exhibits,” she was arrested repeatedly, and charged with obscenity. At Balaban and Katz’s Chicago Theater, where Rand performed between shows at the World’s Fair, she was arrested four times on her first day alone. Later, one New York judge called Rand’s act “repulsive to public decency,” prompting her to openly weep in court. It was rare for her to show such vulnerability. After one club in Rhode Island banned her, she merely said: “It’s just a shame that there are narrow-minded persons who can’t differentiate between art and indecency.”\u003c/p>\n\u003cp>In 1933, the \u003cem>San Francisco Examiner\u003c/em> reported on an incident in which Rand was confronted by a female police officer before a performance at a movie theater. The officer, Bessie McShane, insisted Rand wear strategically placed gauze on her body. As soon as Rand hit the stage, she ripped the gauze off and used her fans for coverage, as usual. After the performance, chaos broke out as McShane and a male sergeant tried to arrest Rand.\u003c/p>\n\u003cp>“Arresting a lithe, naked dancer covered in grease paint,” the \u003cem>Examiner\u003c/em> reported, “is about as hard as catching a greased pig.” After the police caught up with her, Rand was taken to the station wearing blue silk pajamas, booked for indecent exposure, and released on $400 bail. Rand later accused McShane of breaking one of her toes.\u003c/p>\n\u003cp>[aside postid='arts_13894842']In 1946, Sally was arrested in North Beach, while performing at the \u003ca href=\"https://www.facebook.com/The-Savoy-Tivoli-165996010894/\" target=\"_blank\" rel=\"noopener noreferrer\">Savoy Tivoli\u003c/a>. She was charged with indecent exposure, corrupting the morals of an audience and conducting an obscene show. During her subsequent trial, she continued to perform in the evening, sometimes while wearing a sign that read: “CENSORED. SFPD.” In the end, the judge in the case insisted that he couldn’t pass judgement until he’d seen Rand’s show himself. He attended the club one night, mid-trial, and concluded, “Anyone who could find something lewd about the dance as she puts it on, has to have a perverted idea of morals.” Rand was found not guilty.\u003c/p>\n\u003cp>It wasn’t just the law that got Rand into trouble. She had to tolerate unruly audience members trying to pop the giant balloon she danced with. Worse, on one occasion, a male audience member stuck his camera under the transparent curtain she was performing behind and snapped a photo. Rand—all five feet and 105 pounds of her—was so incensed, she threw on a robe, chased him down, smashed his camera and exposed his film. The man’s female companion claimed Rand bit her during the ensuing melee. Rand was convicted of assault and fined $100.\u003c/p>\n\u003cp>Rand was also sued repeatedly. Once by Billy Rose, who said he was the originator of the Nude Ranch. And, more infamously by Faith Bacon who had been performing a fan dance for two years when Rand started hers. Rand was forced to declare bankruptcy at least once.\u003c/p>\n\u003cp>It was these kinds of non-stop legal issues that contributed to Rand’s financial woes. By the end of her life, she had burned through her fortune. She supported many of the people close to her, including her mother, lovers and half-brothers. Her accountant failed to pay her taxes on time. She often spent too much on costumes and scenery. Rand was excellent at bringing money in, but terrible at managing it once she had it. The Music Box, at least, survived until the end of the war in 1946, probably thanks in no small part to the management of her partner, George Riccomi.\u003c/p>\n\u003cfigure id=\"attachment_13904097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904097\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Gay-Paree-passport-800x371.jpg\" alt=\"\" width=\"800\" height=\"371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-1536x713.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-2048x951.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-1920x891.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A souvenir passport from Sally Rand’s Gay Paree attraction at the 1939 Golden Gate International Exposition. Because of Rand’s commitment to these kinds of delightful but expensive details, Gay Paree was not a profitable attraction despite being very popular. \u003ccite>(Rae Alexandra/ Courtesy of the History Center, San Francisco Public Library )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rand’s personal life was messy too. She had three failed marriages—to her agent, a rodeo cowboy and a contractor. At 44, and still single, she adopted her son Sean from an unwed showgirl. The adoption, however, was not made legal until Sean turned 21.\u003c/p>\n\u003cp>Later in life, Rand’s base was a ranch in Glendora, near Los Angeles, that she purchased for her mother. Rand managed to acquire a college degree at the age of 52, but she never, ever stopped working the clubs. In the 1960s, when appearing at a Las Vegas casino, she told a reporter she was there because of “problems with the tax boys.” In the early 1970s, she appeared in \u003cem>This Was Burlesque\u003c/em> at San Francisco’s Mitchell Brothers strip club. Age to Rand was simply a number, and onlookers often marveled at how youthful she remained even in her sixties. “What in heaven’s name is strange about a grandmother dancing nude?” she once said. “I’ll bet lots of grandmothers do it.”\u003c/p>\n\u003cp>Sally Rand died of congestive heart failure at the Foothill Presbyterian Hospital in Glendora, on Aug. 31, 1979. But her legendary routines live on in burlesque today, with high profile dancers like \u003ca href=\"https://www.youtube.com/watch?v=fHM2nOE5LsE&list=RDfHM2nOE5LsE&start_radio=1\" target=\"_blank\" rel=\"noopener noreferrer\">Dita Von Teese still paying tribute\u003c/a> to her. At the time of Rand’s death, one \u003cem>Petaluma Argus\u003c/em> reporter recalled a conversation he had had with her in 1965.\u003c/p>\n\u003cp>“Whenever you introduce something new,” she said, “there are those who try to find a moral reason against it. I proved that my type of dancing was art—and that I was artistic.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Controversy followed Sally Rand wherever she went. She responded by holding her head high, cracking a joke and refusing to stop.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n Feb. 17, 1939, scores of beautiful, scantily clad women rode horses in formation through downtown San Francisco. The pedestrian-stopping trot down Market Street was an unmissable promotional stunt masterminded by Sally Rand—by then, one of the most notorious women in America. Rand was advertising her new Nude Ranch on Treasure Island—a 40-acre attraction that opened as part of the 1939 Golden Gate International Exposition. (She also had an attraction at the expo named Gay Paree.)\u003c/p>\n\u003cp>At Sally Rand’s Nude Ranch, between the hours of 1pm and 2am, visitors could observe beautiful women participating “vigorously” in an array of “outdoor sports.” By the end of the expo, the ranch had out-grossed almost every other attraction on Treasure Island. It was no wonder. Rand already had a firm handle on what San Francisco audiences wanted. She’d transformed the Music Box—today’s Great American Music Hall—into a burlesque revue three years earlier. But she’d also spent the better part of the decade scandalizing and titillating audiences around the country with, first, her legendary fan dance and, later, her bubble dance.\u003c/p>\n\u003cp>Also a licensed pilot, Rand inherently understood the power of spectacle. She chose her Nude Ranch as the starting point when she broke the light plane speed record, flying from San Francisco to Reno.\u003c/p>\n\u003cfigure id=\"attachment_13903920\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-800x625.png\" alt=\"\" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-800x625.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-1020x797.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-768x600.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-1536x1201.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-2048x1601.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-28-at-2.55.20-PM-1920x1501.png 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sally Rand on Aug. 1 1939, outside her Nude Ranch, preparing to break the light plane speed record, flying from San Francisco to Reno. She did it in 1hr and 54 minutes. After completing the journey, she bought the airplane. \u003ccite>(Courtesy of the San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rand had dated \u003ca href=\"https://en.wikipedia.org/wiki/Charles_Lindbergh\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Lindbergh\u003c/a> in 1923 and it was he who first taught her how to fly a plane. By 1934, Rand had 240 hours of flying under her belt, in part because of her preference of flying herself to her own gigs. (“It’s the quickest, cleanest and most comfortable mode of travel,” she once asserted.) In 1943, during an \u003ca href=\"https://calgaryherald.com/news/local-news/stampede-100-day-countdown-1943\" target=\"_blank\" rel=\"noopener noreferrer\">interview with the \u003cem>Calgary Herald\u003c/em>\u003c/a>, Rand even expressed the desire to join the Air Force, to do her part for the war effort.\u003c/p>\n\u003cp>Even with her record-breaking flight planned, Rand knew the girls on horses parading up Market Street would provide the most effective kind of publicity of all: controversy. The horses were a nice touch too—Rand had gotten her first big break six years earlier, as a direct result of a stunt on a horse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>round the opening of the 1933 World’s Fair in Chicago, Rand had been hired to make an appearance as Lady Godiva at the Chicago Artists Ball dinner—a high-end affair hosted by \u003ca href=\"https://en.wikipedia.org/wiki/Millicent_Hearst\" target=\"_blank\" rel=\"noopener noreferrer\">Millicent Hearst\u003c/a> at the Stevens Hotel. But instead of merely taking her $25 fee and going straight there, Rand decided to trust her gut and take a gamble. She used $10 of it to rent a white horse, and then hired a barge to take them both to a yacht landing at the World’s Fair. She arrived at the Streets of Paris attraction and was promptly waved into the fair by a security guard. Sally later said that he’d “figured that a broad that arrives on a boat with a horse is supposed to be there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rand, wearing only a long blonde wig and a white velvet cape, rode the entire expanse of the fair, before arriving at the hotel on South Michigan Avenue. (It was situated just outside the southeast corner of the fairgrounds.) Though Lady Godiva impersonators had been a staple at the Chicago Artists Ball for years, never had one shown up on an actual real-life horse before. When security refused to let the stallion enter the hotel with her, Rand cajoled four artists from the dinner into carrying her into the ball seated on a table, hoisted above their heads. Three thousand attendees erupted as Sally made her triumphant entrance.\u003c/p>\n\u003cp>The following morning, Rand found herself splashed across newspaper pages around the city. Visitors to the fair, meanwhile, were demanding to see Lady Godiva. Resourceful as always, Rand ran to the Cafe de la Paix—part of the Streets of Paris concession—declared who she was, and was hired on the spot. She quickly began performing her fan dance—a routine she had perfected while dancing at Chicago’s Paramount Club—12 to 16 times a day. In the first four weeks alone, 70,000 people came to see her tease the audience with her 20-pound ostrich feather props.\u003c/p>\n\u003cp>Highlights from Rand’s fan dance at the Street of Paris can be seen in the clip below, starting from 2:36.\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/9nxUt9M2rVw'\n title='//www.youtube.com/embed/9nxUt9M2rVw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By the end of the fair, the Streets of Paris had proven to be the most popular and profitable attraction there, thanks in large part to Rand’s contributions. Though at various points during and after the World’s Fair, Rand claimed audiences thought they were seeing more of her than they really were, the surviving footage proves that her nudity was not all an illusion. Still, she always insisted with a wink and a smile, “The Rand is quicker than the eye.”\u003c/p>\n\u003cp>The scrappy resourcefulness Rand displayed when securing her position at the World’s Fair was the product of years of struggle. Sally Rand was born Harriet Helen Gould Beck on April 3, 1904 in Elkton, Missouri, a tiny village in the Ozarks. Her mother was a teacher, registered nurse and a correspondent for newspapers in Kansas and Missouri. Her father was a post office clerk who was outwardly religious and strict, but who also abandoned Rand, her little brother and her mother to be with a woman he met while stationed in France during World War I. Rand later said that she never recovered from the heartbreak of losing her father this way.\u003c/p>\n\u003cp>Rand was a tomboy with a penchant for fishing and riding horses until, at the age of 10, she saw Russian prima ballerina Anna Pavlova perform. The little girl threw herself into dance lessons and by 13, Rand was dancing in the chorus of Kansas City’s Empress Theater. At 14, she ran away with the Ringling Brothers Circus. She lied and told them she was 16 so she could train as an acrobat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Her circus life was short-lived, and Rand spent the rest of her teens hustling her way through a variety of jobs—as a nude or swimsuit model, a hat check girl and a cigarette girl. She danced at amusement parks, clubs and ballet companies, and sometimes entered beauty contests—including one put on by the Ziegfeld Follies on Broadway. Around that time, Rand was so impoverished, she even spent some time sleeping rough in Central Park.\u003c/p>\n\u003cp>At 18, Rand found a way to put a roof over her head, dancing with \u003ca href=\"https://www.youtube.com/watch?v=2rYrwrHsEoc\" target=\"_blank\" rel=\"noopener noreferrer\">Lew Leslie’s Blackbirds Orchestra\u003c/a>—a mostly Black revue on Broadway featuring Cab Calloway and Bill “Bojangles” Robinson. This was the show that first took Rand to California and gave her the idea of trying to make it in Hollywood. Once in L.A., Rand found work as an extra, was hired to do a 15-foot dive in a \u003ca href=\"https://www.imdb.com/name/nm0784407/?ref_=fn_al_nm_2\" target=\"_blank\" rel=\"noopener noreferrer\">Mack Sennett\u003c/a> movie, then got spotted by \u003ca href=\"https://www.imdb.com/name/nm0001124/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Cecil B. DeMille\u003c/a>, who was the one who gave her the stage name, Sally Rand. He once called her “the most beautiful girl in America.”\u003c/p>\n\u003cp>Despite her best efforts—in 1927’s \u003ca href=\"https://www.imdb.com/title/tt0017986/?ref_=nm_flmg_act_13\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Heroes in Blue\u003c/em>\u003c/a>, Rand performed a stunt that involved jumping from the fourth floor of a burning building—she found herself relegated to bit parts. Throughout her early 20s, Rand was still posing for ads, doing vaudeville performances and, sadly, still sometimes forced to sleep in alleyways. For a time, she danced in a traveling burlesque show called Sweethearts on Parade, and soon she found herself back in Chicago. The clubs where she danced in the windy city were kind to her—in part because she handled gangsters so well. She was friends with Al Capone’s bodyguard, \u003ca href=\"https://en.wikipedia.org/wiki/Jack_McGurn\" target=\"_blank\" rel=\"noopener noreferrer\">“Machine Gun Jack” McGurn\u003c/a>, and palled around with bootleggers on their yachts.\u003c/p>\n\u003cp>Rand’s World’s Fair success, then, felt both long overdue and hard won. After the fair, things were looking up. She earned $5,000 a week on tour, and was paid $20,000 to appear in 1934’s \u003cem>Bolero\u003c/em>. Once more, she wasn’t the star of the movie, but her grace and beauty lit up the screen, and her fan dance was immortalized forever. (The camera panned all the way to the back of the room for her “big reveal” at the end of the routine.)\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/ahldaCK0DDI'\n title='//www.youtube.com/embed/ahldaCK0DDI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rand’s new-found fame made her popular with both men and women. Men were enthralled by her beauty; women were inspired by her devil-may-care attitude, resilience and independent spirit. After \u003cem>Bolero\u003c/em>, in addition to touring America with a troupe of roller skating, dancing girls, Rand was also a popular speaker at women’s groups, conventions, luncheons, rotary clubs and colleges. At one point, she spoke at the Junior Chamber of Commerce. At another, she addressed the Class of ’41 at Harvard. Her wise-cracks and sense of humor made her enormously endearing at these events. She once joked, “I’m a girl from the Ozarks who likes going barefooted… up to the chin.”\u003c/p>\n\u003cp>In 1938, Rand found herself back on the big screen in \u003cem>Sunset Murder Case—\u003c/em>this time, with top billing. The movie also served to immortalize her bubble dance, albeit a PG-13 version of it.\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/40Gvhu-Q4VQ'\n title='//www.youtube.com/embed/40Gvhu-Q4VQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rand never did become a true star in Hollywood, probably because it was while she was performing burlesque that Rand was at her most alluring. She resolutely believed in it as an art form, and as an expression of female empowerment. Not only did Rand continue to perform her classic burlesque routines well into her senior years, she spent much of her life in and out of police stations and courtrooms in defense of it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">R\u003c/span>\u003c/p>\u003cp>and was arrested too many times to count, for a litany of offenses related to her onstage nudity. It cost her a fortune in legal costs and fines. At the World’s Fair, because people filed complaints against the fair’s “lewd and lascivious dances and exhibits,” she was arrested repeatedly, and charged with obscenity. At Balaban and Katz’s Chicago Theater, where Rand performed between shows at the World’s Fair, she was arrested four times on her first day alone. Later, one New York judge called Rand’s act “repulsive to public decency,” prompting her to openly weep in court. It was rare for her to show such vulnerability. After one club in Rhode Island banned her, she merely said: “It’s just a shame that there are narrow-minded persons who can’t differentiate between art and indecency.”\u003c/p>\n\u003cp>In 1933, the \u003cem>San Francisco Examiner\u003c/em> reported on an incident in which Rand was confronted by a female police officer before a performance at a movie theater. The officer, Bessie McShane, insisted Rand wear strategically placed gauze on her body. As soon as Rand hit the stage, she ripped the gauze off and used her fans for coverage, as usual. After the performance, chaos broke out as McShane and a male sergeant tried to arrest Rand.\u003c/p>\n\u003cp>“Arresting a lithe, naked dancer covered in grease paint,” the \u003cem>Examiner\u003c/em> reported, “is about as hard as catching a greased pig.” After the police caught up with her, Rand was taken to the station wearing blue silk pajamas, booked for indecent exposure, and released on $400 bail. Rand later accused McShane of breaking one of her toes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 1946, Sally was arrested in North Beach, while performing at the \u003ca href=\"https://www.facebook.com/The-Savoy-Tivoli-165996010894/\" target=\"_blank\" rel=\"noopener noreferrer\">Savoy Tivoli\u003c/a>. She was charged with indecent exposure, corrupting the morals of an audience and conducting an obscene show. During her subsequent trial, she continued to perform in the evening, sometimes while wearing a sign that read: “CENSORED. SFPD.” In the end, the judge in the case insisted that he couldn’t pass judgement until he’d seen Rand’s show himself. He attended the club one night, mid-trial, and concluded, “Anyone who could find something lewd about the dance as she puts it on, has to have a perverted idea of morals.” Rand was found not guilty.\u003c/p>\n\u003cp>It wasn’t just the law that got Rand into trouble. She had to tolerate unruly audience members trying to pop the giant balloon she danced with. Worse, on one occasion, a male audience member stuck his camera under the transparent curtain she was performing behind and snapped a photo. Rand—all five feet and 105 pounds of her—was so incensed, she threw on a robe, chased him down, smashed his camera and exposed his film. The man’s female companion claimed Rand bit her during the ensuing melee. Rand was convicted of assault and fined $100.\u003c/p>\n\u003cp>Rand was also sued repeatedly. Once by Billy Rose, who said he was the originator of the Nude Ranch. And, more infamously by Faith Bacon who had been performing a fan dance for two years when Rand started hers. Rand was forced to declare bankruptcy at least once.\u003c/p>\n\u003cp>It was these kinds of non-stop legal issues that contributed to Rand’s financial woes. By the end of her life, she had burned through her fortune. She supported many of the people close to her, including her mother, lovers and half-brothers. Her accountant failed to pay her taxes on time. She often spent too much on costumes and scenery. Rand was excellent at bringing money in, but terrible at managing it once she had it. The Music Box, at least, survived until the end of the war in 1946, probably thanks in no small part to the management of her partner, George Riccomi.\u003c/p>\n\u003cfigure id=\"attachment_13904097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904097\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Gay-Paree-passport-800x371.jpg\" alt=\"\" width=\"800\" height=\"371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-1536x713.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-2048x951.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Gay-Paree-passport-1920x891.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A souvenir passport from Sally Rand’s Gay Paree attraction at the 1939 Golden Gate International Exposition. Because of Rand’s commitment to these kinds of delightful but expensive details, Gay Paree was not a profitable attraction despite being very popular. \u003ccite>(Rae Alexandra/ Courtesy of the History Center, San Francisco Public Library )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rand’s personal life was messy too. She had three failed marriages—to her agent, a rodeo cowboy and a contractor. At 44, and still single, she adopted her son Sean from an unwed showgirl. The adoption, however, was not made legal until Sean turned 21.\u003c/p>\n\u003cp>Later in life, Rand’s base was a ranch in Glendora, near Los Angeles, that she purchased for her mother. Rand managed to acquire a college degree at the age of 52, but she never, ever stopped working the clubs. In the 1960s, when appearing at a Las Vegas casino, she told a reporter she was there because of “problems with the tax boys.” In the early 1970s, she appeared in \u003cem>This Was Burlesque\u003c/em> at San Francisco’s Mitchell Brothers strip club. Age to Rand was simply a number, and onlookers often marveled at how youthful she remained even in her sixties. “What in heaven’s name is strange about a grandmother dancing nude?” she once said. “I’ll bet lots of grandmothers do it.”\u003c/p>\n\u003cp>Sally Rand died of congestive heart failure at the Foothill Presbyterian Hospital in Glendora, on Aug. 31, 1979. But her legendary routines live on in burlesque today, with high profile dancers like \u003ca href=\"https://www.youtube.com/watch?v=fHM2nOE5LsE&list=RDfHM2nOE5LsE&start_radio=1\" target=\"_blank\" rel=\"noopener noreferrer\">Dita Von Teese still paying tribute\u003c/a> to her. At the time of Rand’s death, one \u003cem>Petaluma Argus\u003c/em> reporter recalled a conversation he had had with her in 1965.\u003c/p>\n\u003cp>“Whenever you introduce something new,” she said, “there are those who try to find a moral reason against it. I proved that my type of dancing was art—and that I was artistic.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Full Month of Events for the Black Panther Party's 55th Anniversary",
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"content": "\u003cp>This October marks 55 years since Dr. Huey P. Newton and Bobby Seale co-founded the revolutionary organization known as the Black Panther Party for Self-Defense.\u003c/p>\n\u003cp>In honor of the organization’s contributions to societal change through community activism, \u003ca href=\"https://www.bpp55thyearcelebration.com/\" target=\"_blank\" rel=\"noopener noreferrer\">multiple events\u003c/a> are scheduled throughout the month. The itinerary includes visual arts, social gatherings, live performances and the unveiling of a Dr. Huey P. Newtown bust.\u003c/p>\n\u003cp>The first event, on Friday, Oct. 1, at Oakland’s Joyce Gordon Art Gallery, is the \u003ca href=\"https://www.facebook.com/JoyceGordonGallery/posts/4846888492008400\" target=\"_blank\" rel=\"noopener noreferrer\">opening of a visual art exhibition\u003c/a> featuring the works of Emory Douglas, M. Gayle “Asali” Dickson, Malik Edwards and REFA 1. The four artists are also scheduled for a panel discussion on Oct. 9.\u003c/p>\n\u003cfigure id=\"attachment_13903866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0-3-800x538.jpg\" alt=\"People gathered for the 30th anniversary of the founding of the Black Panther Party.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-1536x1033.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3.jpg 1746w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A 1996 gathering to mark the 30th anniversary of the founding of the Black Panther Party. \u003ccite>(It's About Time Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Billy X Jennings, Black Panther Party archivist, will also display photos and artwork from his collection. Jennings says attendees can expect to see “historical artwork, as well as artwork from artists who did work in the ’70s, and what they’ve done since that time.” Jennings adds: “Keep in mind a lot of them were artists when they were 18 to 20 years old. This exhibition will show how they’ve grown since then.”\u003c/p>\n\u003cp>The growth of the members of the Party, as well as the evolution of the Party’s principles showing up in popular culture and politics, is a theme in many of the events scheduled throughout Panther History Month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Thursday, Oct. 21, the New Parkway Theatre will host a Black Panther Party-centric film festival. Among other films and clips, the schedule includes a newly recorded speech from Pete O’Neal, the exiled former chairman of the Kansas City Chapter of the Black Panther Party.\u003c/p>\n\u003cfigure id=\"attachment_13903865\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903865\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0-1-800x730.jpg\" alt=\"Charlotte Hill O'Neal wears sunglasses as she poses, showing her forearm tattoos and jewelry as she stands in front of the Alameda County Court House. \" width=\"800\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-800x730.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-1020x931.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-160x146.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-768x701.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-1536x1401.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1.jpg 1564w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Hill O’Neal in front of the Alameda County Court House. \u003ccite>(It's About Time Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Friday, Oct. 22, North Oakland’s It’s All Good Bakery, located at the site of the first Black Panther Party office, will install a plaque to commemorate the historic grounds. Replacing an earlier sign, the new plaque will have a virtual reality component allowing viewers to become more deeply immersed in the story of the Black Panther Party.\u003c/p>\n\u003cp>[aside postID='arts_13884294,arts_13902383']\u003c/p>\n\u003cp>On Saturday, Oct. 23, Black Panther Party alumni and community members will gather at Bobby Hutton Park (also known as DeFremery Park) for the month’s centerpiece celebration. Starting the day’s events will be Black Panther leader and co-founder of Tanzania’s United African Alliance Community Center, Charlotte Hill O’Neal, who will preside over a healing circle where the names of ancestors and the stories of fallen comrades will be acknowledged.\u003c/p>\n\u003cp>The healing circle will be followed by a series of speakers, including former head of the Black Panther Party’s school Ericka Huggins and radio host and author Rickey Vincent. Across the street from the park at the West Oakland Library, a walk-through exhibit will feature archival photos of the Black Panther Party.\u003c/p>\n\u003cp>https://www.instagram.com/p/CO81sx6htMa/\u003c/p>\n\u003cp>The month-long celebration concludes on Sunday, Oct. 24, when the \u003ca href=\"https://hueypnewtonfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Huey P. Newton Foundation\u003c/a> will unveil a new bust made in the image of Dr. Huey P. Newton. The sculpture, created by artist Dana King, will be located on the corner of Mandela Parkway and 9th Street—or, as it has recently been renamed, Dr. Huey P. Newtown Way.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A full \u003ca href=\"https://www.bpp55thyearcelebration.com/\" target=\"_blank\" rel=\"noopener noreferrer\">schedule for the Black Panther Party’s 55th Anniversary\u003c/a> can be found \u003ca href=\"https://www.bpp55thyearcelebration.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Black Panther Party's 55th Anniversary Celebrated in Oakland Throughout October | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This October marks 55 years since Dr. Huey P. Newton and Bobby Seale co-founded the revolutionary organization known as the Black Panther Party for Self-Defense.\u003c/p>\n\u003cp>In honor of the organization’s contributions to societal change through community activism, \u003ca href=\"https://www.bpp55thyearcelebration.com/\" target=\"_blank\" rel=\"noopener noreferrer\">multiple events\u003c/a> are scheduled throughout the month. The itinerary includes visual arts, social gatherings, live performances and the unveiling of a Dr. Huey P. Newtown bust.\u003c/p>\n\u003cp>The first event, on Friday, Oct. 1, at Oakland’s Joyce Gordon Art Gallery, is the \u003ca href=\"https://www.facebook.com/JoyceGordonGallery/posts/4846888492008400\" target=\"_blank\" rel=\"noopener noreferrer\">opening of a visual art exhibition\u003c/a> featuring the works of Emory Douglas, M. Gayle “Asali” Dickson, Malik Edwards and REFA 1. The four artists are also scheduled for a panel discussion on Oct. 9.\u003c/p>\n\u003cfigure id=\"attachment_13903866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0-3-800x538.jpg\" alt=\"People gathered for the 30th anniversary of the founding of the Black Panther Party.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-1536x1033.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3.jpg 1746w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A 1996 gathering to mark the 30th anniversary of the founding of the Black Panther Party. \u003ccite>(It's About Time Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Billy X Jennings, Black Panther Party archivist, will also display photos and artwork from his collection. Jennings says attendees can expect to see “historical artwork, as well as artwork from artists who did work in the ’70s, and what they’ve done since that time.” Jennings adds: “Keep in mind a lot of them were artists when they were 18 to 20 years old. This exhibition will show how they’ve grown since then.”\u003c/p>\n\u003cp>The growth of the members of the Party, as well as the evolution of the Party’s principles showing up in popular culture and politics, is a theme in many of the events scheduled throughout Panther History Month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Thursday, Oct. 21, the New Parkway Theatre will host a Black Panther Party-centric film festival. Among other films and clips, the schedule includes a newly recorded speech from Pete O’Neal, the exiled former chairman of the Kansas City Chapter of the Black Panther Party.\u003c/p>\n\u003cfigure id=\"attachment_13903865\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903865\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0-1-800x730.jpg\" alt=\"Charlotte Hill O'Neal wears sunglasses as she poses, showing her forearm tattoos and jewelry as she stands in front of the Alameda County Court House. \" width=\"800\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-800x730.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-1020x931.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-160x146.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-768x701.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-1536x1401.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1.jpg 1564w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Hill O’Neal in front of the Alameda County Court House. \u003ccite>(It's About Time Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Friday, Oct. 22, North Oakland’s It’s All Good Bakery, located at the site of the first Black Panther Party office, will install a plaque to commemorate the historic grounds. Replacing an earlier sign, the new plaque will have a virtual reality component allowing viewers to become more deeply immersed in the story of the Black Panther Party.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Saturday, Oct. 23, Black Panther Party alumni and community members will gather at Bobby Hutton Park (also known as DeFremery Park) for the month’s centerpiece celebration. Starting the day’s events will be Black Panther leader and co-founder of Tanzania’s United African Alliance Community Center, Charlotte Hill O’Neal, who will preside over a healing circle where the names of ancestors and the stories of fallen comrades will be acknowledged.\u003c/p>\n\u003cp>The healing circle will be followed by a series of speakers, including former head of the Black Panther Party’s school Ericka Huggins and radio host and author Rickey Vincent. Across the street from the park at the West Oakland Library, a walk-through exhibit will feature archival photos of the Black Panther Party.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The month-long celebration concludes on Sunday, Oct. 24, when the \u003ca href=\"https://hueypnewtonfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Huey P. Newton Foundation\u003c/a> will unveil a new bust made in the image of Dr. Huey P. Newton. The sculpture, created by artist Dana King, will be located on the corner of Mandela Parkway and 9th Street—or, as it has recently been renamed, Dr. Huey P. Newtown Way.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A full \u003ca href=\"https://www.bpp55thyearcelebration.com/\" target=\"_blank\" rel=\"noopener noreferrer\">schedule for the Black Panther Party’s 55th Anniversary\u003c/a> can be found \u003ca href=\"https://www.bpp55thyearcelebration.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How 9/11 Truthers and Conspiracy Theorists Got a Foothold—Even in the Bay Area",
"headTitle": "How 9/11 Truthers and Conspiracy Theorists Got a Foothold—Even in the Bay Area | KQED",
"content": "\u003cp>[dropcap]L[/dropcap]ast month, Spike Lee came under fire for including the voices of 9/11 conspiracy theorists in his four-part HBO series, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt14324128/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">NYC Epicenters 9/11-2021½\u003c/a>. \u003c/em>Lee hastily edited his documentary after objections poured in from journalists who had seen previews, and who had expressed dismay at the inclusion of interviewees expressing the view that the official narrative of Sept. 11, 2001 was false. Chief among these interview subjects was Richard Gage, a San Francisco-based architect, and the founder of \u003ca href=\"https://www.ae911truth.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Architects & Engineers for 9/11 Truth\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003ca href=\"https://slate.com/news-and-politics/2021/08/spike-lee-hbo-documentary-richard-gage.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Slate\u003c/em>‘s Jeremy Stahl\u003c/a> called Gage’s segment, “surreal and demoralizing.” Stahl noted that “Gage is responsible for peddling some of the most pernicious and long-running lies about the 9/11 attacks, which is why I was surprised that Lee, HBO, and WarnerMedia might be lending his group any amount of time.” Stahl continued, “In terms of conveying facts, this is a bit like presenting COVID-19 vaccine skeptics in a debate alongside Anthony Fauci.”\u003c/p>\n\u003cp>Gage has been at the helm of \u003cem>Architects & Engineers for 9/11 Truth \u003c/em>since founding the group in 2006. Since that time, he has brought together a group of almost 3,500 architects and engineers who continue to argue publicly that planes alone could not have been responsible for the collapse of the World Trade Center’s Twin Towers and Tower 7.\u003c/p>\n\u003cp>Under pressure, Lee removed the 30-minute segment from Episode 4 that gave voice to Gage, alongside other 9/11 conspiracy theorists. (Lee did not take the time, however, to cut a moment in Episode 3 in which a flight attendant who knew the crew of United 93—the plane that crashed in Shanksville—expressed his belief that the plane was shot down.) Also cut from Episode 4 was Shyam Sunder, who led a three-year, $16 million investigation for the National Institute of Standards and Technology. Sunder was originally seen explaining how the commercial flights did, in fact, bring down the three World Trade Center structures. He got cut when the truthers did.\u003c/p>\n\u003cp>In his\u003cem> Vanity Fair \u003c/em>review of the series\u003cem>,\u003c/em> \u003ca href=\"https://www.vanityfair.com/hollywood/2021/08/spike-lees-911-doc-promoted-conspiracy-theories\" target=\"_blank\" rel=\"noopener noreferrer\">Jordan Hoffman\u003c/a> asserted that both sides of the conversation had not been equally represented in the original episode anyway. “The initial cut of \u003cem>Epicenters\u003c/em> didn’t merely touch upon conspiracy mongers and so-called 9/11 truthers—it exalted them.” Hoffman reported, “In the original version of the film, we see footage of buildings on fire that don’t come down, then controlled implosions that, on the surface, certainly look similar to what happened at the World Trade Center. It all zooms by rather quickly, but the images are striking … There’s no mention, meanwhile, that journalists have been debunking 9/11 conspiracies since at least 2005.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[dropcap]T[/dropcap]wenty years after the tragedy, there is a broad sense that 9/11 conspiracies are as nonsensical and absurd as QAnon narratives about Satanic politicians and cannibalistic pedophiles. That one of the key leaders in the truther movement is from the Bay Area might come as a surprise to many who currently live here. Especially after the Bay’s Area’s COVID response solidified the region’s reputation for well-informed and rational responses to crises. What many have forgotten, however, is the atmosphere that originally gave birth to 9/11 conspiracies in the first place.\u003c/p>\n\u003cp>[aside postid='arts_12086811']September 11, 2001 was the first major event in American history to have its narrative guided by the internet in addition to mainstream news coverage. Social media as we know it today may not have existed, but people found new and creative ways to freak each other out online. At one point, eBay even had to ban any and all sales of items that sellers claimed came from the World Trade Center rubble.\u003c/p>\n\u003cp>\u003ca href=\"https://911digitalarchive.org/search?query=mark+d+philips&query_type=keyword&record_types%5B%5D=Item&record_types%5B%5D=File&record_types%5B%5D=Collection&submit_search=Search\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The September 11 Archive\u003c/em> has emails\u003c/a> on its website that capture the uniquely strange mood of the time. In some of those messages, internet sleuths shared photos of the attack’s aftermath, claiming to see the faces of both Satan and Osama Bin Laden in the smoke pouring from the towers. \u003ca href=\"https://www.markdphillips.com/satan-in-the-smoke/\" target=\"_blank\" rel=\"noopener noreferrer\">One of the most infamous pictures\u003c/a> was taken by then-\u003cem>Associated Press\u003c/em> photographer Mark D. Phillips. His website still features what he refers to as his “Satan in the Smoke” image and claims it was “one of the first electronic viral images.” A\u003ca href=\"https://twitter.com/TomKludt/status/907209357846355968\" target=\"_blank\" rel=\"noopener noreferrer\"> similar image by Carmen Taylor\u003c/a> was also shared widely.\u003c/p>\n\u003cp>False stories and conspiracies spread with such ubiquity in the weeks after the attacks that, on Sept. 28, 2001, the \u003cem>San Francisco Examiner\u003c/em> felt the need to post an entire column debunking them. Among other things, the paper clarified that a commuter train was not buried in the World Trade Center subway station, and that a rescue worker did not survive an 82-story fall by clinging to debris. The \u003cem>Examiner\u003c/em> also confirmed that a photo of a man purportedly standing on the North tower’s observation deck, as a plane approached behind him, was a total fabrication. It was easy to debunk—the North tower didn’t even have an observation deck. The spread of these rumors via email and hastily made websites was a precursor to the memes and falsehoods we see spread on social media today.\u003c/p>\n\u003cfigure id=\"attachment_13902670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902670\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-800x551.png\" alt=\"A man stands on the World Trade Center's observation deck with New York City's skyline behind him. In the left of the photo is an approaching commercial airplane. \" width=\"800\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-800x551.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-1020x702.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-768x529.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-1536x1057.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM.png 1700w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This image, dubbed “Tourist Guy” by the internet, was purported to have been taken on 9/11. It was a fake. That didn’t stop it making the rounds online in the weeks following the Sept. 11 attacks. \u003ccite>(Wikipedia/ \"Tourist Guy\")\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]S[/dropcap]an Francisco, like major cities all over the country, was immediately on edge following 9/11. In the two days after the attacks, there were 30 bomb scares in San Francisco alone, including at several mosques and the Embarcadero Center. The crisis was unlike anything most Americans had ever experienced and the public response was often deeply irrational as a result. As Spike Lee notes in his HBO series, in the year that followed 9/11, five California-based Muslim, Sikh and Christian men lost their lives in hate crimes that targeted just about anyone with brown skin. Similar attacks occurred around the country.\u003c/p>\n\u003cp>[aside postid='arts_13891175']All of this was taking place less than a year after the agonizing—and contested—election that saw Bush elected over Al Gore, who had won the popular vote. After the 9/11 attacks, and subsequent racial profiling and wars, the political splits that had formed in the aftermath of the 2000 election became even more pronounced. On one side, there was a \u003ca href=\"https://johnsimonds.files.wordpress.com/2013/09/9-11-eagle-crying.gif\" target=\"_blank\" rel=\"noopener noreferrer\">flag-waving fervor\u003c/a> that bordered on the jingoistic. On the other, there was a deep sense of suspicion that bordered on outright paranoia. That mood was aggravated further in 2004 with the release of Michael Moore’s \u003cem>Fahrenheit 9/11\u003c/em> documentary.\u003c/p>\n\u003cp>Moore’s film began with the assertion that George W. Bush stole the 2000 election. It then made business links between the Bush and Bin Laden families, before breaking down the various ways members of the Bush administration financially benefited from the wars that followed Sept. 11. The film pointed to the tragedy in New York as an excuse to invade Iraq and, additionally, to violate American civil liberties with the Patriot Act. Moore’s weren’t brand new concepts, but putting them all together in one film gave conspiracy theorists a compact list of motives to point to when trying to argue that “9/11 was an inside job.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yg-be2r7ouc\u003c/p>\n\u003cp>\u003cem> Fahrenheit 9/11\u003c/em> was not a movie that existed on the margins. It is, to this day, the largest grossing documentary of all time. It won the prestigious Palme d’Or at Cannes, and the Best Documentary prize at the San Francisco Film Critics Circle. And while it didn’t question whether or not those planes could have brought down the World Trade Center, it did tell America, in no uncertain terms, not to trust the government. It told viewers that their worst suspicions about the Bush administration were true. And it primed audiences for a conspiracy movie that emerged online less than a year later, that would prove to be a major foundation for the truther movement.\u003c/p>\n\u003cp>\u003cem>Loose Change—\u003c/em>a film that was made by three young men with $6,000—reached four million people in four months. It attempted to prove that the three World Trade Center buildings were brought down by controlled demolitions, not planes (among many other theories) and it was treated by a great many viewers as a serious piece of filmmaking. A\u003ca href=\"https://www.vanityfair.com/news/2006/08/loosechange200608\" target=\"_blank\" rel=\"noopener noreferrer\"> May 2006 article in \u003cem>Vanity Fair\u003c/em>\u003c/a> wondered aloud if \u003cem>Loose Change \u003c/em>was “the first internet blockbuster.” The magazine also made links between the film’s success and polls that claimed: “42% of Americans now believe that the U.S. government and the 9/11 commission ‘concealed or refused to investigate critical evidence that contradicts their official explanation of the September 11th attacks.'” One \u003cem>New York Times\u003c/em>/CBS News poll from that year found that 53% of respondents thought “the Bush administration was hiding something.”\u003c/p>\n\u003cp>[aside postid='arts_25472']Those conspiratorial notions were, at the time, fairly mainstream. And that was reflected all over the Bay Area by a sudden preponderance of flyers, bumper stickers and stenciled messages that declared that “9/11 was an inside job.” That narrative was further pushed by a 2004 book by California-based scholar David Ray Griffin. Richard Gage has cited Griffin’s \u003cem>The New Pearl Harbor: Disturbing Questions About the Bush Administration and 9/11 \u003c/em>as a key inspiration.\u003c/p>\n\u003cp>[dropcap]T[/dropcap]his, then, was the atmosphere in which \u003cem>Architects & Engineers for 9/11 Truth\u003c/em> sprang up in San Francisco. It was born from a terrifying and uncertain period in which indulging and exploring conspiracy theories helped Americans wrestle back a sense of control. But as Spike Lee just discovered, most Americans who lived through 9/11 and the fraught years that followed are now desperate to move on. Many of the Gen Z teens who grew up in the shadow of 9/11 treat \u003ca href=\"http://www.slate.com/articles/technology/users/2015/07/teenagers_and_9_11_trutherism_jokes_how_these_memes_became_a_phenomenon.html\" target=\"_blank\" rel=\"noopener noreferrer\">truther narratives as far more worthy of mockery\u003c/a> than serious analysis. And in 2021, when election disinformation can inspire a violent raid on the nation’s capitol, conspiracy theories seem the almost exclusive domain of dangerous fringe groups.\u003c/p>\n\u003cp>That one of the biggest truther organizations in America sprang up out of San Francisco does, on some level, reflect the independent spirit and suspicious minds that have always had a niche in the city. But more than that, organizations like \u003cem>Architects & Engineers for 9/11 Truth\u003c/em> are an echo of the rabbit hole America fell into after Sept. 11, 2001. They are a bygone reflection of our nation as it tried desperately to make sense out of an event that inherently couldn’t be made sense of. And they are a time capsule of how traumatized people tried to regain a sense of their own power during a period where many felt powerless.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Spike Lee, ultimately, was right to remove those outdated conspiratorial narratives from \u003cem>NYC Epicenters. \u003c/em>But the truthers themselves should not be erased from history. They remain a reminder to us all of what mass trauma can do to a national psyche.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">L\u003c/span>\u003c/p>\u003cp>ast month, Spike Lee came under fire for including the voices of 9/11 conspiracy theorists in his four-part HBO series, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt14324128/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">NYC Epicenters 9/11-2021½\u003c/a>. \u003c/em>Lee hastily edited his documentary after objections poured in from journalists who had seen previews, and who had expressed dismay at the inclusion of interviewees expressing the view that the official narrative of Sept. 11, 2001 was false. Chief among these interview subjects was Richard Gage, a San Francisco-based architect, and the founder of \u003ca href=\"https://www.ae911truth.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Architects & Engineers for 9/11 Truth\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003ca href=\"https://slate.com/news-and-politics/2021/08/spike-lee-hbo-documentary-richard-gage.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Slate\u003c/em>‘s Jeremy Stahl\u003c/a> called Gage’s segment, “surreal and demoralizing.” Stahl noted that “Gage is responsible for peddling some of the most pernicious and long-running lies about the 9/11 attacks, which is why I was surprised that Lee, HBO, and WarnerMedia might be lending his group any amount of time.” Stahl continued, “In terms of conveying facts, this is a bit like presenting COVID-19 vaccine skeptics in a debate alongside Anthony Fauci.”\u003c/p>\n\u003cp>Gage has been at the helm of \u003cem>Architects & Engineers for 9/11 Truth \u003c/em>since founding the group in 2006. Since that time, he has brought together a group of almost 3,500 architects and engineers who continue to argue publicly that planes alone could not have been responsible for the collapse of the World Trade Center’s Twin Towers and Tower 7.\u003c/p>\n\u003cp>Under pressure, Lee removed the 30-minute segment from Episode 4 that gave voice to Gage, alongside other 9/11 conspiracy theorists. (Lee did not take the time, however, to cut a moment in Episode 3 in which a flight attendant who knew the crew of United 93—the plane that crashed in Shanksville—expressed his belief that the plane was shot down.) Also cut from Episode 4 was Shyam Sunder, who led a three-year, $16 million investigation for the National Institute of Standards and Technology. Sunder was originally seen explaining how the commercial flights did, in fact, bring down the three World Trade Center structures. He got cut when the truthers did.\u003c/p>\n\u003cp>In his\u003cem> Vanity Fair \u003c/em>review of the series\u003cem>,\u003c/em> \u003ca href=\"https://www.vanityfair.com/hollywood/2021/08/spike-lees-911-doc-promoted-conspiracy-theories\" target=\"_blank\" rel=\"noopener noreferrer\">Jordan Hoffman\u003c/a> asserted that both sides of the conversation had not been equally represented in the original episode anyway. “The initial cut of \u003cem>Epicenters\u003c/em> didn’t merely touch upon conspiracy mongers and so-called 9/11 truthers—it exalted them.” Hoffman reported, “In the original version of the film, we see footage of buildings on fire that don’t come down, then controlled implosions that, on the surface, certainly look similar to what happened at the World Trade Center. It all zooms by rather quickly, but the images are striking … There’s no mention, meanwhile, that journalists have been debunking 9/11 conspiracies since at least 2005.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>wenty years after the tragedy, there is a broad sense that 9/11 conspiracies are as nonsensical and absurd as QAnon narratives about Satanic politicians and cannibalistic pedophiles. That one of the key leaders in the truther movement is from the Bay Area might come as a surprise to many who currently live here. Especially after the Bay’s Area’s COVID response solidified the region’s reputation for well-informed and rational responses to crises. What many have forgotten, however, is the atmosphere that originally gave birth to 9/11 conspiracies in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>September 11, 2001 was the first major event in American history to have its narrative guided by the internet in addition to mainstream news coverage. Social media as we know it today may not have existed, but people found new and creative ways to freak each other out online. At one point, eBay even had to ban any and all sales of items that sellers claimed came from the World Trade Center rubble.\u003c/p>\n\u003cp>\u003ca href=\"https://911digitalarchive.org/search?query=mark+d+philips&query_type=keyword&record_types%5B%5D=Item&record_types%5B%5D=File&record_types%5B%5D=Collection&submit_search=Search\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The September 11 Archive\u003c/em> has emails\u003c/a> on its website that capture the uniquely strange mood of the time. In some of those messages, internet sleuths shared photos of the attack’s aftermath, claiming to see the faces of both Satan and Osama Bin Laden in the smoke pouring from the towers. \u003ca href=\"https://www.markdphillips.com/satan-in-the-smoke/\" target=\"_blank\" rel=\"noopener noreferrer\">One of the most infamous pictures\u003c/a> was taken by then-\u003cem>Associated Press\u003c/em> photographer Mark D. Phillips. His website still features what he refers to as his “Satan in the Smoke” image and claims it was “one of the first electronic viral images.” A\u003ca href=\"https://twitter.com/TomKludt/status/907209357846355968\" target=\"_blank\" rel=\"noopener noreferrer\"> similar image by Carmen Taylor\u003c/a> was also shared widely.\u003c/p>\n\u003cp>False stories and conspiracies spread with such ubiquity in the weeks after the attacks that, on Sept. 28, 2001, the \u003cem>San Francisco Examiner\u003c/em> felt the need to post an entire column debunking them. Among other things, the paper clarified that a commuter train was not buried in the World Trade Center subway station, and that a rescue worker did not survive an 82-story fall by clinging to debris. The \u003cem>Examiner\u003c/em> also confirmed that a photo of a man purportedly standing on the North tower’s observation deck, as a plane approached behind him, was a total fabrication. It was easy to debunk—the North tower didn’t even have an observation deck. The spread of these rumors via email and hastily made websites was a precursor to the memes and falsehoods we see spread on social media today.\u003c/p>\n\u003cfigure id=\"attachment_13902670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902670\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-800x551.png\" alt=\"A man stands on the World Trade Center's observation deck with New York City's skyline behind him. In the left of the photo is an approaching commercial airplane. \" width=\"800\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-800x551.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-1020x702.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-768x529.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM-1536x1057.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-07-at-6.12.48-PM.png 1700w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This image, dubbed “Tourist Guy” by the internet, was purported to have been taken on 9/11. It was a fake. That didn’t stop it making the rounds online in the weeks following the Sept. 11 attacks. \u003ccite>(Wikipedia/ \"Tourist Guy\")\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">S\u003c/span>\u003c/p>\u003cp>an Francisco, like major cities all over the country, was immediately on edge following 9/11. In the two days after the attacks, there were 30 bomb scares in San Francisco alone, including at several mosques and the Embarcadero Center. The crisis was unlike anything most Americans had ever experienced and the public response was often deeply irrational as a result. As Spike Lee notes in his HBO series, in the year that followed 9/11, five California-based Muslim, Sikh and Christian men lost their lives in hate crimes that targeted just about anyone with brown skin. Similar attacks occurred around the country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All of this was taking place less than a year after the agonizing—and contested—election that saw Bush elected over Al Gore, who had won the popular vote. After the 9/11 attacks, and subsequent racial profiling and wars, the political splits that had formed in the aftermath of the 2000 election became even more pronounced. On one side, there was a \u003ca href=\"https://johnsimonds.files.wordpress.com/2013/09/9-11-eagle-crying.gif\" target=\"_blank\" rel=\"noopener noreferrer\">flag-waving fervor\u003c/a> that bordered on the jingoistic. On the other, there was a deep sense of suspicion that bordered on outright paranoia. That mood was aggravated further in 2004 with the release of Michael Moore’s \u003cem>Fahrenheit 9/11\u003c/em> documentary.\u003c/p>\n\u003cp>Moore’s film began with the assertion that George W. Bush stole the 2000 election. It then made business links between the Bush and Bin Laden families, before breaking down the various ways members of the Bush administration financially benefited from the wars that followed Sept. 11. The film pointed to the tragedy in New York as an excuse to invade Iraq and, additionally, to violate American civil liberties with the Patriot Act. Moore’s weren’t brand new concepts, but putting them all together in one film gave conspiracy theorists a compact list of motives to point to when trying to argue that “9/11 was an inside job.”\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/yg-be2r7ouc'\n title='//www.youtube.com/embed/yg-be2r7ouc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem> Fahrenheit 9/11\u003c/em> was not a movie that existed on the margins. It is, to this day, the largest grossing documentary of all time. It won the prestigious Palme d’Or at Cannes, and the Best Documentary prize at the San Francisco Film Critics Circle. And while it didn’t question whether or not those planes could have brought down the World Trade Center, it did tell America, in no uncertain terms, not to trust the government. It told viewers that their worst suspicions about the Bush administration were true. And it primed audiences for a conspiracy movie that emerged online less than a year later, that would prove to be a major foundation for the truther movement.\u003c/p>\n\u003cp>\u003cem>Loose Change—\u003c/em>a film that was made by three young men with $6,000—reached four million people in four months. It attempted to prove that the three World Trade Center buildings were brought down by controlled demolitions, not planes (among many other theories) and it was treated by a great many viewers as a serious piece of filmmaking. A\u003ca href=\"https://www.vanityfair.com/news/2006/08/loosechange200608\" target=\"_blank\" rel=\"noopener noreferrer\"> May 2006 article in \u003cem>Vanity Fair\u003c/em>\u003c/a> wondered aloud if \u003cem>Loose Change \u003c/em>was “the first internet blockbuster.” The magazine also made links between the film’s success and polls that claimed: “42% of Americans now believe that the U.S. government and the 9/11 commission ‘concealed or refused to investigate critical evidence that contradicts their official explanation of the September 11th attacks.'” One \u003cem>New York Times\u003c/em>/CBS News poll from that year found that 53% of respondents thought “the Bush administration was hiding something.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Those conspiratorial notions were, at the time, fairly mainstream. And that was reflected all over the Bay Area by a sudden preponderance of flyers, bumper stickers and stenciled messages that declared that “9/11 was an inside job.” That narrative was further pushed by a 2004 book by California-based scholar David Ray Griffin. Richard Gage has cited Griffin’s \u003cem>The New Pearl Harbor: Disturbing Questions About the Bush Administration and 9/11 \u003c/em>as a key inspiration.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>his, then, was the atmosphere in which \u003cem>Architects & Engineers for 9/11 Truth\u003c/em> sprang up in San Francisco. It was born from a terrifying and uncertain period in which indulging and exploring conspiracy theories helped Americans wrestle back a sense of control. But as Spike Lee just discovered, most Americans who lived through 9/11 and the fraught years that followed are now desperate to move on. Many of the Gen Z teens who grew up in the shadow of 9/11 treat \u003ca href=\"http://www.slate.com/articles/technology/users/2015/07/teenagers_and_9_11_trutherism_jokes_how_these_memes_became_a_phenomenon.html\" target=\"_blank\" rel=\"noopener noreferrer\">truther narratives as far more worthy of mockery\u003c/a> than serious analysis. And in 2021, when election disinformation can inspire a violent raid on the nation’s capitol, conspiracy theories seem the almost exclusive domain of dangerous fringe groups.\u003c/p>\n\u003cp>That one of the biggest truther organizations in America sprang up out of San Francisco does, on some level, reflect the independent spirit and suspicious minds that have always had a niche in the city. But more than that, organizations like \u003cem>Architects & Engineers for 9/11 Truth\u003c/em> are an echo of the rabbit hole America fell into after Sept. 11, 2001. They are a bygone reflection of our nation as it tried desperately to make sense out of an event that inherently couldn’t be made sense of. And they are a time capsule of how traumatized people tried to regain a sense of their own power during a period where many felt powerless.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Spike Lee, ultimately, was right to remove those outdated conspiratorial narratives from \u003cem>NYC Epicenters. \u003c/em>But the truthers themselves should not be erased from history. They remain a reminder to us all of what mass trauma can do to a national psyche.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One is a felt horse wearing a sea captain’s hat. The other is a rubber-faced bulldog in an Oakland Raiders shirt. And throughout the ’60s and ’70s, this unlikely duo dominated Bay Area children’s television. First on San Francisco’s KGO-TV, then on Oakland’s KTVU. Charley Horse and Humphrey Hambone haven’t had a regular show on the air since 1976, but they—and their creator, Pat McCormick—remain beloved by those who remember them. And \u003cem>a lot\u003c/em> of people remember them.\u003c/p>\n\u003cp>Charley and Humphrey are one of the most-posted-about topics in Facebook’s wide variety of Bay Area history groups. Fans share artwork, places to buy \u003ca href=\"https://www.psapress.com/products/charley-and-humphrey-enamel-pin-set?fbclid=IwAR39V6QVXQuCITBK6EpzR4dILCmUK8eZ0GMTHJ42SHMiUUZqRefN6XGHi-M\" target=\"_blank\" rel=\"noopener noreferrer\">Charley and Humphrey merch\u003c/a>, and clips from the 1970s. One-minute-long PSAs featuring the characters often do the rounds in these groups—and it’s easy to understand why. These short TV segments remain a perfect encapsulation of how McCormick’s characters so deftly used goofy humor to help children learn, think independently, and do the right thing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aKowhEtpCbo\u003c/p>\n\u003cp>Humphrey was the wild one, always getting into scrapes and trouble, and Charley was the wise one, always there to assist and advise his friend.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E12y1LGifj0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It didn’t always turn out well for Charley, but his mishaps sure made the kids laugh.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bGZNjnuGLBw\u003c/p>\n\u003cp>Charley and Humphrey had friends too. \u003cem>The Charley Horse Show\u003c/em> featured Shagnasty the Friendly Bear, an impartial referee between Charley and Humphrey whose voice was modeled after Louis Armstrong. Then there was \u003ca href=\"https://www.youtube.com/watch?v=WDcVIOnyqsA\" target=\"_blank\" rel=\"noopener noreferrer\">Pussyfoot\u003c/a>, a yellow cat who played classical music on the piano.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WDcVIOnyqsA\u003c/p>\n\u003cp>The story of how Pat McCormick brought these puppets to life is as scrappy as the show’s sets, but it also reflects the puppeteer’s tenacity, creativity and oddball sense of humor.\u003c/p>\n\u003cp>[aside postid='arts_13905423']McCormick was born in Myrtle Creek (a town of 1,700 people in southern Oregon), did a stint in the Air Force in his teens, then decided he wanted to break into showbiz. In 1952, aged 20, he moved to Hollywood and spent seven years bouncing around jobs on the bottom rung of the entertainment ladder. He worked in the mail department of Allied Artists, he chauffeured studio execs from Warner Bros. and Universal, and he worked in guest relations for CBS and ABC. For a time, he was an assistant film cutter at Disney. But it was a chance encounter at ABC that would change McCormick’s life.\u003c/p>\n\u003cp>It was there that McCormick befriended Jack Shaften, a respected puppeteer who had a cast of characters on \u003ca href=\"https://www.imdb.com/title/tt0046604/?ref_=nm_knf_t1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The George Gobel Show\u003c/em>\u003c/a> and countless commercials. One day, Shaften showed McCormick the horse puppet that would go on to become Charley. Disney had created it for a movie pilot, but ultimately decided the horse didn’t fit in with their other characters. McCormick saw the puppet’s potential and bought it from Shaften. After he came up with Charley’s persona—he was loosely inspired by Chester Goode, the funniest character on the 1950s TV show \u003cem>Gunsmoke—\u003c/em>McCormick co-designed and created Humphrey with Shaften. Amusingly, they originally imagined the bulldog with a high-pitched, squeaky voice.\u003c/p>\n\u003cp>In 1960, McCormick told the \u003cem>Petaluma Argus-Courier\u003c/em>: “Humphrey was designed with the hope of obtaining at least two different expressions. We were amazed to find, when the puppet was finished, that Humphrey had virtually become a dog with a million faces.”\u003c/p>\n\u003cp>In the end, that expressive face would prove to be a bit of a burden for McCormick. He told the \u003cem>Arizona Republic\u003c/em> in 1962 that while Charley was built to last, Humphrey’s head would wear out every six months, meaning repairs and replacements were needed on an ongoing basis.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cazKlQPULz8\u003c/p>\n\u003cp>McCormick’s big break came in 1959, after auditioning for KFRE-TV in Fresno. \u003cem>The Charley Horse Show\u003c/em> was born, and became an overnight success—kids loved its humor and parents appreciated its positive messages and lessons. McCormick quickly perfected his puppeteering style.\u003c/p>\n\u003cp>“I sit on a movable Renault automobile seat under a large table and work the animals over my head,” he told the \u003cem>Arizona Republic\u003c/em> in 1962. “I have a monitor set down on the floor in front of me, so I’m always able to watch how they’re projecting on the home sets.”\u003c/p>\n\u003cp>Word spread about the the show, and on Aug. 1, 1960, Charley and Humphrey came to San Francisco to join KGO-TV. They received a warm welcome right off the bat. “Welcome to town, Patrick,” one reporter at the \u003cem>San Francisco Examiner\u003c/em> wrote, “and I hope your Charley Horse never develops a limp.”\u003c/p>\n\u003cp>[aside postid='arts_13894169']McCormick and his characters initially helmed a weekday morning show, but half-hour evening and four-hour Saturday morning shows soon followed. In 1968, Oakland’s KTVU Channel 2 snapped up McCormick and gave him \u003cem>The Charley and Humphrey Show\u003c/em>. It was at KTVU that Humphrey first acquired his Oakland shirt—a gift from \u003ca href=\"https://en.wikipedia.org/wiki/Sonny_Barger\" target=\"_blank\" rel=\"noopener noreferrer\">Sonny Barger\u003c/a>, co-founder of the Oakland chapter of the Hells Angels. KTVU also gave McCormick the opportunity to expand into other programming. He hosted telethons and the daily quiz \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=w-WHJ9kYzoI\" target=\"_blank\" rel=\"noopener noreferrer\">Dialing For Dollars\u003c/a>\u003c/em>, and even acted as the nightly news weatherman for a while. But a sign over McCormick’s office was careful to give his characters credit for his success. It read: “Shagnasty Productions. Charles Horse, President. Humphrey Hambone, Public Relations.”\u003c/p>\n\u003cp>Meanwhile, in Arizona, McCormick’s \u003cem>Shagnasty Show\u003c/em> and \u003cem>The Charley Horse Show\u003c/em> began broadcasting in 1961. McCormick said the former was strictly for kids, but the latter was for the whole family. “I work in a lot of satire,” McCormick told the \u003cem>Arizona Republic\u003c/em>. “I can’t express all these viewpoints as one person, so I do it through friends like Charley.” He continued, “I suppose there are many sides to my personality. I know I have many points of view on humor.” Elsewhere in the interview, McCormick objected to Charley and Humphrey being referred to as puppets. His preferred moniker was “the boys.”\u003c/p>\n\u003cp>McCormick and his characters enjoyed decades of popularity. By 1972, they were hosting KTVU’s afternoon block of kids’ shows under the title \u003cem>The Charley and Humphrey Good Time House\u003c/em>. “In addition to introducing the cartoons,” the \u003cem>Oakland Tribune\u003c/em> reported, “they give brief news reports adapted for little ones; a nice idea.”\u003c/p>\n\u003cfigure id=\"attachment_13902285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902285\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-5.40.16-PM-800x699.png\" alt=\"\" width=\"800\" height=\"699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-5.40.16-PM-800x699.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-5.40.16-PM-1020x892.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-5.40.16-PM-160x140.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-5.40.16-PM-768x671.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-5.40.16-PM.png 1352w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of the ‘Oakland History’ group page on Facebook.\u003c/figcaption>\u003c/figure>\n\u003cp>Little has been heard of Pat McCormick since 1995, when he retired to a five-acre wooded property in Gold Beach, Oregon with his wife Flora. In 2015, he re-emerged briefly when the \u003cem>San Francisco Chronicle\u003c/em> falsely reported his death. McCormick immediately called KTVU to explain he was alive and well; he and his wife had faked his death as part of an ongoing feud with their son, Steve. Thoroughly convinced his father was dead, Steve he sent word to the \u003cem>Chronicle\u003c/em>, which dutifully reported it.\u003c/p>\n\u003cp>“I want to emphasize, I recognize the absolute stupidity of [the incident],” McCormick told KTVU. “Whether [Steve] had exposed me or not, that was a dumb piece of business on my part. So what I managed to do is chalk it up to old age.”\u003c/p>\n\u003cp>Tom Hanks, who grew up watching Charley and Humphrey, was so relieved to find out McCormick was still alive he gave him a call. According to Wikipedia, McCormick is now approximately 88 years old.\u003c/p>\n\u003cp>Though McCormick has said in interviews he left his characters behind because he was “all TV-ed out,” he also admitted to \u003cem>SF Gate\u003c/em> in 2008 that he missed Charley and Humphrey just as much as the public does. Perhaps even more so.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“All the other things I did on television were just jobs,” he said. “It was my work. By contrast, Charley and Humphrey were my passion. They were me. I miss working with them more than I can describe.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One is a felt horse wearing a sea captain’s hat. The other is a rubber-faced bulldog in an Oakland Raiders shirt. And throughout the ’60s and ’70s, this unlikely duo dominated Bay Area children’s television. First on San Francisco’s KGO-TV, then on Oakland’s KTVU. Charley Horse and Humphrey Hambone haven’t had a regular show on the air since 1976, but they—and their creator, Pat McCormick—remain beloved by those who remember them. And \u003cem>a lot\u003c/em> of people remember them.\u003c/p>\n\u003cp>Charley and Humphrey are one of the most-posted-about topics in Facebook’s wide variety of Bay Area history groups. Fans share artwork, places to buy \u003ca href=\"https://www.psapress.com/products/charley-and-humphrey-enamel-pin-set?fbclid=IwAR39V6QVXQuCITBK6EpzR4dILCmUK8eZ0GMTHJ42SHMiUUZqRefN6XGHi-M\" target=\"_blank\" rel=\"noopener noreferrer\">Charley and Humphrey merch\u003c/a>, and clips from the 1970s. One-minute-long PSAs featuring the characters often do the rounds in these groups—and it’s easy to understand why. These short TV segments remain a perfect encapsulation of how McCormick’s characters so deftly used goofy humor to help children learn, think independently, and do the right thing.\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/aKowhEtpCbo'\n title='//www.youtube.com/embed/aKowhEtpCbo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Humphrey was the wild one, always getting into scrapes and trouble, and Charley was the wise one, always there to assist and advise his friend.\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/E12y1LGifj0'\n title='//www.youtube.com/embed/E12y1LGifj0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It didn’t always turn out well for Charley, but his mishaps sure made the kids laugh.\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/bGZNjnuGLBw'\n title='//www.youtube.com/embed/bGZNjnuGLBw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Charley and Humphrey had friends too. \u003cem>The Charley Horse Show\u003c/em> featured Shagnasty the Friendly Bear, an impartial referee between Charley and Humphrey whose voice was modeled after Louis Armstrong. Then there was \u003ca href=\"https://www.youtube.com/watch?v=WDcVIOnyqsA\" target=\"_blank\" rel=\"noopener noreferrer\">Pussyfoot\u003c/a>, a yellow cat who played classical music on the piano.\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/WDcVIOnyqsA'\n title='//www.youtube.com/embed/WDcVIOnyqsA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The story of how Pat McCormick brought these puppets to life is as scrappy as the show’s sets, but it also reflects the puppeteer’s tenacity, creativity and oddball sense of humor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>McCormick was born in Myrtle Creek (a town of 1,700 people in southern Oregon), did a stint in the Air Force in his teens, then decided he wanted to break into showbiz. In 1952, aged 20, he moved to Hollywood and spent seven years bouncing around jobs on the bottom rung of the entertainment ladder. He worked in the mail department of Allied Artists, he chauffeured studio execs from Warner Bros. and Universal, and he worked in guest relations for CBS and ABC. For a time, he was an assistant film cutter at Disney. But it was a chance encounter at ABC that would change McCormick’s life.\u003c/p>\n\u003cp>It was there that McCormick befriended Jack Shaften, a respected puppeteer who had a cast of characters on \u003ca href=\"https://www.imdb.com/title/tt0046604/?ref_=nm_knf_t1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The George Gobel Show\u003c/em>\u003c/a> and countless commercials. One day, Shaften showed McCormick the horse puppet that would go on to become Charley. Disney had created it for a movie pilot, but ultimately decided the horse didn’t fit in with their other characters. McCormick saw the puppet’s potential and bought it from Shaften. After he came up with Charley’s persona—he was loosely inspired by Chester Goode, the funniest character on the 1950s TV show \u003cem>Gunsmoke—\u003c/em>McCormick co-designed and created Humphrey with Shaften. Amusingly, they originally imagined the bulldog with a high-pitched, squeaky voice.\u003c/p>\n\u003cp>In 1960, McCormick told the \u003cem>Petaluma Argus-Courier\u003c/em>: “Humphrey was designed with the hope of obtaining at least two different expressions. We were amazed to find, when the puppet was finished, that Humphrey had virtually become a dog with a million faces.”\u003c/p>\n\u003cp>In the end, that expressive face would prove to be a bit of a burden for McCormick. He told the \u003cem>Arizona Republic\u003c/em> in 1962 that while Charley was built to last, Humphrey’s head would wear out every six months, meaning repairs and replacements were needed on an ongoing basis.\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/cazKlQPULz8'\n title='//www.youtube.com/embed/cazKlQPULz8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>McCormick’s big break came in 1959, after auditioning for KFRE-TV in Fresno. \u003cem>The Charley Horse Show\u003c/em> was born, and became an overnight success—kids loved its humor and parents appreciated its positive messages and lessons. McCormick quickly perfected his puppeteering style.\u003c/p>\n\u003cp>“I sit on a movable Renault automobile seat under a large table and work the animals over my head,” he told the \u003cem>Arizona Republic\u003c/em> in 1962. “I have a monitor set down on the floor in front of me, so I’m always able to watch how they’re projecting on the home sets.”\u003c/p>\n\u003cp>Word spread about the the show, and on Aug. 1, 1960, Charley and Humphrey came to San Francisco to join KGO-TV. They received a warm welcome right off the bat. “Welcome to town, Patrick,” one reporter at the \u003cem>San Francisco Examiner\u003c/em> wrote, “and I hope your Charley Horse never develops a limp.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>McCormick and his characters initially helmed a weekday morning show, but half-hour evening and four-hour Saturday morning shows soon followed. In 1968, Oakland’s KTVU Channel 2 snapped up McCormick and gave him \u003cem>The Charley and Humphrey Show\u003c/em>. It was at KTVU that Humphrey first acquired his Oakland shirt—a gift from \u003ca href=\"https://en.wikipedia.org/wiki/Sonny_Barger\" target=\"_blank\" rel=\"noopener noreferrer\">Sonny Barger\u003c/a>, co-founder of the Oakland chapter of the Hells Angels. KTVU also gave McCormick the opportunity to expand into other programming. He hosted telethons and the daily quiz \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=w-WHJ9kYzoI\" target=\"_blank\" rel=\"noopener noreferrer\">Dialing For Dollars\u003c/a>\u003c/em>, and even acted as the nightly news weatherman for a while. But a sign over McCormick’s office was careful to give his characters credit for his success. It read: “Shagnasty Productions. Charles Horse, President. Humphrey Hambone, Public Relations.”\u003c/p>\n\u003cp>Meanwhile, in Arizona, McCormick’s \u003cem>Shagnasty Show\u003c/em> and \u003cem>The Charley Horse Show\u003c/em> began broadcasting in 1961. McCormick said the former was strictly for kids, but the latter was for the whole family. “I work in a lot of satire,” McCormick told the \u003cem>Arizona Republic\u003c/em>. “I can’t express all these viewpoints as one person, so I do it through friends like Charley.” He continued, “I suppose there are many sides to my personality. I know I have many points of view on humor.” Elsewhere in the interview, McCormick objected to Charley and Humphrey being referred to as puppets. His preferred moniker was “the boys.”\u003c/p>\n\u003cp>McCormick and his characters enjoyed decades of popularity. By 1972, they were hosting KTVU’s afternoon block of kids’ shows under the title \u003cem>The Charley and Humphrey Good Time House\u003c/em>. “In addition to introducing the cartoons,” the \u003cem>Oakland Tribune\u003c/em> reported, “they give brief news reports adapted for little ones; a nice idea.”\u003c/p>\n\u003cfigure id=\"attachment_13902285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902285\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-5.40.16-PM-800x699.png\" alt=\"\" width=\"800\" height=\"699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-5.40.16-PM-800x699.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-5.40.16-PM-1020x892.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-5.40.16-PM-160x140.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-5.40.16-PM-768x671.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-5.40.16-PM.png 1352w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of the ‘Oakland History’ group page on Facebook.\u003c/figcaption>\u003c/figure>\n\u003cp>Little has been heard of Pat McCormick since 1995, when he retired to a five-acre wooded property in Gold Beach, Oregon with his wife Flora. In 2015, he re-emerged briefly when the \u003cem>San Francisco Chronicle\u003c/em> falsely reported his death. McCormick immediately called KTVU to explain he was alive and well; he and his wife had faked his death as part of an ongoing feud with their son, Steve. Thoroughly convinced his father was dead, Steve he sent word to the \u003cem>Chronicle\u003c/em>, which dutifully reported it.\u003c/p>\n\u003cp>“I want to emphasize, I recognize the absolute stupidity of [the incident],” McCormick told KTVU. “Whether [Steve] had exposed me or not, that was a dumb piece of business on my part. So what I managed to do is chalk it up to old age.”\u003c/p>\n\u003cp>Tom Hanks, who grew up watching Charley and Humphrey, was so relieved to find out McCormick was still alive he gave him a call. According to Wikipedia, McCormick is now approximately 88 years old.\u003c/p>\n\u003cp>Though McCormick has said in interviews he left his characters behind because he was “all TV-ed out,” he also admitted to \u003cem>SF Gate\u003c/em> in 2008 that he missed Charley and Humphrey just as much as the public does. Perhaps even more so.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In Gabriela Ortiz's 'D'Colonial Californio,' a Contemplation of El Camino Real",
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"content": "\u003cp>The Silicon Valley Symphony kicks off its season with two favorites: Dvorak’s New World Symphony and Mendelssohn’s \u003cem>A Midsummer Night’s Dream Overture\u003c/em> and \u003cem>Scherzo\u003c/em>. What makes the program special is a world premiere by the Mexican composer Gabriela Ortiz, whose work stretches back 30 years. \u003cem>D’Colonial Californio\u003c/em> is a concerto for flute and orchestra, performed here by soloist Marisa Canales and under the direction of JoAnn Falletta. Inspired by the Peninsula’s main route El Camino Real—part of \u003ca href=\"https://www.kqed.org/news/11621122/el-camino-not-so-real-the-true-story-of-the-ancient-road\" rel=\"noopener noreferrer\" target=\"_blank\">a fraught, revisionist history\u003c/a>—the piece promises to bring contemplation among the celebration at the California Theater.\u003c/p>\n\u003cp>\u003cem>The Silicon Valley Symphony performs Saturday and Sunday, Oct. 2 and 3, at the California Theater in San Jose. \u003ca href=\"https://www.symphonysiliconvalley.org/show/celebration/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Silicon Valley Symphony kicks off its season with two favorites: Dvorak’s New World Symphony and Mendelssohn’s \u003cem>A Midsummer Night’s Dream Overture\u003c/em> and \u003cem>Scherzo\u003c/em>. What makes the program special is a world premiere by the Mexican composer Gabriela Ortiz, whose work stretches back 30 years. \u003cem>D’Colonial Californio\u003c/em> is a concerto for flute and orchestra, performed here by soloist Marisa Canales and under the direction of JoAnn Falletta. Inspired by the Peninsula’s main route El Camino Real—part of \u003ca href=\"https://www.kqed.org/news/11621122/el-camino-not-so-real-the-true-story-of-the-ancient-road\" rel=\"noopener noreferrer\" target=\"_blank\">a fraught, revisionist history\u003c/a>—the piece promises to bring contemplation among the celebration at the California Theater.\u003c/p>\n\u003cp>\u003cem>The Silicon Valley Symphony performs Saturday and Sunday, Oct. 2 and 3, at the California Theater in San Jose. \u003ca href=\"https://www.symphonysiliconvalley.org/show/celebration/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[dropcap]M[/dropcap]argaret Chung spent her entire life defying stereotypes. She defied them when she became the first American-born Chinese woman to become a doctor. She defied them when she opened the first Western clinic in San Francisco’s Chinatown. And she subverted them in her personal life—whether she was donning masculine clothes, or taking care of countless “military sons.” Chung knew exactly what she was doing—she often made fun of stereotypes with her particular brand of humor. Stereotype-bucking was a lifelong pursuit for Chung—and it also made her enormously popular.\u003c/p>\n\u003cp>[aside postid='arts_13880286']Margaret Jessie Chung was born in Santa Barbara in 1889, the oldest of 11 children. Her mother, Ah Yane, had been trafficked from China to San Francisco at the age of five and rescued by the \u003ca href=\"https://www.kqed.org/arts/13880286/the-child-slave-who-helped-rescue-thousands-of-women-in-chinatown\" target=\"_blank\" rel=\"noopener noreferrer\">Presbyterian Mission House in Chinatown\u003c/a> six years later. Chung’s father, Chung Wong, was a merchant who suffered repeated business failures. Her childhood was spent bouncing around Southern California towns, as her family tried—and failed—to claw their way out of poverty.\u003c/p>\n\u003cp>At 12, Chung starting working herself, slogging her way through long, grueling shifts at a restaurant, after school. Her strong work ethic was evident from the beginning, but being grossly underpaid imbued her with a fiery ambition. Chung even battled her way into a private, prestigious high school by winning a competition to sell the most \u003cem>Los Angeles Times\u003c/em> subscriptions. (The paper then paid her school fees.)\u003c/p>\n\u003cp>After that, Chung went on to attend medical school at USC. One of only two women in her class during most of her time there, she told the\u003cem> Los Angeles Evening Post Record\u003c/em> in 1914, “As the only Chinese girl in the USC Medical School, I am compelled to be different.” And while that was the period she first began wearing men’s suits—sometimes even referring to herself as “Mike”—she was also responsible for founding the first medical sorority at the university. (There were four fraternities when she arrived, but nothing for the female med students.)\u003c/p>\n\u003cfigure id=\"attachment_13901609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/20210820_154226-800x597.jpg\" alt=\"\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-1536x1147.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-2048x1529.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-1920x1434.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margaret Chung (front row, center) with her USC classmates, sophomore year, 1915. \u003ccite>(University of Southern California, on behalf of the USC University Archives.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout her schooling, Chung’s ultimate goal had been to become a Presbyterian missionary. She admired the women who’d rescued her mother from a life of servitude, but wanted to incorporate her medical training into the job to be of even greater service. But after graduation, at the age of 26, Chung’s plans were foiled by racist policy. Her three applications to become a medical missionary were turned down purely because she was of Chinese descent. Between 1875 and 1920, all Presbyterian missionaries were white. Chung was so devastated that she abandoned the church altogether.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To make matters more frustrating, Chung also struggled to get a hospital internship because of her gender, so she initially went to work as a surgical nurse in Chicago. It was there that she found the Mary Thompson Hospital—an institution specializing in the care of female patients by female doctors. After three years interning there, she moved onto Los Angeles’ Santa Fe Railroad hospital in 1916, where she became an accomplished surgeon. Chung was so popular there, one of her colleagues once suggested that “some of the men were deliberately getting hurt so that Dr. Chung could take care of them.”\u003c/p>\n\u003cp>This was particularly remarkable given that in 1917, Chung’s father, his leg severed in a car crash, was refused admittance by a local hospital on account of his being Chinese. He died from the blood loss, unable to acquire medical assistance.\u003c/p>\n\u003cp>Looking back in 1939 about her time at Santa Fe Railroad, Chung told the \u003cem>Los Angeles Times\u003c/em>: “I think that the [male patients] were so anxious to see what made the wheels go ’round in a woman doctor, much less a Chinese one, that they didn’t feel anything but curiosity for the first few days.”\u003c/p>\n\u003cp>[dropcap]C[/dropcap]hung’s move to San Francisco came in 1921. She was invited to accompany two of her Hollywood patients there on vacation, and found herself immediately smitten with the city. She also saw great opportunity. “There were no Chinese doctors practicing American medicine and surgery in Chinatown,” she noted later, “and I thought I saw a great future here.” She opened her office on Sacramento Street, a short walk from where her mother grew up in the Presbyterian Mission House.\u003c/p>\n\u003cp>Chung struggled to get her office off the ground until fate stepped in. After saving the life of a local businesswoman, Chung found herself overrun with new patients—mostly Chinese women for whom the businesswoman had translated at prior doctor’s appointments. Chung also benefited from the fact that many of these women had been uncomfortable getting physically examined by a male doctor. Soon, because of her office’s proximity to the Hall of Justice, she also had a large clientele of white male police officers.\u003c/p>\n\u003cp>[aside postid='arts_13884082']Once Chung’s practice was successful, she began the business of transforming healthcare in Chinatown. She volunteered at a local school, teaching and giving free wellness checks to the 178 children there. Then, in 1925, she co-founded the Chinese Hospital and helmed the Gynecology, Obstetrics and Pediatrics unit there. She also participated in women’s organizations, including the San Francisco Medical Women’s Club and the San Francisco Women’s City Club.\u003c/p>\n\u003cp>As Chung became a well-known local figure, scandalous rumors spread about her sexuality and loose morals—she was known to date both women and men, and many of them were white. While this prompted some of her more old-fashioned patients to abandon her care, her reputation attracted lesbian couples who could not be open about their relationship status at other medical offices. In addition, her reputation as a thoroughly modern woman—she drank in speakeasys and was often seen zipping around the city in smart suits and flashy sports cars—also attracted women seeking birth control, sterilizations and abortions. While Chung did not perform the latter, she offered referrals to trustworthy doctors who did.\u003c/p>\n\u003cp>“Around Dr. Margaret Chung has clustered the glamour and romance of both east and west,” an issue of \u003cem>The Californian\u003c/em> noted in 1934. “Still well under middle age, this quiet voiced, attractive woman has achieved national fame as a physician and surgeon.” The article also noted that “every inch of wall space” in her consultation room was covered by signed photos of her most famous patients. They included Greta Garbo, Clark Gable and Joan Crawford.\u003c/p>\n\u003cp>[dropcap]I[/dropcap]t was a chance encounter, however, that would most raise Chung’s public profile. In 1931, after Japan invaded Northeast China and bombed Shanghai, a member of the U.S. Navy Reserves, Steven G. Bancroft, approached Chung to see if she knew a way for him to join the Chinese military. She didn’t. But, taking a shine to Bancroft, she invited him and six friends—all pilots—over for dinner. Chung hit it off to such a degree with the men that they were soon all eating, camping and hunting together on a regular basis.\u003c/p>\n\u003cp>One night, joking with Chung, one of the pilots said, “You’re as understanding as a mother … but hell, you’re an old maid and you haven’t got a father for us.”\u003c/p>\n\u003cp>Chung replied, “Well, that makes you a lot of fair-haired bastards, doesn’t it?” It was a moniker that stuck. And as word spread about “Mom Chung” and the “Fair-Haired Bastards,” the group became a sort of social club that many other military men quickly joined.\u003c/p>\n\u003cp>By 1937, Chung had over 500 “sons” serving in the RAF, Army, Navy and Marines. By the end of World War II, there were over 1,500—those of which who served on the sea, she nicknamed “Golden Dolphins.” She lived vicariously through the servicemen, and provided maternal love and support in return, often feeding and housing them before and after missions. She also gave each of them a small jade Buddha pendant, as a means to recognize one another while serving overseas. During the war, she sent care packages and daily letters to raise their spirits. Each Sunday, she held a huge dinner party for her “sons,” their guests, and a variety of celebrities, including John Wayne and Tennessee Williams. Up to 100 people attended each week and, at Thanksgiving, that number increased to 175.\u003c/p>\n\u003cfigure id=\"attachment_13901618\" class=\"wp-caption aligncenter\" style=\"max-width: 371px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/unnamed.jpg\" alt=\"A 1943 comic book, 'Real Heroes', featured a story about "Mom Chung and her 509 Fair-Haired Foster Sons."\" width=\"371\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/unnamed.jpg 371w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/unnamed-160x221.jpg 160w\" sizes=\"auto, (max-width: 371px) 100vw, 371px\">\u003cfigcaption class=\"wp-caption-text\">A 1943 comic book, ‘Real Heroes,’ featured a story about “Mom Chung and her 509 Fair-Haired Foster Sons.” \u003ccite>(Parents' Magazine Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chung’s figurative adoptions of so many servicemen attracted a lot of positive press attention, even spawning a story in the \u003cem>Real Heroes\u003c/em> comic book series in 1943. All of which raised her profile enough to make huge strides in her charitable campaigns. She co-founded Rice Bowl Parties—fundraising festivals held in seven hundred cities, including San Francisco. These parties went on to raise $235,000—the equivalent of $3.5 million today—to send aid to China. During the war, she also helped create the Women’s Naval Reserve, co-founded the San Francisco downtown Disaster Station, volunteered on its medical staff, and was an active member the Red Cross. In 1942, one newspaper, the \u003cem>Gustine Standard\u003c/em>, called her “San Francisco’s Number One United States citizen.”\u003c/p>\n\u003cp>[aside postid='arts_13893514']At the end of the war, Chung became the first American woman to receive the People’s Award of China. She also received a citation, signed by President Truman, from the Red Cross for “meritorious personal service performed in behalf of the nation.” She continued to look after her “sons” as they adjusted back to civilian life and even personally secured jobs for 20 of them. Her door remained open to them all until her death in 1959, aged 69, from ovarian cancer. Mayor George Christopher was one of her pallbearers.\u003c/p>\n\u003cp>After her death, one of her “Fair-Haired Bastards” paid tribute to her in his diary. “God bless and rest her very beautiful soul,” Vice Admiral Charles Lockwood wrote. “There will never be another Mom Chung.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>argaret Chung spent her entire life defying stereotypes. She defied them when she became the first American-born Chinese woman to become a doctor. She defied them when she opened the first Western clinic in San Francisco’s Chinatown. And she subverted them in her personal life—whether she was donning masculine clothes, or taking care of countless “military sons.” Chung knew exactly what she was doing—she often made fun of stereotypes with her particular brand of humor. Stereotype-bucking was a lifelong pursuit for Chung—and it also made her enormously popular.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Margaret Jessie Chung was born in Santa Barbara in 1889, the oldest of 11 children. Her mother, Ah Yane, had been trafficked from China to San Francisco at the age of five and rescued by the \u003ca href=\"https://www.kqed.org/arts/13880286/the-child-slave-who-helped-rescue-thousands-of-women-in-chinatown\" target=\"_blank\" rel=\"noopener noreferrer\">Presbyterian Mission House in Chinatown\u003c/a> six years later. Chung’s father, Chung Wong, was a merchant who suffered repeated business failures. Her childhood was spent bouncing around Southern California towns, as her family tried—and failed—to claw their way out of poverty.\u003c/p>\n\u003cp>At 12, Chung starting working herself, slogging her way through long, grueling shifts at a restaurant, after school. Her strong work ethic was evident from the beginning, but being grossly underpaid imbued her with a fiery ambition. Chung even battled her way into a private, prestigious high school by winning a competition to sell the most \u003cem>Los Angeles Times\u003c/em> subscriptions. (The paper then paid her school fees.)\u003c/p>\n\u003cp>After that, Chung went on to attend medical school at USC. One of only two women in her class during most of her time there, she told the\u003cem> Los Angeles Evening Post Record\u003c/em> in 1914, “As the only Chinese girl in the USC Medical School, I am compelled to be different.” And while that was the period she first began wearing men’s suits—sometimes even referring to herself as “Mike”—she was also responsible for founding the first medical sorority at the university. (There were four fraternities when she arrived, but nothing for the female med students.)\u003c/p>\n\u003cfigure id=\"attachment_13901609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/20210820_154226-800x597.jpg\" alt=\"\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-1536x1147.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-2048x1529.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-1920x1434.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margaret Chung (front row, center) with her USC classmates, sophomore year, 1915. \u003ccite>(University of Southern California, on behalf of the USC University Archives.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout her schooling, Chung’s ultimate goal had been to become a Presbyterian missionary. She admired the women who’d rescued her mother from a life of servitude, but wanted to incorporate her medical training into the job to be of even greater service. But after graduation, at the age of 26, Chung’s plans were foiled by racist policy. Her three applications to become a medical missionary were turned down purely because she was of Chinese descent. Between 1875 and 1920, all Presbyterian missionaries were white. Chung was so devastated that she abandoned the church altogether.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To make matters more frustrating, Chung also struggled to get a hospital internship because of her gender, so she initially went to work as a surgical nurse in Chicago. It was there that she found the Mary Thompson Hospital—an institution specializing in the care of female patients by female doctors. After three years interning there, she moved onto Los Angeles’ Santa Fe Railroad hospital in 1916, where she became an accomplished surgeon. Chung was so popular there, one of her colleagues once suggested that “some of the men were deliberately getting hurt so that Dr. Chung could take care of them.”\u003c/p>\n\u003cp>This was particularly remarkable given that in 1917, Chung’s father, his leg severed in a car crash, was refused admittance by a local hospital on account of his being Chinese. He died from the blood loss, unable to acquire medical assistance.\u003c/p>\n\u003cp>Looking back in 1939 about her time at Santa Fe Railroad, Chung told the \u003cem>Los Angeles Times\u003c/em>: “I think that the [male patients] were so anxious to see what made the wheels go ’round in a woman doctor, much less a Chinese one, that they didn’t feel anything but curiosity for the first few days.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">C\u003c/span>\u003c/p>\u003cp>hung’s move to San Francisco came in 1921. She was invited to accompany two of her Hollywood patients there on vacation, and found herself immediately smitten with the city. She also saw great opportunity. “There were no Chinese doctors practicing American medicine and surgery in Chinatown,” she noted later, “and I thought I saw a great future here.” She opened her office on Sacramento Street, a short walk from where her mother grew up in the Presbyterian Mission House.\u003c/p>\n\u003cp>Chung struggled to get her office off the ground until fate stepped in. After saving the life of a local businesswoman, Chung found herself overrun with new patients—mostly Chinese women for whom the businesswoman had translated at prior doctor’s appointments. Chung also benefited from the fact that many of these women had been uncomfortable getting physically examined by a male doctor. Soon, because of her office’s proximity to the Hall of Justice, she also had a large clientele of white male police officers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Once Chung’s practice was successful, she began the business of transforming healthcare in Chinatown. She volunteered at a local school, teaching and giving free wellness checks to the 178 children there. Then, in 1925, she co-founded the Chinese Hospital and helmed the Gynecology, Obstetrics and Pediatrics unit there. She also participated in women’s organizations, including the San Francisco Medical Women’s Club and the San Francisco Women’s City Club.\u003c/p>\n\u003cp>As Chung became a well-known local figure, scandalous rumors spread about her sexuality and loose morals—she was known to date both women and men, and many of them were white. While this prompted some of her more old-fashioned patients to abandon her care, her reputation attracted lesbian couples who could not be open about their relationship status at other medical offices. In addition, her reputation as a thoroughly modern woman—she drank in speakeasys and was often seen zipping around the city in smart suits and flashy sports cars—also attracted women seeking birth control, sterilizations and abortions. While Chung did not perform the latter, she offered referrals to trustworthy doctors who did.\u003c/p>\n\u003cp>“Around Dr. Margaret Chung has clustered the glamour and romance of both east and west,” an issue of \u003cem>The Californian\u003c/em> noted in 1934. “Still well under middle age, this quiet voiced, attractive woman has achieved national fame as a physician and surgeon.” The article also noted that “every inch of wall space” in her consultation room was covered by signed photos of her most famous patients. They included Greta Garbo, Clark Gable and Joan Crawford.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>t was a chance encounter, however, that would most raise Chung’s public profile. In 1931, after Japan invaded Northeast China and bombed Shanghai, a member of the U.S. Navy Reserves, Steven G. Bancroft, approached Chung to see if she knew a way for him to join the Chinese military. She didn’t. But, taking a shine to Bancroft, she invited him and six friends—all pilots—over for dinner. Chung hit it off to such a degree with the men that they were soon all eating, camping and hunting together on a regular basis.\u003c/p>\n\u003cp>One night, joking with Chung, one of the pilots said, “You’re as understanding as a mother … but hell, you’re an old maid and you haven’t got a father for us.”\u003c/p>\n\u003cp>Chung replied, “Well, that makes you a lot of fair-haired bastards, doesn’t it?” It was a moniker that stuck. And as word spread about “Mom Chung” and the “Fair-Haired Bastards,” the group became a sort of social club that many other military men quickly joined.\u003c/p>\n\u003cp>By 1937, Chung had over 500 “sons” serving in the RAF, Army, Navy and Marines. By the end of World War II, there were over 1,500—those of which who served on the sea, she nicknamed “Golden Dolphins.” She lived vicariously through the servicemen, and provided maternal love and support in return, often feeding and housing them before and after missions. She also gave each of them a small jade Buddha pendant, as a means to recognize one another while serving overseas. During the war, she sent care packages and daily letters to raise their spirits. Each Sunday, she held a huge dinner party for her “sons,” their guests, and a variety of celebrities, including John Wayne and Tennessee Williams. Up to 100 people attended each week and, at Thanksgiving, that number increased to 175.\u003c/p>\n\u003cfigure id=\"attachment_13901618\" class=\"wp-caption aligncenter\" style=\"max-width: 371px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/unnamed.jpg\" alt=\"A 1943 comic book, 'Real Heroes', featured a story about "Mom Chung and her 509 Fair-Haired Foster Sons."\" width=\"371\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/unnamed.jpg 371w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/unnamed-160x221.jpg 160w\" sizes=\"auto, (max-width: 371px) 100vw, 371px\">\u003cfigcaption class=\"wp-caption-text\">A 1943 comic book, ‘Real Heroes,’ featured a story about “Mom Chung and her 509 Fair-Haired Foster Sons.” \u003ccite>(Parents' Magazine Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chung’s figurative adoptions of so many servicemen attracted a lot of positive press attention, even spawning a story in the \u003cem>Real Heroes\u003c/em> comic book series in 1943. All of which raised her profile enough to make huge strides in her charitable campaigns. She co-founded Rice Bowl Parties—fundraising festivals held in seven hundred cities, including San Francisco. These parties went on to raise $235,000—the equivalent of $3.5 million today—to send aid to China. During the war, she also helped create the Women’s Naval Reserve, co-founded the San Francisco downtown Disaster Station, volunteered on its medical staff, and was an active member the Red Cross. In 1942, one newspaper, the \u003cem>Gustine Standard\u003c/em>, called her “San Francisco’s Number One United States citizen.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the end of the war, Chung became the first American woman to receive the People’s Award of China. She also received a citation, signed by President Truman, from the Red Cross for “meritorious personal service performed in behalf of the nation.” She continued to look after her “sons” as they adjusted back to civilian life and even personally secured jobs for 20 of them. Her door remained open to them all until her death in 1959, aged 69, from ovarian cancer. Mayor George Christopher was one of her pallbearers.\u003c/p>\n\u003cp>After her death, one of her “Fair-Haired Bastards” paid tribute to her in his diary. “God bless and rest her very beautiful soul,” Vice Admiral Charles Lockwood wrote. “There will never be another Mom Chung.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "3-exceptionally-weird-bay-area-festivals-we-should-bring-back",
"title": "3 Exceptionally Weird Bay Area Festivals We Should Bring Back",
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"content": "\u003cp>As we all know, the Bay Area is one of those very special little corners of Earth where surreal niches don’t just survive—they often thrive. Just ask the \u003ca href=\"https://www.thesisters.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sisters of Perpetual Indulgence\u003c/a>. Or the \u003ca href=\"https://thebolditalic.com/hanging-out-with-sf-s-naked-guys-the-bold-italic-san-francisco-10c2dd8c1f08\" target=\"_blank\" rel=\"noopener noreferrer\">Naked Guys\u003c/a>. Or even \u003ca href=\"https://en.wikipedia.org/wiki/Frank_Chu\" target=\"_blank\" rel=\"noopener noreferrer\">Frank Chu\u003c/a>, the 12 Galaxies protest dude. Our inherent love of the unusual is why we have a \u003ca href=\"https://en.wikipedia.org/wiki/Folsom_Street_Fair\" target=\"_blank\" rel=\"noopener noreferrer\">BDSM festival\u003c/a>. And it’s \u003cem>definitely\u003c/em> why we have a \u003ca href=\"https://en.wikipedia.org/wiki/Up_Your_Alley_Fair\" target=\"_blank\" rel=\"noopener noreferrer\">second BDSM festival\u003c/a> for people who think the first BDSM festival is too mainstream.\u003c/p>\n\u003cp>In truth though, we could be doing more, because—for reasons I cannot fathom—some of the strangest festivals in Bay Area history are no longer with us.\u003c/p>\n\u003cp>Without further ado, I present three festivals that we almost certainly should bring back. One of the strangest things about all of them is that they ever fell out of favor here in the first place…\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Annual Humming Toadfish Festival, Sausalito\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13901207\" class=\"wp-caption aligncenter\" style=\"max-width: 780px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901207\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-12-at-3.10.48-PM.png\" alt=\"Local cartoonist Phil Frank designed this promo poster for Sausalito's Annual Humming Toadfish Festival, in 1988.\" width=\"780\" height=\"972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-12-at-3.10.48-PM.png 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-12-at-3.10.48-PM-160x199.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-12-at-3.10.48-PM-768x957.png 768w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003cfigcaption class=\"wp-caption-text\">Local cartoonist Phil Frank (of ‘Farley’ fame) designed this promo poster for Sausalito’s Annual Humming Toadfish Festival, in 1988. \u003ccite>(Courtesy of Sausalito Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the summer of 1981, houseboat residents in Sausalito began hearing a strange hum coming from the water. It came only at night, it prompted residents to check their electrical boxes for faulty wires, and it was compared by one witness to the sound of a distant air raid. “The humming is so strong,” South Dakota’s \u003cem>Argus-Leader\u003c/em> once reported, “it is able to penetrate even the steel-reinforced concrete hulls of some houseboats.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Speculation was rife about the source of the disturbing audio vibrations. Locals pointed fingers at Russian submarines, CIA surveillance, a secret sewage plant, unknown mechanical devices, and—of course—aliens. For a while, many people’s best guess was that it was just another example of “\u003ca href=\"https://en.wikipedia.org/wiki/The_Hum\" target=\"_blank\" rel=\"noopener noreferrer\">The Hum\u003c/a>“—a throbbing noise of unknown origin heard in remote locations around the world.\u003c/p>\n\u003cp>Then, in 1985, after years of disturbances, the then-director of Golden Gate Park’s Steinhart Aquarium, John McCosker, finally figured out the source of the nocturnal humming. It was the plainfish midshipman—a.k.a. porichthys notatus\u003cem>—\u003c/em>a.k.a. the humming toadfish. The noise came specifically from amorous male toadfish trying to attract mates. “It may be the mating call of the toadfish,” an unimpressed Yellow Ferry Harbor resident \u003ca href=\"http://www.sausalitohistoricalsociety.com/2019-columns/2019/3/27/the-humming-toadfish-festival\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>United Press International\u003c/em>\u003c/a>, “but it plays havoc with the sex lives of people living here.’”\u003c/p>\n\u003cp>[aside postid='arts_13886018']Regardless, for Sausalito residents who’d spent years puzzling over the mystery, McCosker’s answer came as such a welcome relief that they decided to honor all that aquatic \u003cem>amor\u003c/em> with a festival at the Sausalito Bay Model. Attractions at the preposterous Annual Humming Toadfish festival included: attendees dressed as fish, sea monsters and fauna; a parade of hundreds of kazoo players mimicking the underwater hum; audio recordings of toadfish calls; and a “living, hands-on” display of the animals by McCosker. According to the \u003cem>Petaluma Argus-Courier\u003c/em>, the 1988 edition also included a marching band, Presbyterian church choirs, food stands, and beer from 20 California microbreweries. Plus? Each year a special attendee was crowned King of the Humming Toadfish.\u003c/p>\n\u003cp>Sadly, I can find no existing footage of any of this nonsense.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Oakland’s Wild Duck Festival, Lake Merritt\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13900999\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900999\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-10-at-12.36.56-PM-800x628.png\" alt=\"Girls dance, while ducks fly overhead at Lake Merritt's Annual Duck Festival, New Year's Day 1923.\" width=\"800\" height=\"628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-10-at-12.36.56-PM-800x628.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-10-at-12.36.56-PM-1020x801.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-10-at-12.36.56-PM-160x126.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-10-at-12.36.56-PM-768x603.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-10-at-12.36.56-PM-1536x1206.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-10-at-12.36.56-PM.png 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An outtake from ‘The Wicker Man.’ Just kidding. It’s a scene from 1923’s Annual Duck Festival, held on New Year’s Day at Lake Merritt. \u003ccite>(Courtesy of the California Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The photo, taken on the shores of Lake Merritt on New Year’s Day 1923, looks positively pagan. A circle of girls, dressed in white tights, bonnets and frilly dresses, dancing while clutching an extra long feather boa. Behind them in the lake and flying over their heads is the reason for their strange dance: scores of ducks. This was the Annual Wild Duck Festival in Oakland and—just look at that photo, man—it was pretty eccentric.\u003c/p>\n\u003cp>[aside postid='arts_13879301']Given under the direction of the Oakland Playground Department, and funded by the Oakland City Council ($460 was provided for it in 1921), the duck festival was first held in 1920. That year also marked the \u003ca href=\"https://localwiki.org/oakland/Lake_Merritt_Wild_Duck_Refuge\" target=\"_blank\" rel=\"noopener noreferrer\">50th anniversary\u003c/a> of Lake Merritt’s wild duck refuge—a sanctuary first conceived by Dr. Samuel Merritt. Merritt wanted to protect both the birds and surrounding residents from hunters’ gunfire, as well as from dogs and cats, which were subsequently banned. By 1915, organized feeding of the ducks—with corn, wheat and crumbled loaves of bread—had also begun.\u003c/p>\n\u003cp>In 1921, an estimated 15,000 people came to greet the wild ducks on New Year’s Day. The following year, the neighborhood celebration was described by newspapers around the country as “A pageant of decorated boats on the lake, and a parade of decorated automobiles on the drives surrounding the bird sanctuary.” As the above photo illustrates, “hundreds of children from the Oakland public schools, all in costume, danced folk and outdoor dances on the lawn bordering the lake.”\u003c/p>\n\u003cp>Kansas newspaper the \u003cem>Phillipsburg News\u003c/em> even compared the Wild Duck Festival to “what the Tournament of Roses is to Pasadena, or Shrove Tuesday is in New Orleans.” The paper reported that “the entire city took a holiday” to go to the park. There are worse ways to get rid of a New Year’s Day hangover, I guess.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Banana Slug Festival, Guerneville\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13901248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901248\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-12-at-11.33.16-PM-800x1260.png\" alt=\"A banana slug race in action, as seen in the 'Press Democrat' on Oct. 15, 1987.\" width=\"800\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-12-at-11.33.16-PM-800x1260.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-12-at-11.33.16-PM-160x252.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-12-at-11.33.16-PM-768x1209.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-12-at-11.33.16-PM.png 926w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A banana slug race in action, as seen in the ‘Press Democrat’ on Oct. 15, 1987. \u003ccite>('The Press Democrat')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This outlandish celebration of Northern California banana slugs was born from the fact that—as one Monte Rio resident told the \u003cem>Los Angeles Times\u003c/em> in 1987—”Other small towns had something to celebrate, but nothing will grow under our redwoods … except the banana slug.”\u003c/p>\n\u003cp>Cue a festival that became infamous in the late ’80s for combining slug races for kids at one end, and slug tastings for grossed out grown-ups at the other. Inspired by the knowledge that Yurok indigenous people once ate the slimy yellow friends (fried, apparently), competitors in the festival’s cooking competition tried endlessly to make the dead slugs more palatable. Dishes offered up over the years included slug Wellington, slug enchiladas, slug sushi and slug focaccia bread.\u003c/p>\n\u003cp>[aside postid='arts_13892672']In some years, the festival also held a competition to find a “Super Slug”—though all the winning slug had to do was weigh more than of all the other slugs in the category. According to Tacoma, Washington’s \u003cem>News Tribune\u003c/em> newspaper, after the 1990 winner was announced, the slug was “dressed in a velveteen cape, presented on a purple pillow, and carried to theme music from \u003cem>Rocky\u003c/em>.”\u003c/p>\n\u003cp>Slugfest became so infamous that, in 1989, the \u003cem>New York Times\u003c/em> printed an extensive report about it. That year, the festival was picketed by protesters who were alarmed at all the slug consumption. The newspaper of record reported:\u003c/p>\n\u003cblockquote>\u003cp>Bearing placards that read ‘Animals Suffering For Petty Human Amusement,’ the protesters took particular offense at an advertisement in a local weekly newspaper that explained how to prepare a slug for cooking. The instructions included … feeding the slug corn meal for a week to purge it of whatever else it’s been eating and soaking it in vinegar to remove the mucous that coats its body. But what really infuriated the protesters was the assurance that live slugs thrown into boiling water ‘scream a lot less than lobsters.’\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The Times\u003c/em> went on:\u003c/p>\n\u003cblockquote>\u003cp>Some of the protesters abandoned their principles long enough to watch the slug races, which were won by Slimer, who is owned and trained by 12-year-old Nina King. … How, Nina was asked, had she trained Slimer for the big race? ‘I played with him after school a lot,’ she said. ‘And today I just yelled ‘C’mon, C’mon.’\u003c/p>\u003c/blockquote>\n\u003cp>The \u003cem>Times\u003c/em> also acknowledged an unfortunate incident one year when one of the culinary judges was inspired to go rogue. Mid-tasting, he crossed the room, snatched one of the racing slugs off a table and ate it alive. “It’s the only time I ever saw a man turn green,” one witness reported.\u003c/p>\n\u003cp>In short, the Slugfest was anarchy. And while costume competitions for the slugs would probably be significantly more fun than eating them, the Banana Slug Festival is definitely something we should bring back. In 2009, a \u003ca href=\"https://www.facebook.com/Banana-Slugs-77517356203/\" target=\"_blank\" rel=\"noopener noreferrer\">Banana Slugs Facebook\u003c/a> account wrestled with the same thought, and reached a similar conclusion.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“They eat the banana slugs, and that feels wrong,” the post said. “But at the same time, those slugs are being celebrated in a way, and their lives are contributing happiness to the people around them. What would Kant say?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we all know, the Bay Area is one of those very special little corners of Earth where surreal niches don’t just survive—they often thrive. Just ask the \u003ca href=\"https://www.thesisters.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sisters of Perpetual Indulgence\u003c/a>. Or the \u003ca href=\"https://thebolditalic.com/hanging-out-with-sf-s-naked-guys-the-bold-italic-san-francisco-10c2dd8c1f08\" target=\"_blank\" rel=\"noopener noreferrer\">Naked Guys\u003c/a>. Or even \u003ca href=\"https://en.wikipedia.org/wiki/Frank_Chu\" target=\"_blank\" rel=\"noopener noreferrer\">Frank Chu\u003c/a>, the 12 Galaxies protest dude. Our inherent love of the unusual is why we have a \u003ca href=\"https://en.wikipedia.org/wiki/Folsom_Street_Fair\" target=\"_blank\" rel=\"noopener noreferrer\">BDSM festival\u003c/a>. And it’s \u003cem>definitely\u003c/em> why we have a \u003ca href=\"https://en.wikipedia.org/wiki/Up_Your_Alley_Fair\" target=\"_blank\" rel=\"noopener noreferrer\">second BDSM festival\u003c/a> for people who think the first BDSM festival is too mainstream.\u003c/p>\n\u003cp>In truth though, we could be doing more, because—for reasons I cannot fathom—some of the strangest festivals in Bay Area history are no longer with us.\u003c/p>\n\u003cp>Without further ado, I present three festivals that we almost certainly should bring back. One of the strangest things about all of them is that they ever fell out of favor here in the first place…\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Annual Humming Toadfish Festival, Sausalito\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13901207\" class=\"wp-caption aligncenter\" style=\"max-width: 780px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901207\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-12-at-3.10.48-PM.png\" alt=\"Local cartoonist Phil Frank designed this promo poster for Sausalito's Annual Humming Toadfish Festival, in 1988.\" width=\"780\" height=\"972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-12-at-3.10.48-PM.png 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-12-at-3.10.48-PM-160x199.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-12-at-3.10.48-PM-768x957.png 768w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003cfigcaption class=\"wp-caption-text\">Local cartoonist Phil Frank (of ‘Farley’ fame) designed this promo poster for Sausalito’s Annual Humming Toadfish Festival, in 1988. \u003ccite>(Courtesy of Sausalito Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the summer of 1981, houseboat residents in Sausalito began hearing a strange hum coming from the water. It came only at night, it prompted residents to check their electrical boxes for faulty wires, and it was compared by one witness to the sound of a distant air raid. “The humming is so strong,” South Dakota’s \u003cem>Argus-Leader\u003c/em> once reported, “it is able to penetrate even the steel-reinforced concrete hulls of some houseboats.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Speculation was rife about the source of the disturbing audio vibrations. Locals pointed fingers at Russian submarines, CIA surveillance, a secret sewage plant, unknown mechanical devices, and—of course—aliens. For a while, many people’s best guess was that it was just another example of “\u003ca href=\"https://en.wikipedia.org/wiki/The_Hum\" target=\"_blank\" rel=\"noopener noreferrer\">The Hum\u003c/a>“—a throbbing noise of unknown origin heard in remote locations around the world.\u003c/p>\n\u003cp>Then, in 1985, after years of disturbances, the then-director of Golden Gate Park’s Steinhart Aquarium, John McCosker, finally figured out the source of the nocturnal humming. It was the plainfish midshipman—a.k.a. porichthys notatus\u003cem>—\u003c/em>a.k.a. the humming toadfish. The noise came specifically from amorous male toadfish trying to attract mates. “It may be the mating call of the toadfish,” an unimpressed Yellow Ferry Harbor resident \u003ca href=\"http://www.sausalitohistoricalsociety.com/2019-columns/2019/3/27/the-humming-toadfish-festival\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>United Press International\u003c/em>\u003c/a>, “but it plays havoc with the sex lives of people living here.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Regardless, for Sausalito residents who’d spent years puzzling over the mystery, McCosker’s answer came as such a welcome relief that they decided to honor all that aquatic \u003cem>amor\u003c/em> with a festival at the Sausalito Bay Model. Attractions at the preposterous Annual Humming Toadfish festival included: attendees dressed as fish, sea monsters and fauna; a parade of hundreds of kazoo players mimicking the underwater hum; audio recordings of toadfish calls; and a “living, hands-on” display of the animals by McCosker. According to the \u003cem>Petaluma Argus-Courier\u003c/em>, the 1988 edition also included a marching band, Presbyterian church choirs, food stands, and beer from 20 California microbreweries. Plus? Each year a special attendee was crowned King of the Humming Toadfish.\u003c/p>\n\u003cp>Sadly, I can find no existing footage of any of this nonsense.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Oakland’s Wild Duck Festival, Lake Merritt\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13900999\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900999\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-10-at-12.36.56-PM-800x628.png\" alt=\"Girls dance, while ducks fly overhead at Lake Merritt's Annual Duck Festival, New Year's Day 1923.\" width=\"800\" height=\"628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-10-at-12.36.56-PM-800x628.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-10-at-12.36.56-PM-1020x801.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-10-at-12.36.56-PM-160x126.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-10-at-12.36.56-PM-768x603.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-10-at-12.36.56-PM-1536x1206.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-10-at-12.36.56-PM.png 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An outtake from ‘The Wicker Man.’ Just kidding. It’s a scene from 1923’s Annual Duck Festival, held on New Year’s Day at Lake Merritt. \u003ccite>(Courtesy of the California Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The photo, taken on the shores of Lake Merritt on New Year’s Day 1923, looks positively pagan. A circle of girls, dressed in white tights, bonnets and frilly dresses, dancing while clutching an extra long feather boa. Behind them in the lake and flying over their heads is the reason for their strange dance: scores of ducks. This was the Annual Wild Duck Festival in Oakland and—just look at that photo, man—it was pretty eccentric.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Given under the direction of the Oakland Playground Department, and funded by the Oakland City Council ($460 was provided for it in 1921), the duck festival was first held in 1920. That year also marked the \u003ca href=\"https://localwiki.org/oakland/Lake_Merritt_Wild_Duck_Refuge\" target=\"_blank\" rel=\"noopener noreferrer\">50th anniversary\u003c/a> of Lake Merritt’s wild duck refuge—a sanctuary first conceived by Dr. Samuel Merritt. Merritt wanted to protect both the birds and surrounding residents from hunters’ gunfire, as well as from dogs and cats, which were subsequently banned. By 1915, organized feeding of the ducks—with corn, wheat and crumbled loaves of bread—had also begun.\u003c/p>\n\u003cp>In 1921, an estimated 15,000 people came to greet the wild ducks on New Year’s Day. The following year, the neighborhood celebration was described by newspapers around the country as “A pageant of decorated boats on the lake, and a parade of decorated automobiles on the drives surrounding the bird sanctuary.” As the above photo illustrates, “hundreds of children from the Oakland public schools, all in costume, danced folk and outdoor dances on the lawn bordering the lake.”\u003c/p>\n\u003cp>Kansas newspaper the \u003cem>Phillipsburg News\u003c/em> even compared the Wild Duck Festival to “what the Tournament of Roses is to Pasadena, or Shrove Tuesday is in New Orleans.” The paper reported that “the entire city took a holiday” to go to the park. There are worse ways to get rid of a New Year’s Day hangover, I guess.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Banana Slug Festival, Guerneville\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13901248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901248\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-12-at-11.33.16-PM-800x1260.png\" alt=\"A banana slug race in action, as seen in the 'Press Democrat' on Oct. 15, 1987.\" width=\"800\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-12-at-11.33.16-PM-800x1260.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-12-at-11.33.16-PM-160x252.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-12-at-11.33.16-PM-768x1209.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-12-at-11.33.16-PM.png 926w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A banana slug race in action, as seen in the ‘Press Democrat’ on Oct. 15, 1987. \u003ccite>('The Press Democrat')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This outlandish celebration of Northern California banana slugs was born from the fact that—as one Monte Rio resident told the \u003cem>Los Angeles Times\u003c/em> in 1987—”Other small towns had something to celebrate, but nothing will grow under our redwoods … except the banana slug.”\u003c/p>\n\u003cp>Cue a festival that became infamous in the late ’80s for combining slug races for kids at one end, and slug tastings for grossed out grown-ups at the other. Inspired by the knowledge that Yurok indigenous people once ate the slimy yellow friends (fried, apparently), competitors in the festival’s cooking competition tried endlessly to make the dead slugs more palatable. Dishes offered up over the years included slug Wellington, slug enchiladas, slug sushi and slug focaccia bread.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In some years, the festival also held a competition to find a “Super Slug”—though all the winning slug had to do was weigh more than of all the other slugs in the category. According to Tacoma, Washington’s \u003cem>News Tribune\u003c/em> newspaper, after the 1990 winner was announced, the slug was “dressed in a velveteen cape, presented on a purple pillow, and carried to theme music from \u003cem>Rocky\u003c/em>.”\u003c/p>\n\u003cp>Slugfest became so infamous that, in 1989, the \u003cem>New York Times\u003c/em> printed an extensive report about it. That year, the festival was picketed by protesters who were alarmed at all the slug consumption. The newspaper of record reported:\u003c/p>\n\u003cblockquote>\u003cp>Bearing placards that read ‘Animals Suffering For Petty Human Amusement,’ the protesters took particular offense at an advertisement in a local weekly newspaper that explained how to prepare a slug for cooking. The instructions included … feeding the slug corn meal for a week to purge it of whatever else it’s been eating and soaking it in vinegar to remove the mucous that coats its body. But what really infuriated the protesters was the assurance that live slugs thrown into boiling water ‘scream a lot less than lobsters.’\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The Times\u003c/em> went on:\u003c/p>\n\u003cblockquote>\u003cp>Some of the protesters abandoned their principles long enough to watch the slug races, which were won by Slimer, who is owned and trained by 12-year-old Nina King. … How, Nina was asked, had she trained Slimer for the big race? ‘I played with him after school a lot,’ she said. ‘And today I just yelled ‘C’mon, C’mon.’\u003c/p>\u003c/blockquote>\n\u003cp>The \u003cem>Times\u003c/em> also acknowledged an unfortunate incident one year when one of the culinary judges was inspired to go rogue. Mid-tasting, he crossed the room, snatched one of the racing slugs off a table and ate it alive. “It’s the only time I ever saw a man turn green,” one witness reported.\u003c/p>\n\u003cp>In short, the Slugfest was anarchy. And while costume competitions for the slugs would probably be significantly more fun than eating them, the Banana Slug Festival is definitely something we should bring back. In 2009, a \u003ca href=\"https://www.facebook.com/Banana-Slugs-77517356203/\" target=\"_blank\" rel=\"noopener noreferrer\">Banana Slugs Facebook\u003c/a> account wrestled with the same thought, and reached a similar conclusion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They eat the banana slugs, and that feels wrong,” the post said. “But at the same time, those slugs are being celebrated in a way, and their lives are contributing happiness to the people around them. What would Kant say?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Don't Forget the Timeless Soundtrack to Los Angeles' 1984 Summer Games",
"headTitle": "Don’t Forget the Timeless Soundtrack to Los Angeles’ 1984 Summer Games | KQED",
"content": "\u003cp>\u003cem>Chariots of Fire\u003c/em>, the drama depicting two British Olympian runners, was released in 1981—40 years ago this spring—and left us with an enduring cultural treasure: its musical \u003ca href=\"https://urldefense.com/v3/__https://www.youtube.com/watch?v=8a-HfNE3EIo__;!!Iwwt!CzTQJ0XYowDzIsT6mo3jVOxG37P1wMdKYkOXJZjLdRUuCqd_ysT1H-J16RiUUw%24\" target=\"_blank\" rel=\"noopener noreferrer\">theme\u003c/a>. The pulsing, instrumental anthem summoned the will to accomplish our dreams and served as the soundtrack for the world’s fake-slow-motion running activities for a generation.\u003c/p>\n\u003cp>The 1980s also gave the world \u003cem>another\u003c/em> musical gift of Olympic proportions—this time for the real-life Summer games: \u003cem>The Official Music of the XXIIIrd Olympiad Los Angeles 1984. \u003c/em>The lesser-known \u003ca href=\"https://www.discogs.com/Various-The-Official-Music-Of-The-XXIIIrd-Olympiad-Los-Angeles-1984/release/544704\" target=\"_blank\" rel=\"noopener noreferrer\">album\u003c/a> served, and serves, not only as an historical souvenir but as the definitive collection of athletic event and ceremony themes crafted for the occasion—including the debut of John William’s beloved and perennial composition, “\u003ca href=\"https://urldefense.com/v3/__https://www.youtube.com/watch?v=YWdOFgDQIn0__;!!Iwwt!CzTQJ0XYowDzIsT6mo3jVOxG37P1wMdKYkOXJZjLdRUuCqd_ysT1H-LOdu8hBw%24\" target=\"_blank\" rel=\"noopener noreferrer\">Olympic Fanfare and Theme\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YWdOFgDQIn0\u003c/p>\n\u003cp>Lost to the vagaries of time and digitization and only available through piecemealed tracks and YouTube links, \u003cem>The Official Music\u003c/em> was an ambitious undertaking, led by Hollywood all-star producers Peter Guber and Jon Peters, who played off the glossy, neon-clad excess that the world of 1980s entertainment had in piles.\u003c/p>\n\u003cp>The top of the album leads off with the traditional “Bugler’s Dream (From Charge Suite)” by Arnaud, followed by a moody synthesizer swell. Then, a male vocalist gets on the mic: “You know you paid the price / you made every sacrifice” and bam, “Nothing’s Gonna Stop You Now (Team Sports Theme).”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rDYh1b9fiZ0\u003c/p>\n\u003cp>The artist lineup was a who’s-who of ’80s musical legends and also Loverboy, each in turn contributing to a string of montage-worthy anthems: Toto’s “\u003ca href=\"https://www.youtube.com/watch?v=_BycQ-s4nZA\" target=\"_blank\" rel=\"noopener noreferrer\">Moodido (The Match) (Boxing Theme)\u003c/a>,” Foreigner’s marathon theme “\u003ca href=\"https://urldefense.com/v3/__https://www.youtube.com/watch?v=sjIakKdfBas__;!!Iwwt!CzTQJ0XYowDzIsT6mo3jVOxG37P1wMdKYkOXJZjLdRUuCqd_ysT1H-LRtv9P_g%24\" target=\"_blank\" rel=\"noopener noreferrer\">Street Thunder (Marathon Theme)\u003c/a>,” Bill Conti’s “\u003ca href=\"https://www.youtube.com/watch?v=DT-RlgbBj4Q\" target=\"_blank\" rel=\"noopener noreferrer\">Power (Power Sports Theme)\u003c/a>” and montage hall-of-famer Giorgio Moroder’s “Reach Out (Track Theme).” What would equate, in 2021 terms? Mike Dean’s skateboarding theme? Lizzo on a flute solo in the middle of the artistic swimming theme?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vmlZGBikjgU\u003c/p>\n\u003cp>\u003cem>Music of the XXIIIrd Olympiad \u003c/em>wasn’t just wall-to-wall rock numbers—there are some notable genre-hopping curiosities, too. Keyboardist and composer Bob James scored extra points for the sampling of basketball dribbles on the bouncing “\u003ca href=\"https://www.youtube.com/watch?v=vpwX33_6BHo\" target=\"_blank\" rel=\"noopener noreferrer\">Courtship (Basketball Theme)\u003c/a>“; Herbie Hancock mixes international instruments and rhythms into a post-“Rockit” composition of pure synthesizer bliss for “Junku (Field Theme)”; Christopher Cross and Burt Bacharach teamed up to write “\u003ca href=\"https://www.youtube.com/watch?v=NlQtWljHBz0\" target=\"_blank\" rel=\"noopener noreferrer\">A Chance For Heaven (Swimming Theme)\u003c/a>,” which rocks as soft as water and, oddly, is mostly concerned with the climbing of mountains in its lyrics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DgwuFQSCORY\u003c/p>\n\u003cp>But it wouldn’t be an ’80s production without a contribution from Quincy Jones, whose digitally orchestral “Grace (Gymnastics Theme)” evokes the athletes’ nimble, sweeping movements. (The track also appeared as the B-Side to 1985’s “We Are The World,” in case the Summer Olympics wasn’t a global enough event for Quincy.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Q9JZY0Db8zQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The concept of unity was strong throughout, both musically and within the liner notes from the artists printed on the verso of the record sleeve. “I can think of no event to compare with the Olympic Games which makes us so conscious of our shared humanity, our common fate” wrote Philip Glass, who composed “\u003ca href=\"https://urldefense.com/v3/__https://www.youtube.com/watch?v=PMWkTGdvY1k__;!!Iwwt!CzTQJ0XYowDzIsT6mo3jVOxG37P1wMdKYkOXJZjLdRUuCqd_ysT1H-J8NQ-s5A%24\" target=\"_blank\" rel=\"noopener noreferrer\">The Olympian—Lighting Of The Torch\u003c/a>,” the closing track of the album. And he’s right. The Olympics offer an opportunity for the world to come together in competition and celebration—but there’s one thing I hope we can all be united on: This album slaps.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 WBGO. To see more, visit \u003ca href=\"http://www.wbgo.org\">WBGO\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Don%27t+Forget+The+Timeless+Soundtrack+To+Los+Angeles%27+1984+Summer+Games&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Chariots of Fire\u003c/em>, the drama depicting two British Olympian runners, was released in 1981—40 years ago this spring—and left us with an enduring cultural treasure: its musical \u003ca href=\"https://urldefense.com/v3/__https://www.youtube.com/watch?v=8a-HfNE3EIo__;!!Iwwt!CzTQJ0XYowDzIsT6mo3jVOxG37P1wMdKYkOXJZjLdRUuCqd_ysT1H-J16RiUUw%24\" target=\"_blank\" rel=\"noopener noreferrer\">theme\u003c/a>. The pulsing, instrumental anthem summoned the will to accomplish our dreams and served as the soundtrack for the world’s fake-slow-motion running activities for a generation.\u003c/p>\n\u003cp>The 1980s also gave the world \u003cem>another\u003c/em> musical gift of Olympic proportions—this time for the real-life Summer games: \u003cem>The Official Music of the XXIIIrd Olympiad Los Angeles 1984. \u003c/em>The lesser-known \u003ca href=\"https://www.discogs.com/Various-The-Official-Music-Of-The-XXIIIrd-Olympiad-Los-Angeles-1984/release/544704\" target=\"_blank\" rel=\"noopener noreferrer\">album\u003c/a> served, and serves, not only as an historical souvenir but as the definitive collection of athletic event and ceremony themes crafted for the occasion—including the debut of John William’s beloved and perennial composition, “\u003ca href=\"https://urldefense.com/v3/__https://www.youtube.com/watch?v=YWdOFgDQIn0__;!!Iwwt!CzTQJ0XYowDzIsT6mo3jVOxG37P1wMdKYkOXJZjLdRUuCqd_ysT1H-LOdu8hBw%24\" target=\"_blank\" rel=\"noopener noreferrer\">Olympic Fanfare and Theme\u003c/a>.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YWdOFgDQIn0'\n title='//www.youtube.com/embed/YWdOFgDQIn0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lost to the vagaries of time and digitization and only available through piecemealed tracks and YouTube links, \u003cem>The Official Music\u003c/em> was an ambitious undertaking, led by Hollywood all-star producers Peter Guber and Jon Peters, who played off the glossy, neon-clad excess that the world of 1980s entertainment had in piles.\u003c/p>\n\u003cp>The top of the album leads off with the traditional “Bugler’s Dream (From Charge Suite)” by Arnaud, followed by a moody synthesizer swell. Then, a male vocalist gets on the mic: “You know you paid the price / you made every sacrifice” and bam, “Nothing’s Gonna Stop You Now (Team Sports Theme).”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/rDYh1b9fiZ0'\n title='//www.youtube.com/embed/rDYh1b9fiZ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The artist lineup was a who’s-who of ’80s musical legends and also Loverboy, each in turn contributing to a string of montage-worthy anthems: Toto’s “\u003ca href=\"https://www.youtube.com/watch?v=_BycQ-s4nZA\" target=\"_blank\" rel=\"noopener noreferrer\">Moodido (The Match) (Boxing Theme)\u003c/a>,” Foreigner’s marathon theme “\u003ca href=\"https://urldefense.com/v3/__https://www.youtube.com/watch?v=sjIakKdfBas__;!!Iwwt!CzTQJ0XYowDzIsT6mo3jVOxG37P1wMdKYkOXJZjLdRUuCqd_ysT1H-LRtv9P_g%24\" target=\"_blank\" rel=\"noopener noreferrer\">Street Thunder (Marathon Theme)\u003c/a>,” Bill Conti’s “\u003ca href=\"https://www.youtube.com/watch?v=DT-RlgbBj4Q\" target=\"_blank\" rel=\"noopener noreferrer\">Power (Power Sports Theme)\u003c/a>” and montage hall-of-famer Giorgio Moroder’s “Reach Out (Track Theme).” What would equate, in 2021 terms? Mike Dean’s skateboarding theme? Lizzo on a flute solo in the middle of the artistic swimming theme?\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/vmlZGBikjgU'\n title='//www.youtube.com/embed/vmlZGBikjgU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Music of the XXIIIrd Olympiad \u003c/em>wasn’t just wall-to-wall rock numbers—there are some notable genre-hopping curiosities, too. Keyboardist and composer Bob James scored extra points for the sampling of basketball dribbles on the bouncing “\u003ca href=\"https://www.youtube.com/watch?v=vpwX33_6BHo\" target=\"_blank\" rel=\"noopener noreferrer\">Courtship (Basketball Theme)\u003c/a>“; Herbie Hancock mixes international instruments and rhythms into a post-“Rockit” composition of pure synthesizer bliss for “Junku (Field Theme)”; Christopher Cross and Burt Bacharach teamed up to write “\u003ca href=\"https://www.youtube.com/watch?v=NlQtWljHBz0\" target=\"_blank\" rel=\"noopener noreferrer\">A Chance For Heaven (Swimming Theme)\u003c/a>,” which rocks as soft as water and, oddly, is mostly concerned with the climbing of mountains in its lyrics.\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/DgwuFQSCORY'\n title='//www.youtube.com/embed/DgwuFQSCORY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But it wouldn’t be an ’80s production without a contribution from Quincy Jones, whose digitally orchestral “Grace (Gymnastics Theme)” evokes the athletes’ nimble, sweeping movements. (The track also appeared as the B-Side to 1985’s “We Are The World,” in case the Summer Olympics wasn’t a global enough event for Quincy.)\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/Q9JZY0Db8zQ'\n title='//www.youtube.com/embed/Q9JZY0Db8zQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>The concept of unity was strong throughout, both musically and within the liner notes from the artists printed on the verso of the record sleeve. “I can think of no event to compare with the Olympic Games which makes us so conscious of our shared humanity, our common fate” wrote Philip Glass, who composed “\u003ca href=\"https://urldefense.com/v3/__https://www.youtube.com/watch?v=PMWkTGdvY1k__;!!Iwwt!CzTQJ0XYowDzIsT6mo3jVOxG37P1wMdKYkOXJZjLdRUuCqd_ysT1H-J8NQ-s5A%24\" target=\"_blank\" rel=\"noopener noreferrer\">The Olympian—Lighting Of The Torch\u003c/a>,” the closing track of the album. And he’s right. The Olympics offer an opportunity for the world to come together in competition and celebration—but there’s one thing I hope we can all be united on: This album slaps.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 WBGO. To see more, visit \u003ca href=\"http://www.wbgo.org\">WBGO\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Don%27t+Forget+The+Timeless+Soundtrack+To+Los+Angeles%27+1984+Summer+Games&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Summer of Soul' Celebrates a 1969 Black Cultural Festival Eclipsed By Woodstock",
"headTitle": "‘Summer of Soul’ Celebrates a 1969 Black Cultural Festival Eclipsed By Woodstock | KQED",
"content": "\u003cp>From the funky, opening groove of the film’s first song, Stevie Wonder’s slinky jam on the Isley’s Brothers’ “It’s Your Thing,” it is obvious the new documentary \u003cem>Summer of Soul (…or When the Revolution Could Not Be Televised)\u003c/em> will be packed with little-seen, landmark live performances.\u003c/p>\n\u003cp>But watch a little longer, as Wonder sits behind a drumkit to whip off a crackling drum solo. As he works the kit, clips of news reports and pundits surface talking about the crucial political and social issues facing Black people in 1969. And you realize you’re seeing something more.\u003c/p>\n\u003cp>Crafted from footage of the 1969 Harlem Cultural Festival—an event so filled with stars from soul, R&B, blues and jazz they called it the Black Woodstock—\u003cem>Summer of Soul\u003c/em> is a breathtaking chronicle of Black culture in a pivotal moment.\u003c/p>\n\u003cp>A wide constellation of stars turned up for the festival, which drew more than 300,000 people over six free concerts held in the space now known as Marcus Garvey Park. The roster of performers included Wonder, Nina Simone, Gladys Knight and the Pips, Mahalia Jackson, The Staples Singers, B.B. King, Ray Barretto, The Temptations’ former frontman David Ruffin, The 5th Dimension, and more.\u003c/p>\n\u003cp>Just documenting their jaw-dropping live work would add up to an amazing concert film. But \u003cem>Summer of Soul\u003c/em> uses the music as both inspiration and foundation, setting the scene for subjects to talk about everything from the debate over non-violence in civil rights work to Harlem’s status as a cultural oasis for Black people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1-siC9cugqA\u003c/p>\n\u003ch3>Remixing and recovering Black history\u003c/h3>\n\u003cp>If this sounds like the remix work of a master DJ, that’s because it is. \u003cem>Summer of Soul \u003c/em>is the directorial debut of Ahmir “Questlove” Thompson, the renowned DJ, drummer, producer and bandleader behind hip hop legends The Roots. Questlove crams the movie with historic musical moments. And, through new interviews, he lets musicians tell heartfelt stories about what led them to the festival.\u003c/p>\n\u003cp>“We were constantly being attacked because we weren’t, quote-unquote, ‘Black enough,’ ” says Marilyn McCoo, a member of the velvety-smooth, all-Black pop vocal group The 5th Dimension. She notes fans of their hits, like “Up, Up and Away,” sometimes thought the group was white until they saw an album cover or watched them perform live.\u003c/p>\n\u003cp>“Sometimes, we were called the Black group with the white sound … we didn’t like that … because, how do you color a sound?” says McCoo, tearing up while she watched footage of the group performing another hit, “Aquarius/Let the Sunshine In.”\u003c/p>\n\u003cp>“That was one of the reasons why performing in Harlem was so important to us,” she adds, voice cracking. “Because we wanted our people to know what we were about.”\u003c/p>\n\u003cp>That kind of emotion surfaces often in \u003cem>Summer of Soul\u003c/em>, as the camera captures people who attended the festival more than 50 years ago, crying as they remember the power of seeing so many Black people in one place, celebrating Black culture.\u003c/p>\n\u003cp>“As far as I could see, it was just Black people,” says screenwriter and producer Musa Jackson, who was a child when he attended the festival. “This was the first time I had seen so many of us … It was the ultimate Black barbecue.”\u003c/p>\n\u003cp>[aside postid='arts_13894392']The film lines up an impressive array of voices for new interviews, including Chris Rock, Sheila E., Lin-Manuel Miranda and his father, Luis Miranda. By 1969, the country had already endured the assassinations of John F. Kennedy and Martin Luther King Jr.; the film suggests one reason city officials backed the festival was in hope the celebration would prevent rioting on the anniversary of King’s murder.\u003c/p>\n\u003cp>The film also reflects significant shifts in Black culture and expression at that pivotal moment. Award-winning journalist and former NPR correspondent Charlayne Hunter-Gault spoke about transitioning from use of the word “negro” to “Black” in describing African Americans while working at \u003cem>The New York Times \u003c/em>in 1969. When an editor there changed words in one of her stories from “Black” to “negro,” she responded with an 11-page memo that convinced editor Abe Rosenthal to update the paper’s policy.\u003c/p>\n\u003cp>One of the film’s most affecting moments comes when gospel legends Mahalia Jackson and Mavis Staples team up to sing “Take My Hand, Precious Lord.” The gospel song was a favorite of civil rights leader Rev. Martin Luther King Jr., who had been assassinated one year earlier.\u003c/p>\n\u003cp>In a spellbinding sequence, the movie alternates between a new interview with the Rev. Jesse Jackson and footage from the festival where Jackson tells the crowd Dr. King mentioned the song in his last words before he was shot.\u003c/p>\n\u003cp>“Gospel was therapy for the stress and pressure of being Black in America,” Rev. Al Sharpton says, earlier in the film. “We didn’t go to a psychiatrist. We didn’t go lay on a couch. We didn’t know anything about therapists. But we knew Mahalia Jackson.”\u003c/p>\n\u003ch3>In once unseen and unclaimed footage, an erasure\u003c/h3>\n\u003cp>Director Hal Tulchin filmed all the performances: Six different free shows over six weeks. But the Woodstock Festival, which took place that same summer, completely overshadowed the Harlem Cultural Festival. When Tulchin tried to sell the footage to a film or TV outlet, no one wanted it.\u003c/p>\n\u003cp>[aside postid='arts_13889915']“The fact that 40 hours of this footage was kept from the public is living proof that revisionist history exists,” says Questlove, quoted in the film’s press materials. “I want to make sure Black erasure doesn’t happen during my lifetime … and the film was an opportunity to work towards that cause.”\u003c/p>\n\u003cp>That’s why the work of Questlove and his producers in unearthing the footage and shaping it into such an emotional, nostalgic, insightful story is so important.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He has reclaimed a crucial moment in history, reminding the world of the resilience and power of Black culture in the process.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Summer+Of+Soul%27+Celebrates+A+1969+Black+Cultural+Festival+Eclipsed+By+Woodstock&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film lines up an impressive array of voices for new interviews, including Chris Rock, Sheila E., Lin-Manuel Miranda and his father, Luis Miranda. By 1969, the country had already endured the assassinations of John F. Kennedy and Martin Luther King Jr.; the film suggests one reason city officials backed the festival was in hope the celebration would prevent rioting on the anniversary of King’s murder.\u003c/p>\n\u003cp>The film also reflects significant shifts in Black culture and expression at that pivotal moment. Award-winning journalist and former NPR correspondent Charlayne Hunter-Gault spoke about transitioning from use of the word “negro” to “Black” in describing African Americans while working at \u003cem>The New York Times \u003c/em>in 1969. When an editor there changed words in one of her stories from “Black” to “negro,” she responded with an 11-page memo that convinced editor Abe Rosenthal to update the paper’s policy.\u003c/p>\n\u003cp>One of the film’s most affecting moments comes when gospel legends Mahalia Jackson and Mavis Staples team up to sing “Take My Hand, Precious Lord.” The gospel song was a favorite of civil rights leader Rev. Martin Luther King Jr., who had been assassinated one year earlier.\u003c/p>\n\u003cp>In a spellbinding sequence, the movie alternates between a new interview with the Rev. Jesse Jackson and footage from the festival where Jackson tells the crowd Dr. King mentioned the song in his last words before he was shot.\u003c/p>\n\u003cp>“Gospel was therapy for the stress and pressure of being Black in America,” Rev. Al Sharpton says, earlier in the film. “We didn’t go to a psychiatrist. We didn’t go lay on a couch. We didn’t know anything about therapists. But we knew Mahalia Jackson.”\u003c/p>\n\u003ch3>In once unseen and unclaimed footage, an erasure\u003c/h3>\n\u003cp>Director Hal Tulchin filmed all the performances: Six different free shows over six weeks. But the Woodstock Festival, which took place that same summer, completely overshadowed the Harlem Cultural Festival. When Tulchin tried to sell the footage to a film or TV outlet, no one wanted it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Eugene Smith, Jonestown Survivor, on Coming 'Back to the World'",
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"content": "\u003cp>Originally based in San Francisco, the People’s Temple Agricultural Project aimed to practice “apostolic socialism” following the guidance of their leader, Jim Jones. Instead, in 1978 and in one of the largest losses of American civilian life, 909 people died in Guyana under Jones’ direction in what he called a “revolutionary suicide.” The handful of survivors returned to a firestorm of U.S. media coverage that, among other things, declared Jonestown a “cult of death.”\u003c/p>\n\u003cp>\u003cem>Back to the World: A Life After Jonestown\u003c/em> (Texas A&M University Press; $24.95) is the side of the story that sensational headlines and previous historical records have not shown. After years of silence, Bay Area author Eugene Smith recounts his path to Guyana and the course of his life after returning to the United States. With the kind of reflection that only time can bring, he describes moving to Jonestown with the hopes of joining a politically innovative community—only to lose his mother, wife, and infant son a year later, when he was only 21.\u003c/p>\n\u003cp>[aside postID='news_11705963']Like many Americans, I learned of Jonestown as a historical event retold and magnified so many times it had become almost mythical. I didn’t expect to see myself in Smith’s descriptions of his life in my hometown of Oakland, or to hear my thoughts echoed in his concerns about revolution in the social media age. Throughout our conversation, I was struck by how similar we were. Listening to him speak felt like speaking to a version of myself from a different time and circumstance.\u003c/p>\n\u003cp>Eugene Smith is a survivor, yes, but that is hardly the most interesting thing about him. After building a life again from scratch, dedicating years to public service, and overcoming some of the most arduous obstacles life has to offer, he has a wisdom that we can all learn from. \u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13899654\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ExaminerJones.jpg\" alt=\"The front page of the San Francisco Examiner, Nov. 20, 1978, reported only a portion of the over 900 deaths. \" width=\"600\" height=\"545\" class=\"size-full wp-image-13899654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ExaminerJones.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ExaminerJones-160x145.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The front page of the San Francisco Examiner, Nov. 20, 1978, reported only a portion of the over 900 deaths. \u003ccite>(Newspaper File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What you want a person with only a casual knowledge of Jonestown to really understand after reading your book?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I want them to understand that Jonestown, in a very unique way, was a microcosm of society. It wasn’t homogenous. Not everybody agreed with everything. The people at Jonestown were described by the media as zombies, to a certain extent. And that’s not the truth. \u003c/p>\n\u003cp>Hopefully my book will bring that forth, because I’m describing intelligent individuals that made a choice to join People’s Temple, but made that choice based on the idea that People’s Temple was helping change the world, or at least the United States, into a better environment than it was at that particular time.\u003c/p>\n\u003cp>\u003cstrong>Since 1978, you’ve been a very private person. In the book you talk about your desire to avoid being identified by this one event for the rest of your life, writing that you were “tasked with being a survivor.” Why come forward now? What changed for you?\u003c/strong>\u003c/p>\n\u003cp>Time. Time changed. It has been 40-plus years since “the incident,” as I call it. I have lived a lifetime in between then and now. It’s also allowed me time to look back at it as a matured senior versus a very young man at 21 years of age. And being able to look back at things that you’ve lived through, that you survived, allows you to have a clearer grasp on the rest of your life. \u003c/p>\n\u003cp>As survivors, we’ve all been fairly secretive. There’s been a couple of books that came out about Jonestown, but as far as I know, I’m the first African-American male to write about it. I want people to know that we were individuals. We didn’t all have collective thoughts, as we’ve been described.\u003c/p>\n\u003cfigure id=\"attachment_13899646\" class=\"wp-caption aligncenter\" style=\"max-width: 617px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/FBI1.jpg\" alt=\"A page from Eugene Smith's FBI file, after returning to the United States. \" width=\"617\" height=\"800\" class=\"size-full wp-image-13899646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/FBI1.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/FBI1-160x207.jpg 160w\" sizes=\"(max-width: 617px) 100vw, 617px\">\u003cfigcaption class=\"wp-caption-text\">A page from Eugene Smith’s FBI file, after returning to the United States. \u003ccite>(Courtesy Eugene Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Many people don’t know that the majority of people at Jonestown, over 70%, were black.\u003c/strong>\u003c/p>\n\u003cp>The majority of people there were black for multiple reasons. \u003c/p>\n\u003cp>People were there because they thought he was going to give America an example of what a interracial community could look like, and what a very intelligent political community could look like. I think the thing that enticed black people to join was the fact that Jones could get away with saying many things that a black minister could not get away with saying. And it can be attractive when you find a spokesman who represents your point of view, who says things the way you want them said. \u003c/p>\n\u003cp>\u003cstrong>You write about how People’s Temple was the first place where you felt like you were allowed to be a revolutionary. We live in a current period of a lot of political frustration, and there are a lot of very politically angry young people who are seeking outlets for that anger. Do you think that there are better outlets now for that political frustration than there were back then? \u003c/strong>\u003c/p>\n\u003cp>The first revolution that you have is when you change your mind. When you change your mind about something, whether it’s an individual or a cause or a purpose, that is revolutionary. \u003c/p>\n\u003cp>The second revolution is what you do once you’ve changed your mind. Are you going to spread the word? Are you going to become involved in terms of marching, in terms of protesting? Are you going to write letters? Are you going to try to influence people to do the same? Revolution can mean multiple things. For me, revolution was becoming as intelligent as I possibly could, knowing as much about the world as I possibly could. \u003c/p>\n\u003cp>Now we have more information, but I think in some sense that young people, especially those that are computer-savvy and into social media, might be getting overwhelmed because there are so many points of view that are being thrown at them. But nothing replaces researching, so you can come up with your own conclusion. It’s difficult, but it’s worth it. And I think people want things to be easy, so they don’t research what they hear. \u003c/p>\n\u003cfigure id=\"attachment_13899645\" class=\"wp-caption aligncenter\" style=\"max-width: 617px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/FBI2.jpg\" alt=\"A page from Eugene Smith's FBI file, after returning to the United States. \" width=\"617\" height=\"800\" class=\"size-full wp-image-13899645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/FBI2.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/FBI2-160x207.jpg 160w\" sizes=\"(max-width: 617px) 100vw, 617px\">\u003cfigcaption class=\"wp-caption-text\">A page from Eugene Smith’s FBI file, after returning to the United States. \u003ccite>(Courtesy Eugene Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With the COVID 19 pandemic, so much of life as people knew it vanished before their very eyes. For a lot of people, this has been an especially powerful lesson in accepting and dealing with loss and change. You wrote about how in one day, with one event, the entire world that you knew vanished. How do you think this impacted your experience of the pandemic?\u003c/strong>\u003c/p>\n\u003cp>It definitely affected me. And I was speaking to some fellow survivors about this in the midst of the pandemic. They told me they had the same feeling that they had the day after “the incident,” and the month after. When we had to come back to the US not knowing what we were facing, our whole world was changing. The people we knew were gone. The people we cared about were gone. The businesses that we used to go to are gone. Things that were normal are no longer normal. This pandemic was stressful in that sense, but it also brought out the coping mechanisms of some survivors and myself as well in terms of dealing with this. \u003c/p>\n\u003cp>[aside postID='news_11706669']The difference was this was a disease that you could catch, versus when we came back, the change was because of a hatred of us. People called us programmed, they called us murderers. \u003c/p>\n\u003cp>And being like that, you had no one to depend on but yourself, so you self-isolated, such as during the pandemic. For people who have never had to isolate on their own, for any reason, the pandemic was a shock to the heart because it took away everything that they knew, that comforted them. So this pandemic was stressful in that sense, but the difference was that this time, with this emergency, I already had coping mechanisms.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Back to the World: A Life After Jonestown’ is available now. \u003ca href=\"https://www.tamupress.com/book/9780875657783/back-to-the-world/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Originally based in San Francisco, the People’s Temple Agricultural Project aimed to practice “apostolic socialism” following the guidance of their leader, Jim Jones. Instead, in 1978 and in one of the largest losses of American civilian life, 909 people died in Guyana under Jones’ direction in what he called a “revolutionary suicide.” The handful of survivors returned to a firestorm of U.S. media coverage that, among other things, declared Jonestown a “cult of death.”\u003c/p>\n\u003cp>\u003cem>Back to the World: A Life After Jonestown\u003c/em> (Texas A&M University Press; $24.95) is the side of the story that sensational headlines and previous historical records have not shown. After years of silence, Bay Area author Eugene Smith recounts his path to Guyana and the course of his life after returning to the United States. With the kind of reflection that only time can bring, he describes moving to Jonestown with the hopes of joining a politically innovative community—only to lose his mother, wife, and infant son a year later, when he was only 21.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like many Americans, I learned of Jonestown as a historical event retold and magnified so many times it had become almost mythical. I didn’t expect to see myself in Smith’s descriptions of his life in my hometown of Oakland, or to hear my thoughts echoed in his concerns about revolution in the social media age. Throughout our conversation, I was struck by how similar we were. Listening to him speak felt like speaking to a version of myself from a different time and circumstance.\u003c/p>\n\u003cp>Eugene Smith is a survivor, yes, but that is hardly the most interesting thing about him. After building a life again from scratch, dedicating years to public service, and overcoming some of the most arduous obstacles life has to offer, he has a wisdom that we can all learn from. \u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13899654\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ExaminerJones.jpg\" alt=\"The front page of the San Francisco Examiner, Nov. 20, 1978, reported only a portion of the over 900 deaths. \" width=\"600\" height=\"545\" class=\"size-full wp-image-13899654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ExaminerJones.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ExaminerJones-160x145.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The front page of the San Francisco Examiner, Nov. 20, 1978, reported only a portion of the over 900 deaths. \u003ccite>(Newspaper File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What you want a person with only a casual knowledge of Jonestown to really understand after reading your book?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I want them to understand that Jonestown, in a very unique way, was a microcosm of society. It wasn’t homogenous. Not everybody agreed with everything. The people at Jonestown were described by the media as zombies, to a certain extent. And that’s not the truth. \u003c/p>\n\u003cp>Hopefully my book will bring that forth, because I’m describing intelligent individuals that made a choice to join People’s Temple, but made that choice based on the idea that People’s Temple was helping change the world, or at least the United States, into a better environment than it was at that particular time.\u003c/p>\n\u003cp>\u003cstrong>Since 1978, you’ve been a very private person. In the book you talk about your desire to avoid being identified by this one event for the rest of your life, writing that you were “tasked with being a survivor.” Why come forward now? What changed for you?\u003c/strong>\u003c/p>\n\u003cp>Time. Time changed. It has been 40-plus years since “the incident,” as I call it. I have lived a lifetime in between then and now. It’s also allowed me time to look back at it as a matured senior versus a very young man at 21 years of age. And being able to look back at things that you’ve lived through, that you survived, allows you to have a clearer grasp on the rest of your life. \u003c/p>\n\u003cp>As survivors, we’ve all been fairly secretive. There’s been a couple of books that came out about Jonestown, but as far as I know, I’m the first African-American male to write about it. I want people to know that we were individuals. We didn’t all have collective thoughts, as we’ve been described.\u003c/p>\n\u003cfigure id=\"attachment_13899646\" class=\"wp-caption aligncenter\" style=\"max-width: 617px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/FBI1.jpg\" alt=\"A page from Eugene Smith's FBI file, after returning to the United States. \" width=\"617\" height=\"800\" class=\"size-full wp-image-13899646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/FBI1.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/FBI1-160x207.jpg 160w\" sizes=\"(max-width: 617px) 100vw, 617px\">\u003cfigcaption class=\"wp-caption-text\">A page from Eugene Smith’s FBI file, after returning to the United States. \u003ccite>(Courtesy Eugene Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Many people don’t know that the majority of people at Jonestown, over 70%, were black.\u003c/strong>\u003c/p>\n\u003cp>The majority of people there were black for multiple reasons. \u003c/p>\n\u003cp>People were there because they thought he was going to give America an example of what a interracial community could look like, and what a very intelligent political community could look like. I think the thing that enticed black people to join was the fact that Jones could get away with saying many things that a black minister could not get away with saying. And it can be attractive when you find a spokesman who represents your point of view, who says things the way you want them said. \u003c/p>\n\u003cp>\u003cstrong>You write about how People’s Temple was the first place where you felt like you were allowed to be a revolutionary. We live in a current period of a lot of political frustration, and there are a lot of very politically angry young people who are seeking outlets for that anger. Do you think that there are better outlets now for that political frustration than there were back then? \u003c/strong>\u003c/p>\n\u003cp>The first revolution that you have is when you change your mind. When you change your mind about something, whether it’s an individual or a cause or a purpose, that is revolutionary. \u003c/p>\n\u003cp>The second revolution is what you do once you’ve changed your mind. Are you going to spread the word? Are you going to become involved in terms of marching, in terms of protesting? Are you going to write letters? Are you going to try to influence people to do the same? Revolution can mean multiple things. For me, revolution was becoming as intelligent as I possibly could, knowing as much about the world as I possibly could. \u003c/p>\n\u003cp>Now we have more information, but I think in some sense that young people, especially those that are computer-savvy and into social media, might be getting overwhelmed because there are so many points of view that are being thrown at them. But nothing replaces researching, so you can come up with your own conclusion. It’s difficult, but it’s worth it. And I think people want things to be easy, so they don’t research what they hear. \u003c/p>\n\u003cfigure id=\"attachment_13899645\" class=\"wp-caption aligncenter\" style=\"max-width: 617px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/FBI2.jpg\" alt=\"A page from Eugene Smith's FBI file, after returning to the United States. \" width=\"617\" height=\"800\" class=\"size-full wp-image-13899645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/FBI2.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/FBI2-160x207.jpg 160w\" sizes=\"(max-width: 617px) 100vw, 617px\">\u003cfigcaption class=\"wp-caption-text\">A page from Eugene Smith’s FBI file, after returning to the United States. \u003ccite>(Courtesy Eugene Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With the COVID 19 pandemic, so much of life as people knew it vanished before their very eyes. For a lot of people, this has been an especially powerful lesson in accepting and dealing with loss and change. You wrote about how in one day, with one event, the entire world that you knew vanished. How do you think this impacted your experience of the pandemic?\u003c/strong>\u003c/p>\n\u003cp>It definitely affected me. And I was speaking to some fellow survivors about this in the midst of the pandemic. They told me they had the same feeling that they had the day after “the incident,” and the month after. When we had to come back to the US not knowing what we were facing, our whole world was changing. The people we knew were gone. The people we cared about were gone. The businesses that we used to go to are gone. Things that were normal are no longer normal. This pandemic was stressful in that sense, but it also brought out the coping mechanisms of some survivors and myself as well in terms of dealing with this. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Back to the World: A Life After Jonestown’ is available now. \u003ca href=\"https://www.tamupress.com/book/9780875657783/back-to-the-world/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-1906-earthquake-survivor-who-fought-for-san-franciscos-homeless-population",
"title": "The 1906 Earthquake Survivor Who Fought For San Francisco’s Homeless Population",
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"content": "\u003cp>On Nov. 3, 1906, San Francisco residents, still busy rebuilding the city after April’s earthquake and fire, were startled by a truly bizarre sight. It was a four-horse truck hauling a refugee “cottage” through the city streets, from Fillmore’s Jefferson Square Park all the way down to Ingleside. Hanging out of one of the structure’s windows was an agitated, gray-haired woman in her late forties clutching two placards. They read, “We demand a share of the Relief Fund,” and “We demand a distribution of food and supplies.”\u003c/p>\n\u003cp>The defiant protester in the window was Mary Kelly, a cleaning woman by trade whose family had been residing in a camp in Jefferson Square since they lost their home and worldly belongings in the earthquake. After months of surviving in cold, leaky tents with her invalid husband William, Kelly had begun squatting in the cottage—a small uninsulated shack with no sanitary provisions—out of sheer desperation. Heads of the city’s Relief Corporation—the organization set up to distribute supplies and donations to refugees—ordered Kelly’s removal on the truck after a month of her refusing to move out or pay rent. As they hauled her away, she is said to have shouted, “I’ll stay with this house if they take it to the end of the Earth!”\u003c/p>\n\u003cfigure id=\"attachment_13899282\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Mary-Kelly-Cottage-Protest-800x390.png\" alt=\"Mary Kelly, as seen in the 'San Francisco Call' newspaper on Nov. 4, 1906, after getting removed inside her temporary house, by city officials.\" width=\"800\" height=\"390\">\u003cfigcaption class=\"wp-caption-text\">Mary Kelly, as seen in the ‘San Francisco Call’ newspaper on Nov. 4, 1906, after getting removed inside her temporary house, by city officials.\u003c/figcaption>\u003c/figure>\n\u003cp>What was happening to Kelly was by no means standard practice for the Relief Corporation. It was an unusually harsh and public punishment doled out against an individual who had spent seven months loudly and persistently demanding dignity for those who lost their homes in the April 18 disaster. In that time, Kelly had transformed herself from a private, hard-working wife and mother into one of the most tenacious activists in the city. Her efforts made her a leader in her community, but a sharp thorn in the side of city officials and the Relief Corporation.\u003c/p>\n\u003cp>[aside postid='arts_13895374']Once delivered to Ingleside, for three whole days, Kelly stayed inside her cottage, “firmly roped to the truck,” the \u003cem>San Francisco Call\u003c/em> noted. She later reported that she was subjected to daily harassment and verbal abuse from Relief Corporation employees that would “turn the crowd of thugs in a tenderloin saloon, let alone a respectable woman.”\u003c/p>\n\u003cp>On her third day on the truck, the Relief Corporation roughly dismantled the cottage with Kelly still inside. “There seemed about ten men with axes and crowbars and hatchets getting on the roof and ripping off the shingles,” Kelly later wrote in a pamphlet titled \u003cem>Shame of the Relief\u003c/em>. This despite the fact that Kelly was, according to the \u003cem>San Francisco Call\u003c/em>, “worn and feeble” due to “a fast developing case of grip or pneumonia sapping her energy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had a perfect legal right to the cottage,” Kelly wrote in April 1908, “as it was built out of the money which had been sent here to San Francisco to rehabilitate the suffering and destitute refugees … The cottage was built on public ground, and it was not right to pay six dollars or any other sum per month for rent of these cottages.”\u003c/p>\n\u003cp>So what exactly had Kelly done that spurred the Relief Corporation into taking such cruel and unusual action towards her? It started almost immediately after the earthquake and fire.\u003c/p>\n\u003cfigure id=\"attachment_13898767\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-800x561.png\" alt=\"Earthquake refugees gather at Jefferson Square as smoke still billows from the 1906 fires.\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-768x538.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-1536x1077.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-1920x1346.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM.png 1980w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Earthquake refugees gather at Jefferson Square as smoke still billows from the 1906 fires. \u003ccite>(OpenSFHistory / wnp37.00042)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When city officials encouraged camp residents to leave the parks, she was one of the loudest objectors. The rents in San Francisco were inflated after the fire—they doubled in the unburned Western Addition, for example—and many locals had lost their places of work. The working poor simply couldn’t afford to move into new homes.\u003c/p>\n\u003cp>When city officials encouraged camp residents to leave the city for towns with cheaper rent, Kelly publicly spoke out about the financial impracticality of doing so. The money she would have to come up with for her own, and her family’s, daily commutes to San Francisco for work, were entirely unfeasible.\u003c/p>\n\u003cfigure id=\"attachment_13898764\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-800x567.png\" alt=\"The Jefferson Square camp, viewed north from Turk St.\" width=\"800\" height=\"567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-800x567.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-1020x723.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-768x544.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-1536x1089.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-1920x1361.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM.png 1984w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jefferson Square camp, viewed north from Turk St. \u003ccite>(OpenSFHistory / wnp59.00056)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon, Kelly was leading marches and making speeches on behalf of her community—in her words, a “steady, honest, hard-working class of people who never asked for charity from anyone and always paid their own way.” She demanded cash grants be distributed directly to the refugees. She publicly criticized camp administrators, city officials, and the Relief Corporation.\u003c/p>\n\u003cp>Kelly didn’t just go after the slow-moving bureaucracy that prevented the refugees from receiving their due, she went after the men at the head of the organizations. At one point, she accused “nearly every man that held any prominent position at the Relief Headquarters” of using relief money to buy expensive cars for their own personal use. At another, she led and made speeches in front of 3,000 protestors outside a banquet attended by city officials. “Let the whole world know,” their banners read, “that while we are starving, they are feasting.”\u003c/p>\n\u003cp>Kelly had no qualms about calling out these individuals and publicly portraying them as sniveling, self-serving cowards. Of the attendees at that particular banquet, Kelly later wrote, “Fearing that we might force an entrance and partake of their fine menu, they very quietly sneaked out of the back entrance of the hotel and rode away in their autos, not to again return to finish their banquet until after the poor, suffering refugees had returned to their cold and dreary tents.”\u003c/p>\n\u003cp>Though Mary’s delivery sometimes erred on the side of the dramatic, her keen sense of injustice was not without cause. Funds and provisions to assist earthquake survivors were woefully mishandled at times, and in ways that served to reinforce the pre-earthquake class structure. Financial assistance from the Relief Corporation, for example, was distributed on a tier system that benefited property owners, business owners and the well-connected first. The poorest, most hungry and least able to find work were often left to languish the longest.\u003c/p>\n\u003cfigure id=\"attachment_13898774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-800x504.png\" alt=\"Officers distributing flour near Moscone Playground (then Lobos Square).\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-800x504.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-1020x642.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-1536x967.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-1920x1209.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM.png 1988w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Officers distributing flour near Moscone Playground (then Lobos Square). \u003ccite>(OpenSFHistory / wnp15.1682)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One particularly egregious example of this occurred after the Relief Corporation attempted to sell some of the flour sent from Minneapolis to distribute to hungry refugees. When donors heard of the corporation’s intent to sell, they objected. The corporation responded by dumping multiple barrels of the flour into the Bay. This kind of spiteful mismanagement is what prompted Kelly, along with about a hundred other women, to storm the city’s main relief warehouse on July 6, 1906 and walk out with 2,000 pounds of flour. “The women declared that the flour had been sent here for them,” the \u003cem>San Francisco Chronicle\u003c/em> reported, “and they were going to take it.” The incident was characterized by the local press as a “riot” by “irate” women who “would not listen to reason.”\u003c/p>\n\u003cp>[aside postid='arts_13894842']The war between Kelly and city officials was granted a brief reprieve only after tragedy struck. In January 1907, two of Kelly’s daughters were tragically murdered by their sister’s husband. Joseph Rabley targeted the entire Kelly family after his wife, Mary Jr. left him after suffering beatings at home. After Rabley gunned down Elizabeth Kelly, 16, and Martha Krueger, 28, near the intersection of McAllister and Octavia, he turned the gun on himself, “tearing off the top of his skull,” the \u003ca href=\"https://chroniclingamerica.loc.gov/lccn/sn85066387/1907-01-07/ed-1/seq-1/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Call\u003c/em> reported\u003c/a>.\u003c/p>\n\u003cp>Just two months after they had paraded her through the streets and destroyed the cottage she claimed, the Relief Corporation finally granted Kelly and her husband a similar shelter at Dolores Park. The respite, born out of sympathy for the loss of Kelly’s daughters, lasted only eight months. That August, the city demanded refugees relocate their cottages out of the park. Unable to come up with the money to do so—on average, it cost $71 to move the structures—Kelly and her husband stayed put as long as they could. On Sept. 28, 1907, their cottage was torn down, leaving the couple to sleep entirely unsheltered.\u003c/p>\n\u003cfigure id=\"attachment_13898771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-800x786.png\" alt=\"A woman using a makeshift stove in the Jefferson Square refugee camp. City Hall's dome can be seen in the distance. \" width=\"800\" height=\"786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-800x786.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-1020x1003.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-160x157.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-768x755.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-1536x1510.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM.png 1644w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman using a makeshift stove in the Jefferson Square refugee camp. City Hall’s dome can be seen in the distance. \u003ccite>(OpenSFHistory/wnp37.01528)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s unknown how and when exactly Kelly’s war with the city ceased. But her own ending was not an unhappy one. On Oct. 18, 1911, the \u003cem>Chronicle\u003c/em> reported that Mary Isabella Kelly was among the first wave of women who registered to vote in California. She was, at that time, living at 47 Julia Street, near City Hall, and had not returned to cleaning houses. Rather, she now listed her occupation as “a nurse and labor unionist.”\u003c/p>\n\u003cp>In the end, Kelly’s tireless fighting for those who were left with the least in 1906 changed her life permanently. It politicized her, it made her a leader, and it taught city officials a thing or two about respect. In the latter half of her life, Kelly tirelessly demanded fairness and equality, and never backed down from a fight, even against people and organizations far more powerful than herself. She would have undoubtedly appreciated the description the \u003cem>Chronicle\u003c/em> once gave her. And it’s probably how we should remember her now: “The arch agitator of the refugees.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" style=\"font-style: italic;background-color: transparent\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Nov. 3, 1906, San Francisco residents, still busy rebuilding the city after April’s earthquake and fire, were startled by a truly bizarre sight. It was a four-horse truck hauling a refugee “cottage” through the city streets, from Fillmore’s Jefferson Square Park all the way down to Ingleside. Hanging out of one of the structure’s windows was an agitated, gray-haired woman in her late forties clutching two placards. They read, “We demand a share of the Relief Fund,” and “We demand a distribution of food and supplies.”\u003c/p>\n\u003cp>The defiant protester in the window was Mary Kelly, a cleaning woman by trade whose family had been residing in a camp in Jefferson Square since they lost their home and worldly belongings in the earthquake. After months of surviving in cold, leaky tents with her invalid husband William, Kelly had begun squatting in the cottage—a small uninsulated shack with no sanitary provisions—out of sheer desperation. Heads of the city’s Relief Corporation—the organization set up to distribute supplies and donations to refugees—ordered Kelly’s removal on the truck after a month of her refusing to move out or pay rent. As they hauled her away, she is said to have shouted, “I’ll stay with this house if they take it to the end of the Earth!”\u003c/p>\n\u003cfigure id=\"attachment_13899282\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Mary-Kelly-Cottage-Protest-800x390.png\" alt=\"Mary Kelly, as seen in the 'San Francisco Call' newspaper on Nov. 4, 1906, after getting removed inside her temporary house, by city officials.\" width=\"800\" height=\"390\">\u003cfigcaption class=\"wp-caption-text\">Mary Kelly, as seen in the ‘San Francisco Call’ newspaper on Nov. 4, 1906, after getting removed inside her temporary house, by city officials.\u003c/figcaption>\u003c/figure>\n\u003cp>What was happening to Kelly was by no means standard practice for the Relief Corporation. It was an unusually harsh and public punishment doled out against an individual who had spent seven months loudly and persistently demanding dignity for those who lost their homes in the April 18 disaster. In that time, Kelly had transformed herself from a private, hard-working wife and mother into one of the most tenacious activists in the city. Her efforts made her a leader in her community, but a sharp thorn in the side of city officials and the Relief Corporation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Once delivered to Ingleside, for three whole days, Kelly stayed inside her cottage, “firmly roped to the truck,” the \u003cem>San Francisco Call\u003c/em> noted. She later reported that she was subjected to daily harassment and verbal abuse from Relief Corporation employees that would “turn the crowd of thugs in a tenderloin saloon, let alone a respectable woman.”\u003c/p>\n\u003cp>On her third day on the truck, the Relief Corporation roughly dismantled the cottage with Kelly still inside. “There seemed about ten men with axes and crowbars and hatchets getting on the roof and ripping off the shingles,” Kelly later wrote in a pamphlet titled \u003cem>Shame of the Relief\u003c/em>. This despite the fact that Kelly was, according to the \u003cem>San Francisco Call\u003c/em>, “worn and feeble” due to “a fast developing case of grip or pneumonia sapping her energy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had a perfect legal right to the cottage,” Kelly wrote in April 1908, “as it was built out of the money which had been sent here to San Francisco to rehabilitate the suffering and destitute refugees … The cottage was built on public ground, and it was not right to pay six dollars or any other sum per month for rent of these cottages.”\u003c/p>\n\u003cp>So what exactly had Kelly done that spurred the Relief Corporation into taking such cruel and unusual action towards her? It started almost immediately after the earthquake and fire.\u003c/p>\n\u003cfigure id=\"attachment_13898767\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-800x561.png\" alt=\"Earthquake refugees gather at Jefferson Square as smoke still billows from the 1906 fires.\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-768x538.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-1536x1077.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-1920x1346.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM.png 1980w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Earthquake refugees gather at Jefferson Square as smoke still billows from the 1906 fires. \u003ccite>(OpenSFHistory / wnp37.00042)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When city officials encouraged camp residents to leave the parks, she was one of the loudest objectors. The rents in San Francisco were inflated after the fire—they doubled in the unburned Western Addition, for example—and many locals had lost their places of work. The working poor simply couldn’t afford to move into new homes.\u003c/p>\n\u003cp>When city officials encouraged camp residents to leave the city for towns with cheaper rent, Kelly publicly spoke out about the financial impracticality of doing so. The money she would have to come up with for her own, and her family’s, daily commutes to San Francisco for work, were entirely unfeasible.\u003c/p>\n\u003cfigure id=\"attachment_13898764\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-800x567.png\" alt=\"The Jefferson Square camp, viewed north from Turk St.\" width=\"800\" height=\"567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-800x567.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-1020x723.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-768x544.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-1536x1089.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-1920x1361.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM.png 1984w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jefferson Square camp, viewed north from Turk St. \u003ccite>(OpenSFHistory / wnp59.00056)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon, Kelly was leading marches and making speeches on behalf of her community—in her words, a “steady, honest, hard-working class of people who never asked for charity from anyone and always paid their own way.” She demanded cash grants be distributed directly to the refugees. She publicly criticized camp administrators, city officials, and the Relief Corporation.\u003c/p>\n\u003cp>Kelly didn’t just go after the slow-moving bureaucracy that prevented the refugees from receiving their due, she went after the men at the head of the organizations. At one point, she accused “nearly every man that held any prominent position at the Relief Headquarters” of using relief money to buy expensive cars for their own personal use. At another, she led and made speeches in front of 3,000 protestors outside a banquet attended by city officials. “Let the whole world know,” their banners read, “that while we are starving, they are feasting.”\u003c/p>\n\u003cp>Kelly had no qualms about calling out these individuals and publicly portraying them as sniveling, self-serving cowards. Of the attendees at that particular banquet, Kelly later wrote, “Fearing that we might force an entrance and partake of their fine menu, they very quietly sneaked out of the back entrance of the hotel and rode away in their autos, not to again return to finish their banquet until after the poor, suffering refugees had returned to their cold and dreary tents.”\u003c/p>\n\u003cp>Though Mary’s delivery sometimes erred on the side of the dramatic, her keen sense of injustice was not without cause. Funds and provisions to assist earthquake survivors were woefully mishandled at times, and in ways that served to reinforce the pre-earthquake class structure. Financial assistance from the Relief Corporation, for example, was distributed on a tier system that benefited property owners, business owners and the well-connected first. The poorest, most hungry and least able to find work were often left to languish the longest.\u003c/p>\n\u003cfigure id=\"attachment_13898774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-800x504.png\" alt=\"Officers distributing flour near Moscone Playground (then Lobos Square).\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-800x504.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-1020x642.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-1536x967.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-1920x1209.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM.png 1988w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Officers distributing flour near Moscone Playground (then Lobos Square). \u003ccite>(OpenSFHistory / wnp15.1682)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One particularly egregious example of this occurred after the Relief Corporation attempted to sell some of the flour sent from Minneapolis to distribute to hungry refugees. When donors heard of the corporation’s intent to sell, they objected. The corporation responded by dumping multiple barrels of the flour into the Bay. This kind of spiteful mismanagement is what prompted Kelly, along with about a hundred other women, to storm the city’s main relief warehouse on July 6, 1906 and walk out with 2,000 pounds of flour. “The women declared that the flour had been sent here for them,” the \u003cem>San Francisco Chronicle\u003c/em> reported, “and they were going to take it.” The incident was characterized by the local press as a “riot” by “irate” women who “would not listen to reason.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The war between Kelly and city officials was granted a brief reprieve only after tragedy struck. In January 1907, two of Kelly’s daughters were tragically murdered by their sister’s husband. Joseph Rabley targeted the entire Kelly family after his wife, Mary Jr. left him after suffering beatings at home. After Rabley gunned down Elizabeth Kelly, 16, and Martha Krueger, 28, near the intersection of McAllister and Octavia, he turned the gun on himself, “tearing off the top of his skull,” the \u003ca href=\"https://chroniclingamerica.loc.gov/lccn/sn85066387/1907-01-07/ed-1/seq-1/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Call\u003c/em> reported\u003c/a>.\u003c/p>\n\u003cp>Just two months after they had paraded her through the streets and destroyed the cottage she claimed, the Relief Corporation finally granted Kelly and her husband a similar shelter at Dolores Park. The respite, born out of sympathy for the loss of Kelly’s daughters, lasted only eight months. That August, the city demanded refugees relocate their cottages out of the park. Unable to come up with the money to do so—on average, it cost $71 to move the structures—Kelly and her husband stayed put as long as they could. On Sept. 28, 1907, their cottage was torn down, leaving the couple to sleep entirely unsheltered.\u003c/p>\n\u003cfigure id=\"attachment_13898771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-800x786.png\" alt=\"A woman using a makeshift stove in the Jefferson Square refugee camp. City Hall's dome can be seen in the distance. \" width=\"800\" height=\"786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-800x786.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-1020x1003.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-160x157.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-768x755.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-1536x1510.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM.png 1644w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman using a makeshift stove in the Jefferson Square refugee camp. City Hall’s dome can be seen in the distance. \u003ccite>(OpenSFHistory/wnp37.01528)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s unknown how and when exactly Kelly’s war with the city ceased. But her own ending was not an unhappy one. On Oct. 18, 1911, the \u003cem>Chronicle\u003c/em> reported that Mary Isabella Kelly was among the first wave of women who registered to vote in California. She was, at that time, living at 47 Julia Street, near City Hall, and had not returned to cleaning houses. Rather, she now listed her occupation as “a nurse and labor unionist.”\u003c/p>\n\u003cp>In the end, Kelly’s tireless fighting for those who were left with the least in 1906 changed her life permanently. It politicized her, it made her a leader, and it taught city officials a thing or two about respect. In the latter half of her life, Kelly tirelessly demanded fairness and equality, and never backed down from a fight, even against people and organizations far more powerful than herself. She would have undoubtedly appreciated the description the \u003cem>Chronicle\u003c/em> once gave her. And it’s probably how we should remember her now: “The arch agitator of the refugees.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" style=\"font-style: italic;background-color: transparent\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Light Perpetual' Imagines Adulthood For 5 Fictional Kids Killed in WWII Attack",
"headTitle": "‘Light Perpetual’ Imagines Adulthood For 5 Fictional Kids Killed in WWII Attack | KQED",
"content": "\u003cp>At the end of his new novel, \u003cem>Light Perpetual\u003c/em>, Francis Spufford describes how he was inspired by a London plaque:\u003c/p>\n\u003cblockquote>\u003cp>[F]or the last twelve years, I’ve been walking to work at Goldsmiths College past a plaque commemorating the 1944 V-2 attack on the New Cross Road branch of Woolworths. Of the 168 people who died, fifteen were aged eleven or under. The novel is partly written in memory of those South London children, and their lost chance to experience the rest of the twentieth century.\u003c/p>\u003c/blockquote>\n\u003cp>Out of his contemplative pauses in front of that plaque, Spufford has created a resonant novel about what “might have been” for five young casualties of war, as well as a God’s-eye meditation on mutability and loss.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899148 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/51PfIRRYIcL._SX329_BO1204203200_.jpg\" alt=\"\" width=\"331\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/51PfIRRYIcL._SX329_BO1204203200_.jpg 331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/51PfIRRYIcL._SX329_BO1204203200_-160x241.jpg 160w\" sizes=\"(max-width: 331px) 100vw, 331px\">Light Perpetual \u003c/em>opens with a slow motion reimagining of the V-2 rocket falling through that Woolworths on that long-ago Saturday. The lunchtime crowd, which has gathered to see a new delivery of aluminum saucepans (a rarity during the war), is instantaneously transformed into “a dome of debris.” Spufford’s omniscient narrator ticks off some of the cloud’s component parts: “Knitting Patterns. … Wooden table. Pans. Much-darned brown worsted hand-me-down served-three-siblings horned-buttoned winter coat. Skin. Bone.”\u003c/p>\n\u003cp>Spufford checks in on his characters at intervals of 15 years, beginning with their deaths in 1944 and ending in 2009 when the “children” are about 70. This plot structure can sound formulaic, plodding even. And, certainly, the pitfalls of sentimentality are many in a story that imagines the lives that five invented dead children might have led.\u003c/p>\n\u003cp>But Spufford avoids those pitfalls and as he moves his children through their imagined lives they become so much more than mere reverent icons. For instance, the class bully, Vernon, dubbed “Vermin” by his classmates, grows into a crooked property developer; another, more delicate child named Ben grows up to hold down jobs as a kitchen porter and bus conductor; he also has to be institutionalized for a time for schizophrenia and persistent nightmares of cannibalism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13893514']Alec, who from the get-go, is one of the most compelling of the children, must surrender his dreams of going to university because of his father’s early death. Alec marries young, becomes a leader in his printer’s union, and, at bedtime, devours heavy tomes like Robert Tressell’s 1914 Socialist classic, \u003cem>The Ragged-Trousered Philanthropists\u003c/em>.\u003c/p>\n\u003cp>Even to tick off these characters and their stories in this fashion renders them reductive in a way that Spufford never does. He’s such a beautiful writer, casually stunning in his language and perceptions. Here, for instance, Spufford captures the middle-aged Alec’s thoughts after an argument with his teenaged son:\u003c/p>\n\u003cblockquote>\u003cp>Everyone knows that parenthood changes you: but [Alec had] thought that meant the rearrangement that comes at the beginning of it, when you learn that your life is going to be curled protectively around the kids. He doesn’t know what to do with this recent, new rage, where you feel the … hopes and expectations you’ve had for them all this time start to shrivel and unpick, … where the story of their lives you’ve been telling yourself, with the chances you’d’ve liked, and a step up you’d’ve been glad to take, turns out to be nothing like their own story of themselves.\u003c/p>\u003c/blockquote>\n\u003cp>Along with incisively describing the progression—and setbacks—of his fictional children’s lives, Spufford conjures up an impressionistic history of six decades of London life. Here’s Jo who grows up to become a member of a “girl group” called the Tearaways during the Swinging ’60s. Spufford describes Jo standing next to a Beatles knock-off band in the wings of the Pelican Club, listening to an older blues musician. In a few quick sentences, Spufford nails the era’s signature style and sexism:\u003c/p>\n\u003cblockquote>\u003cp>She looks good tonight, she knows she does: the Tearaways have an Honor-Blackman-in-\u003cem>The-Avengers\u003c/em> thing going, and are all wearing tight black sweaters, tight black trousers and boots with spike heels. … But right now, she’s girl-furniture as far as these whispering oblivious boys are concerned. They’re locked in the serious business of male-to-male musical adoration.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Again and again, Spufford draws us readers into the mundane particularity of his maturing characters’ lives and, again and again, we readers are jolted by the awareness that those five futures were cut short in 1944. In resurrecting lives that never were, \u003cem>Light Perpetual\u003c/em> is a miracle, not only of art, but of encompassing empathy. The novel becomes not only about the terribly brief lives of these five fictional children, but of the finitude that bounds all the living and the dead.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Light+Perpetual%27+Imagines+Adulthood+For+5+Fictional+Kids+Killed+In+WWII+Attack&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the end of his new novel, \u003cem>Light Perpetual\u003c/em>, Francis Spufford describes how he was inspired by a London plaque:\u003c/p>\n\u003cblockquote>\u003cp>[F]or the last twelve years, I’ve been walking to work at Goldsmiths College past a plaque commemorating the 1944 V-2 attack on the New Cross Road branch of Woolworths. Of the 168 people who died, fifteen were aged eleven or under. The novel is partly written in memory of those South London children, and their lost chance to experience the rest of the twentieth century.\u003c/p>\u003c/blockquote>\n\u003cp>Out of his contemplative pauses in front of that plaque, Spufford has created a resonant novel about what “might have been” for five young casualties of war, as well as a God’s-eye meditation on mutability and loss.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899148 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/51PfIRRYIcL._SX329_BO1204203200_.jpg\" alt=\"\" width=\"331\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/51PfIRRYIcL._SX329_BO1204203200_.jpg 331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/51PfIRRYIcL._SX329_BO1204203200_-160x241.jpg 160w\" sizes=\"(max-width: 331px) 100vw, 331px\">Light Perpetual \u003c/em>opens with a slow motion reimagining of the V-2 rocket falling through that Woolworths on that long-ago Saturday. The lunchtime crowd, which has gathered to see a new delivery of aluminum saucepans (a rarity during the war), is instantaneously transformed into “a dome of debris.” Spufford’s omniscient narrator ticks off some of the cloud’s component parts: “Knitting Patterns. … Wooden table. Pans. Much-darned brown worsted hand-me-down served-three-siblings horned-buttoned winter coat. Skin. Bone.”\u003c/p>\n\u003cp>Spufford checks in on his characters at intervals of 15 years, beginning with their deaths in 1944 and ending in 2009 when the “children” are about 70. This plot structure can sound formulaic, plodding even. And, certainly, the pitfalls of sentimentality are many in a story that imagines the lives that five invented dead children might have led.\u003c/p>\n\u003cp>But Spufford avoids those pitfalls and as he moves his children through their imagined lives they become so much more than mere reverent icons. For instance, the class bully, Vernon, dubbed “Vermin” by his classmates, grows into a crooked property developer; another, more delicate child named Ben grows up to hold down jobs as a kitchen porter and bus conductor; he also has to be institutionalized for a time for schizophrenia and persistent nightmares of cannibalism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Alec, who from the get-go, is one of the most compelling of the children, must surrender his dreams of going to university because of his father’s early death. Alec marries young, becomes a leader in his printer’s union, and, at bedtime, devours heavy tomes like Robert Tressell’s 1914 Socialist classic, \u003cem>The Ragged-Trousered Philanthropists\u003c/em>.\u003c/p>\n\u003cp>Even to tick off these characters and their stories in this fashion renders them reductive in a way that Spufford never does. He’s such a beautiful writer, casually stunning in his language and perceptions. Here, for instance, Spufford captures the middle-aged Alec’s thoughts after an argument with his teenaged son:\u003c/p>\n\u003cblockquote>\u003cp>Everyone knows that parenthood changes you: but [Alec had] thought that meant the rearrangement that comes at the beginning of it, when you learn that your life is going to be curled protectively around the kids. He doesn’t know what to do with this recent, new rage, where you feel the … hopes and expectations you’ve had for them all this time start to shrivel and unpick, … where the story of their lives you’ve been telling yourself, with the chances you’d’ve liked, and a step up you’d’ve been glad to take, turns out to be nothing like their own story of themselves.\u003c/p>\u003c/blockquote>\n\u003cp>Along with incisively describing the progression—and setbacks—of his fictional children’s lives, Spufford conjures up an impressionistic history of six decades of London life. Here’s Jo who grows up to become a member of a “girl group” called the Tearaways during the Swinging ’60s. Spufford describes Jo standing next to a Beatles knock-off band in the wings of the Pelican Club, listening to an older blues musician. In a few quick sentences, Spufford nails the era’s signature style and sexism:\u003c/p>\n\u003cblockquote>\u003cp>She looks good tonight, she knows she does: the Tearaways have an Honor-Blackman-in-\u003cem>The-Avengers\u003c/em> thing going, and are all wearing tight black sweaters, tight black trousers and boots with spike heels. … But right now, she’s girl-furniture as far as these whispering oblivious boys are concerned. They’re locked in the serious business of male-to-male musical adoration.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Again and again, Spufford draws us readers into the mundane particularity of his maturing characters’ lives and, again and again, we readers are jolted by the awareness that those five futures were cut short in 1944. In resurrecting lives that never were, \u003cem>Light Perpetual\u003c/em> is a miracle, not only of art, but of encompassing empathy. The novel becomes not only about the terribly brief lives of these five fictional children, but of the finitude that bounds all the living and the dead.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Light+Perpetual%27+Imagines+Adulthood+For+5+Fictional+Kids+Killed+In+WWII+Attack&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "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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"tagline": "Politics from a personal perspective",
"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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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
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"reveal": {
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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": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"tagline": "Real stories with killer beats",
"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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