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"content": "\u003cp>[dropcap]T[/dropcap]he schism was glaring. In 1915, San Francisco’s Panama-Pacific International Exposition heralded itself as a showcase of modernity and progress. But for the duration of its nearly yearlong run, the world’s fair sold tickets to games and presentations so blatantly racist they sparked a Black-led demonstration that reverberated across the Bay area.\u003c/p>\n\u003cp>In the amusement section of the fair—known as the Joy Zone—booths like \u003ca href=\"http://davegilson.com/african-dip.html\" target=\"_blank\" rel=\"noopener noreferrer\">The African Dip\u003c/a>, \u003ca href=\"http://davegilson.com/african-dip.html\" target=\"_blank\" rel=\"noopener noreferrer\">Soa Kum\u003c/a> and \u003ca href=\"https://link.springer.com/article/10.1007/s12138-019-00531-5\" target=\"_blank\" rel=\"noopener noreferrer\">Dixieland\u003c/a> used enormous racist effigies on their exteriors to attract visitors. The Dixieland booth even peddled old lies about “the antebellum days in the South,” when “the slaves were about the happiest and carefree beings on earth.” Nearby, in the Palace of Food Products, at the Sperry Flour Booth, Black women sold pancakes while dressed in full “mammy” attire.\u003c/p>\n\u003cp>[aside postid='arts_13881675']After four months of witnessing these displays, Black communities from around the Bay Area converged on San Francisco’s Ferry Building and formed a parade. The turnout was enormous; the \u003cem>Oakland Sunshine\u003c/em> reported, “Everybody shut up shop and [got] themselves across the channel.” A jubilant demonstration of flower-covered floats, choirs, flag-waving schoolchildren, streetcars full of Black women’s clubs and everyday workers moved down Market Street and, at Van Ness, entered the Joy Zone. The parade then proudly marched across the entire fair.\u003c/p>\n\u003cp>This was Alameda County Day: an event intricately organized not just to dispel the stereotypes on show at the fair, but to illustrate Black people’s contributions to the city, county and state. Leaving race out of the event’s title was a very specific decision—organizers had scrapped plans for a “Negro Day” just months earlier. Participants had no interest in being tokenized. This wasn’t merely about skin tone; it was a demand to be seen and treated as fellow, equal citizens.\u003c/p>\n\u003cp>At the time, the \u003cem>San Francisco Chronicle\u003c/em> called the event “a revelation.” Journalist \u003ca href=\"https://www.kqed.org/pop/102326/rebel-girls-from-bay-area-history-delilah-l-beasley-pioneering-journalist\" target=\"_blank\" rel=\"noopener noreferrer\">Delilah L. Beasley\u003c/a> wrote in the \u003cem>Oakland Sunshine\u003c/em>: “The mere fact that colored children marched through the streets of San Francisco, carrying the Stars and Stripes, showed a decided advance and change of feeling toward the colored race in these parts.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The chairman of the committee that organized Alameda County Day wasn’t a man at all. She was a Black woman by the name of Myra Virginia Simmons. Her day jobs might have been decidedly low-key—the 35-year-old Oakland resident sold newspapers and worked as a domestic cook. But, to women and people of color around the Bay Area, she was a formidable campaigner and community leader.\u003c/p>\n\u003cfigure id=\"attachment_13884866\" class=\"wp-caption alignnone\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM.png\" alt=\"A postcard commemorating the Panama–Pacific International Exposition. Its nickname, Jewel City, was the invention of a young girl named Virginia Stephens who had won a competition held by PPIE officials, to name the fair. Only when she participated in Alameda County Day did they find out she was Black.\" width=\"522\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM.png 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM-160x104.png 160w\" sizes=\"auto, (max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">A postcard commemorating the Panama–Pacific International Exposition. Its nickname, Jewel City, was the invention of a young girl named Virginia Stephens who had won a competition held by PPIE officials, to name the fair. Only when she participated in Alameda County Day did they find out she was Black.\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]S[/dropcap]immons had already served in an impressive number of capacities by the time Alameda County Day occurred on June 10, 1915. She was chair of the Women’s Civic and Progressive League in Oakland; president of the Colored American Equal Suffrage League; a sometimes speaker before the Woman’s Christian Temperance Union; a leader of the Alameda County Colored Americans; and president of the Civic Center Auxiliary, a Black women’s club.\u003c/p>\n\u003cp>[aside postid='pop_102326']Prior to Alameda County Day, the Civic Center Auxiliary had also taken the lead in a large protest against the conditions in San Quentin for inmates of color. Later it led protests alongside the NAACP against the glorification of the KKK and vilification of Black men in the 1916 movie \u003cem>The Birth of a Nation\u003c/em>. But the majority of Simmons’ activist energy was spent on gaining voting rights for women.\u003c/p>\n\u003cp>After California women narrowly earned the right to vote in 1911—by a margin of just \u003ca href=\"https://www.sos.ca.gov/elections/celebrating-womens-suffrage/california-women-suffrage-centennial/\" target=\"_blank\" rel=\"noopener noreferrer\">3,587 votes\u003c/a>—Simmons only worked harder. A Nov. 23, 1911 edition of the \u003cem>San Francisco Call\u003c/em> newspaper reported that she was actively educating women about their voting rights and encouraging them to be politically active. She even went on to serve as a \u003ca href=\"https://elenorrooseveltdemocrats.org/?page_id=299\" target=\"_blank\" rel=\"noopener noreferrer\">precinct captain\u003c/a> during the first California election open to women.\u003c/p>\n\u003cp>The national battle for women’s suffrage, however, was still to be won, and women’s clubs were of vital importance, both socially and politically, in achieving this. Black women’s clubs, like Simmons’ Civic Center Auxiliary, and Oakland’s Fannie Jackson Coppin Club (named after the first Black woman to become a school principal) were focused on both civil and voting rights. Other women’s clubs, like San Francisco’s Votes For Women (led by the Pacific coast’s first female lawyer, \u003ca href=\"https://www.kqed.org/arts/13863165/the-wests-first-lady-lawyer-opened-doors-for-women-in-law\" target=\"_blank\" rel=\"noopener noreferrer\">Clara Shortridge Foltz\u003c/a>) were more singular in their focus. San Jose’s interracial Suffrage Amendment League was one of several examples of women working together across racial boundaries.\u003c/p>\n\u003cp>The passage of the 19th Amendment in 1920 was made possible by the dogged work of these women’s organizational and outreach efforts. Simmons herself was such an active campaigner that her name regularly showed up in newspapers around the Bay, as she led high-profile planning meetings with her peers. (On just one page of the March 29, 1915 issue of the \u003cem>Oakland Sunshine\u003c/em>, she is mentioned in \u003ca href=\"https://texashistory.unt.edu/ark:/67531/metapth523614/m1/3/?q=Myra%20Virginia%20Simmons\" target=\"_blank\" rel=\"noopener noreferrer\">three separate stories\u003c/a>.)\u003c/p>\n\u003cp>[aside postid='arts_13892514']Many thousands of women fought for suffrage in the first decades of the 20th century, but Simmons went above and beyond; she was a natural born leader for whom no civic challenge was too great. She spent much of her later life in San Francisco, and lived to see the passage of 1964’s Civil Rights Act.\u003c/p>\n\u003cp>Myra Virginia Simmons died one year later at the age of 84. As is so often the case with suffragists of the period, photos of her remain elusive. Yet it seems highly likely she would have been present for the Oakland gathering of the California Federation of Colored Women’s Clubs in July 1915, as pictured at the top of this article. Though we cannot know which woman she is in the photo, in many ways she is all of them: determined, proud and poised to make a change.\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>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\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>After four months of witnessing these displays, Black communities from around the Bay Area converged on San Francisco’s Ferry Building and formed a parade. The turnout was enormous; the \u003cem>Oakland Sunshine\u003c/em> reported, “Everybody shut up shop and [got] themselves across the channel.” A jubilant demonstration of flower-covered floats, choirs, flag-waving schoolchildren, streetcars full of Black women’s clubs and everyday workers moved down Market Street and, at Van Ness, entered the Joy Zone. The parade then proudly marched across the entire fair.\u003c/p>\n\u003cp>This was Alameda County Day: an event intricately organized not just to dispel the stereotypes on show at the fair, but to illustrate Black people’s contributions to the city, county and state. Leaving race out of the event’s title was a very specific decision—organizers had scrapped plans for a “Negro Day” just months earlier. Participants had no interest in being tokenized. This wasn’t merely about skin tone; it was a demand to be seen and treated as fellow, equal citizens.\u003c/p>\n\u003cp>At the time, the \u003cem>San Francisco Chronicle\u003c/em> called the event “a revelation.” Journalist \u003ca href=\"https://www.kqed.org/pop/102326/rebel-girls-from-bay-area-history-delilah-l-beasley-pioneering-journalist\" target=\"_blank\" rel=\"noopener noreferrer\">Delilah L. Beasley\u003c/a> wrote in the \u003cem>Oakland Sunshine\u003c/em>: “The mere fact that colored children marched through the streets of San Francisco, carrying the Stars and Stripes, showed a decided advance and change of feeling toward the colored race in these parts.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The chairman of the committee that organized Alameda County Day wasn’t a man at all. She was a Black woman by the name of Myra Virginia Simmons. Her day jobs might have been decidedly low-key—the 35-year-old Oakland resident sold newspapers and worked as a domestic cook. But, to women and people of color around the Bay Area, she was a formidable campaigner and community leader.\u003c/p>\n\u003cfigure id=\"attachment_13884866\" class=\"wp-caption alignnone\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM.png\" alt=\"A postcard commemorating the Panama–Pacific International Exposition. Its nickname, Jewel City, was the invention of a young girl named Virginia Stephens who had won a competition held by PPIE officials, to name the fair. Only when she participated in Alameda County Day did they find out she was Black.\" width=\"522\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM.png 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM-160x104.png 160w\" sizes=\"auto, (max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">A postcard commemorating the Panama–Pacific International Exposition. Its nickname, Jewel City, was the invention of a young girl named Virginia Stephens who had won a competition held by PPIE officials, to name the fair. Only when she participated in Alameda County Day did they find out she was Black.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">S\u003c/span>\u003c/p>\u003cp>immons had already served in an impressive number of capacities by the time Alameda County Day occurred on June 10, 1915. She was chair of the Women’s Civic and Progressive League in Oakland; president of the Colored American Equal Suffrage League; a sometimes speaker before the Woman’s Christian Temperance Union; a leader of the Alameda County Colored Americans; and president of the Civic Center Auxiliary, a Black women’s club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Prior to Alameda County Day, the Civic Center Auxiliary had also taken the lead in a large protest against the conditions in San Quentin for inmates of color. Later it led protests alongside the NAACP against the glorification of the KKK and vilification of Black men in the 1916 movie \u003cem>The Birth of a Nation\u003c/em>. But the majority of Simmons’ activist energy was spent on gaining voting rights for women.\u003c/p>\n\u003cp>After California women narrowly earned the right to vote in 1911—by a margin of just \u003ca href=\"https://www.sos.ca.gov/elections/celebrating-womens-suffrage/california-women-suffrage-centennial/\" target=\"_blank\" rel=\"noopener noreferrer\">3,587 votes\u003c/a>—Simmons only worked harder. A Nov. 23, 1911 edition of the \u003cem>San Francisco Call\u003c/em> newspaper reported that she was actively educating women about their voting rights and encouraging them to be politically active. She even went on to serve as a \u003ca href=\"https://elenorrooseveltdemocrats.org/?page_id=299\" target=\"_blank\" rel=\"noopener noreferrer\">precinct captain\u003c/a> during the first California election open to women.\u003c/p>\n\u003cp>The national battle for women’s suffrage, however, was still to be won, and women’s clubs were of vital importance, both socially and politically, in achieving this. Black women’s clubs, like Simmons’ Civic Center Auxiliary, and Oakland’s Fannie Jackson Coppin Club (named after the first Black woman to become a school principal) were focused on both civil and voting rights. Other women’s clubs, like San Francisco’s Votes For Women (led by the Pacific coast’s first female lawyer, \u003ca href=\"https://www.kqed.org/arts/13863165/the-wests-first-lady-lawyer-opened-doors-for-women-in-law\" target=\"_blank\" rel=\"noopener noreferrer\">Clara Shortridge Foltz\u003c/a>) were more singular in their focus. San Jose’s interracial Suffrage Amendment League was one of several examples of women working together across racial boundaries.\u003c/p>\n\u003cp>The passage of the 19th Amendment in 1920 was made possible by the dogged work of these women’s organizational and outreach efforts. Simmons herself was such an active campaigner that her name regularly showed up in newspapers around the Bay, as she led high-profile planning meetings with her peers. (On just one page of the March 29, 1915 issue of the \u003cem>Oakland Sunshine\u003c/em>, she is mentioned in \u003ca href=\"https://texashistory.unt.edu/ark:/67531/metapth523614/m1/3/?q=Myra%20Virginia%20Simmons\" target=\"_blank\" rel=\"noopener noreferrer\">three separate stories\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Many thousands of women fought for suffrage in the first decades of the 20th century, but Simmons went above and beyond; she was a natural born leader for whom no civic challenge was too great. She spent much of her later life in San Francisco, and lived to see the passage of 1964’s Civil Rights Act.\u003c/p>\n\u003cp>Myra Virginia Simmons died one year later at the age of 84. As is so often the case with suffragists of the period, photos of her remain elusive. Yet it seems highly likely she would have been present for the Oakland gathering of the California Federation of Colored Women’s Clubs in July 1915, as pictured at the top of this article. Though we cannot know which woman she is in the photo, in many ways she is all of them: determined, proud and poised to make a change.\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>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\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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"content": "\u003cp>On Dec. 9, 1871, the \u003cem>San Francisco Chronicle\u003c/em> ran a story about a “specter” that had appeared in the upstairs window of a house on Mason Street. The ghostly face had been scaring neighbors for five days at that point, and as word spread, hundreds of people from all over the city flocked to see it, gridlocking an entire stretch of North Beach.[aside postid='arts_13883118']\u003c/p>\n\u003cp>It was children who first noticed the face in the window at 2119 Mason Street. When they pointed it out to the occupant, a Swedish widow named Mrs. Jorgenson, she investigated the room and found nothing out of place. The \u003cem>Chronicle\u003c/em> later noted: “The room in which the specter-bearing window stands is small and contains a picture and a looking-glass among the rest of the articles of furniture. Therefore, there is no object which might produce on the window the reflection of a human face.”\u003c/p>\n\u003cp>As gossip spread throughout North Beach that her dead husband had come home to haunt her, Mrs. Jorgenson was forced to repeatedly point out that the man in the window didn’t even look like him. Which may have been a bit of a shame for her, given that in its front page follow-up report on Dec. 10, the\u003cem> Chronicle\u003c/em> described the window ghost as “rather handsome.”\u003c/p>\n\u003cp>The paper provided both an artist’s rendering of the apparition and a detailed description. “The image is of life-size,” it reported, “with mustache and goatee; well-defined hair parted in the middle, and waving off the forehead.” The paper also said: “The eyes are quite distinct and, from a circular rim beneath each, seem to be spectacled. The head is pensively cast on the left shoulder,” with an expression that appeared “thoughtful and rather sad.”\u003c/p>\n\u003cfigure id=\"attachment_13884416\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884416\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/20200805_143941-800x1207.jpg\" alt=\"The artist's rendering of the window apparition, as seen in the San Francisco Chronicle on Saturday, Dec. 10 1871.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_143941-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_143941-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_143941-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_143941-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_143941-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_143941-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_143941-scaled.jpg 1697w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The artist’s rendering of the window apparition, as seen in the San Francisco Chronicle on Saturday, Dec. 10 1871.\u003c/figcaption>\u003c/figure>\n\u003cp>The same day the\u003cem> Chronicle’\u003c/em>s first report came out, the window was purchased for $250 by Robert B. Woodward, the owner of \u003ca href=\"https://en.wikipedia.org/wiki/Woodward%27s_Gardens\" target=\"_blank\" rel=\"noopener noreferrer\">Woodward’s Gardens\u003c/a>. “The Gardens,” as it was commonly referred to at the time, was a popular amusement park that was open between 1866 and 1891. It occupied the block bounded by Mission, Duboce, Valencia and 14th Streets, and it squeezed a lot into that space—including a museum, art gallery, zoo, aquarium, botanical gardens and—as of 1871—a haunted window section.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Woodward got the glass in the nick of time—the Superintendent of the North Beach and Mission Railroad arrived later that day in the hopes of also buying it.[aside postid='arts_13881990']\u003c/p>\n\u003cp>While Woodward was busy removing Mrs. Jorgenson’s window on Mason, half a block away at 708 Lombard Street, another window was causing a furor. And the ghost face in this one, the\u003cem> Chronicle\u003c/em> was careful to detail, wasn’t nearly as dashing as the first. “The apparition is of an elderly gentleman with very grotesque features,” it reported. “He presents a profile view, and is looking contemplatively upward. The pane of glass is rather small, and the old gentleman’s head seems to be squeezed in.”\u003c/p>\n\u003cfigure id=\"attachment_13884419\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884419\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/20200805_145531-800x863.jpg\" alt=\"Ghost window number two, as presented in the San Francisco Chronicle on Saturday, Dec. 10, 1871.\" width=\"800\" height=\"863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_145531-800x863.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_145531-1020x1100.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_145531-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_145531-768x828.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_145531-1424x1536.jpg 1424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_145531.jpg 1626w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ghost window number two, as presented in the San Francisco Chronicle on Saturday, Dec. 10, 1871.\u003c/figcaption>\u003c/figure>\n\u003cp>When the homeowner John J. Hucks, noticed the commotion gathering in front of his house, he rushed outside and told them, in no uncertain terms, to scram. “Mr. Hucks was terribly wrothy,” \u003cem>The Chronicle\u003c/em> noted. “He asked us of who and what we were and on hearing our business, broke out violently, declaring that he ‘wanted no such damned thing as that put in the \u003cem>Chronicle’ \u003c/em>about his house.”\u003c/p>\n\u003cp>Hucks’ mood probably lifted after Robert B. Woodward arrived later that afternoon and handed over $250 for the window.\u003c/p>\n\u003cp>By then, attention had shifted to yet another house on Mason Street. Spotted in the window of number 2109 was a—wait for it!—spectral butterfly. Based on his text, this appears to have been the breaking point for the\u003cem> Chronicle\u003c/em> reporter. “What the object of any spirit may be in assuming the shape of a butterfly, we can’t see,” he wrote, “unless it is to make a poor reporter overhaul numerous huge volumes of entomology, for the purpose of finding out the particular caterpillar he comes from.”[aside postid='pop_103040']\u003c/p>\n\u003cp>Shortly after the butterfly image “faded away and gradually disappeared,” the reporter and his sketch artist were informed by a frantic man running up the street “with one boot off” of a fourth ghost window—this one at Mason and Green. “But we had our fill of specters,” the newspaper reported. “It was getting rather monotonous, this ghost business. So we determined not to interview this fourth abomination.”\u003c/p>\n\u003cp>At the article’s conclusion, it was suggested that the “ghosts” were, in all likelihood, merely “iridescent formations” resulting from a combination of “dust and moisture.” By that stage, it didn’t much matter. Robert B. Woodward was already proudly displaying the “Ghost Sensation!” attraction at his amusement park and the city was filled with enough believers to go and visit it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 1893, 14 years after his death, Woodward’s collection of 75,000 curios and \u003cem>objet d’art\u003c/em> were auctioned off. Adolph Sutro snapped up a lot of items that would later be displayed at the Sutro Baths—but it’s unclear exactly where the windows ended up. If not for the \u003cem>Chronicle\u003c/em>’s willingness to report on such a strange episode, the ghostly windows—and the wacky behavior they inspired—would likely have been lost to the ravages of time. Now they may just live on forever, as all good window ghosts should.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was children who first noticed the face in the window at 2119 Mason Street. When they pointed it out to the occupant, a Swedish widow named Mrs. Jorgenson, she investigated the room and found nothing out of place. The \u003cem>Chronicle\u003c/em> later noted: “The room in which the specter-bearing window stands is small and contains a picture and a looking-glass among the rest of the articles of furniture. Therefore, there is no object which might produce on the window the reflection of a human face.”\u003c/p>\n\u003cp>As gossip spread throughout North Beach that her dead husband had come home to haunt her, Mrs. Jorgenson was forced to repeatedly point out that the man in the window didn’t even look like him. Which may have been a bit of a shame for her, given that in its front page follow-up report on Dec. 10, the\u003cem> Chronicle\u003c/em> described the window ghost as “rather handsome.”\u003c/p>\n\u003cp>The paper provided both an artist’s rendering of the apparition and a detailed description. “The image is of life-size,” it reported, “with mustache and goatee; well-defined hair parted in the middle, and waving off the forehead.” The paper also said: “The eyes are quite distinct and, from a circular rim beneath each, seem to be spectacled. The head is pensively cast on the left shoulder,” with an expression that appeared “thoughtful and rather sad.”\u003c/p>\n\u003cfigure id=\"attachment_13884416\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884416\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/20200805_143941-800x1207.jpg\" alt=\"The artist's rendering of the window apparition, as seen in the San Francisco Chronicle on Saturday, Dec. 10 1871.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_143941-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_143941-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_143941-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_143941-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_143941-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_143941-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_143941-scaled.jpg 1697w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The artist’s rendering of the window apparition, as seen in the San Francisco Chronicle on Saturday, Dec. 10 1871.\u003c/figcaption>\u003c/figure>\n\u003cp>The same day the\u003cem> Chronicle’\u003c/em>s first report came out, the window was purchased for $250 by Robert B. Woodward, the owner of \u003ca href=\"https://en.wikipedia.org/wiki/Woodward%27s_Gardens\" target=\"_blank\" rel=\"noopener noreferrer\">Woodward’s Gardens\u003c/a>. “The Gardens,” as it was commonly referred to at the time, was a popular amusement park that was open between 1866 and 1891. It occupied the block bounded by Mission, Duboce, Valencia and 14th Streets, and it squeezed a lot into that space—including a museum, art gallery, zoo, aquarium, botanical gardens and—as of 1871—a haunted window section.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Woodward got the glass in the nick of time—the Superintendent of the North Beach and Mission Railroad arrived later that day in the hopes of also buying it.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While Woodward was busy removing Mrs. Jorgenson’s window on Mason, half a block away at 708 Lombard Street, another window was causing a furor. And the ghost face in this one, the\u003cem> Chronicle\u003c/em> was careful to detail, wasn’t nearly as dashing as the first. “The apparition is of an elderly gentleman with very grotesque features,” it reported. “He presents a profile view, and is looking contemplatively upward. The pane of glass is rather small, and the old gentleman’s head seems to be squeezed in.”\u003c/p>\n\u003cfigure id=\"attachment_13884419\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884419\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/20200805_145531-800x863.jpg\" alt=\"Ghost window number two, as presented in the San Francisco Chronicle on Saturday, Dec. 10, 1871.\" width=\"800\" height=\"863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_145531-800x863.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_145531-1020x1100.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_145531-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_145531-768x828.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_145531-1424x1536.jpg 1424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/20200805_145531.jpg 1626w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ghost window number two, as presented in the San Francisco Chronicle on Saturday, Dec. 10, 1871.\u003c/figcaption>\u003c/figure>\n\u003cp>When the homeowner John J. Hucks, noticed the commotion gathering in front of his house, he rushed outside and told them, in no uncertain terms, to scram. “Mr. Hucks was terribly wrothy,” \u003cem>The Chronicle\u003c/em> noted. “He asked us of who and what we were and on hearing our business, broke out violently, declaring that he ‘wanted no such damned thing as that put in the \u003cem>Chronicle’ \u003c/em>about his house.”\u003c/p>\n\u003cp>Hucks’ mood probably lifted after Robert B. Woodward arrived later that afternoon and handed over $250 for the window.\u003c/p>\n\u003cp>By then, attention had shifted to yet another house on Mason Street. Spotted in the window of number 2109 was a—wait for it!—spectral butterfly. Based on his text, this appears to have been the breaking point for the\u003cem> Chronicle\u003c/em> reporter. “What the object of any spirit may be in assuming the shape of a butterfly, we can’t see,” he wrote, “unless it is to make a poor reporter overhaul numerous huge volumes of entomology, for the purpose of finding out the particular caterpillar he comes from.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shortly after the butterfly image “faded away and gradually disappeared,” the reporter and his sketch artist were informed by a frantic man running up the street “with one boot off” of a fourth ghost window—this one at Mason and Green. “But we had our fill of specters,” the newspaper reported. “It was getting rather monotonous, this ghost business. So we determined not to interview this fourth abomination.”\u003c/p>\n\u003cp>At the article’s conclusion, it was suggested that the “ghosts” were, in all likelihood, merely “iridescent formations” resulting from a combination of “dust and moisture.” By that stage, it didn’t much matter. Robert B. Woodward was already proudly displaying the “Ghost Sensation!” attraction at his amusement park and the city was filled with enough believers to go and visit it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 1893, 14 years after his death, Woodward’s collection of 75,000 curios and \u003cem>objet d’art\u003c/em> were auctioned off. Adolph Sutro snapped up a lot of items that would later be displayed at the Sutro Baths—but it’s unclear exactly where the windows ended up. If not for the \u003cem>Chronicle\u003c/em>’s willingness to report on such a strange episode, the ghostly windows—and the wacky behavior they inspired—would likely have been lost to the ravages of time. Now they may just live on forever, as all good window ghosts should.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'And the World Went Crazy': How Hollywood Changed After Hiroshima",
"headTitle": "‘And the World Went Crazy’: How Hollywood Changed After Hiroshima | KQED",
"content": "\u003cp>\u003cem>On the Beach, \u003c/em>the 1959 film version of Nevil Shute’s cataclysmic bestseller, kicks into gear with a newscast designed to transport 1950s movie audiences from the nuclear age into a post-nuclear age:\u003c/p>\n\u003cp>“Scientists disagree as to when radiation will reach Australia,” intones the newscaster. “The atomic war has ended. But the prime minister reports no proof of survival of human life anywhere except here.”\u003c/p>\n\u003cp>The film then tags along as the world’s last submarine crew, captained by Gregory Peck, searches the globe for signs of humanity. The ship’s Geiger counter readings are dire even in mid-Pacific.\u003c/p>\n\u003cp>Then, in a scene met by hushed silence from ’50s audiences, the sub surfaces in the San Francisco Bay to discover an unbombed but irradiated ghost town. Nothing moving, no sign of life. It was the first portrait most movie patrons had seen of what the world might look like without them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=4482&v=HusewgIe_1k\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shortly after leaving the port, the sub’s crew asks its resident egghead, played by Fred Astaire, how he thinks the war started, and with a faraway look in his eye, he articulates the basic scenario for scores of nuclear thrillers to come:\u003c/p>\n\u003cp>“Somewhere some poor bloke probably looked at a radar screen and thought he saw something, knew that if he hesitated one-thousandth of a second, his own country would be wiped off the map. So he pushed the button and the world went …” Astaire looks helpless as he says the next word, “crazy.”\u003c/p>\n\u003cp>For 1959 audiences, \u003cem>On the Beach\u003c/em> took place in the not-too-distant future: 1964, to be precise. And that year in real life turned out to be a watershed for Cold War nuclear thrillers.\u003c/p>\n\u003cp>An intensifying arms race and the Cuban missile crisis had primed audiences for alarmism, and Tinseltown provided a double whammy: war mongering generals taking over the U.S. nuclear arsenal in \u003cem>Seven Days in May\u003c/em>, and just weeks later, \u003cem>Fail Safe\u003c/em>, which fleshed out Astaire’s accident scenario with frantic calls from Henry Fonda’s White House to a soon-to-be vaporized Kremlin.\u003c/p>\n\u003cp>Also released in 1964 was an acidly comic counterweight to these serious films—the one true classic the genre has produced—Stanley Kubrick’s \u003cem>Dr. Strangelove or: How I learned to Stop Worrying and Love the Bomb.\u003c/em> Kubrick combined the crazed-general scenario and the mistake scenario, had Peter Sellers play multiple roles so he could embody all sides of the argument, and came up with a satire that could say the unspeakable by disguising it as a joke.\u003c/p>\n\u003cp>By the time Slim Pickens rode his A-bomb to that last roundup in the sky, the audience had laughed at the existential absurdity of a weapon that only lets you win by also killing yourself.\u003c/p>\n\u003cp>The nuclear thriller had reached maturity.\u003c/p>\n\u003cp>Compared with a film like \u003cem>Dr. Strangelove\u003c/em>, the earlier, first films of the nuclear genre look decidedly silly. In 1954, the U.S. government produced a chirpy little civil-defense tutorial called \u003cem>Atomic Attack\u003c/em> in which a family’s quiet suburban life is rudely interrupted when New York City, some 50 miles away, gets vaporized. Featuring a very young Walter Matthau, the film pictures post-nuclear survival as downright inconvenient.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e5JiIjSjo_c\u003c/p>\n\u003cp>Hollywood, meanwhile, had become fascinated by reports that radiation could cause cells to mutate, a notion it took to illogical conclusions in unforgettably cheesy special effects flicks. Huge lizards, spiders and ants began emerging from the deserts near New Mexico’s White Sands nuclear test site, as scientists—who were the real villains, having gotten us into this mess—very slowly put two and two together.[aside postid='arts_13879052']\u003c/p>\n\u003cp>Audiences have always gravitated to these escapist films rather than to serious fare like \u003cem>Fail Safe\u003c/em>, which may be why nuclear proliferation in the real world couldn’t hope to match Hollywood’s version.\u003c/p>\n\u003cp>By the 1970s, it wasn’t just governments that had atomic weapons in movies. Practically everyone Agent 007 met seemed to have enough enriched plutonium to blow up at least a small corner of the globe. Meanwhile, \u003cem>Mad Max\u003c/em> was playing demolition derby in dusty post-nuclear landscapes, and \u003cem>WarGames\u003c/em> had teen hacker Matthew Broderick matching wits with the Pentagon’s doomsday computer.\u003c/p>\n\u003cp>Apart from the \u003cem>Terminator \u003c/em>movies, the whole notion of nuclear annihilation seemed to have receded on the big screen. In the thriller \u003cem>True Lies\u003c/em>, when a mushroom cloud rose above the Florida Keys, it was being used the way fireworks usually are, to underscore a kiss between Arnold Schwarzenegger and Jamie Lee Curtis.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3CfQDpoQQD8&\u003c/p>\n\u003cp>Big bangs are what big blockbusters are all about, of course, which has mostly left the real-world implications of nuclear weapons to television.[aside postid='arts_13867080']\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em>, produced by the BBC, served as a wake-up call to British audiences. It depicted a U.S. vs. Soviet Union nuclear battle in which America’s NATO allies amounted to collateral damage.\u003c/p>\n\u003cp>And while the effects were enough to traumatize audiences in Britain, they couldn’t hold a candle to the ones in ABC TV’s $7 million shocker, \u003cem>The Day After\u003c/em>.\u003c/p>\n\u003cp>At a time of heightened East/West tensions, the two-hour show (the last hour presented without commercial interruption) was designed to show the aftermath of an all-out nuclear war. And did it ever.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=3468&v=Iyy9n8r16hs\u003c/p>\n\u003cp>I remember the shock of seeing the blast in that telecast, and then the horror, a moment later, of a second blast—a second mushroom cloud rising behind the characters—then a third. It was a possibility no duck-and-cover drill in my youth had ever mentioned.\u003c/p>\n\u003cp>By film’s end, nearly all the characters are dead or dying—an outcome witnessed by 100 million Americans on Sunday, Nov. 20, 1983, at the time the largest audience ever to watch a television film.\u003c/p>\n\u003cp>And the day after \u003cem>The Day After\u003c/em>, there was a new national dialogue about nuclear weapons—one that affected public policy. President Ronald Reagan wrote in his diary of being “greatly depressed” by the film. After signing a nuclear-non-proliferation treaty a few years later, he sent a telegram to the director saying: “Don’t think your movie didn’t have any part of this, because it did.”\u003c/p>\n\u003cp>None of this kept Hollywood from going its own, more escapist way. Going Reagan one better in \u003cem>Superman IV, The Quest for Peace\u003c/em>, Christopher Reeve’s Man of Steel addressed a special session of the U.N. saying that he’s going to do what governments have been unwilling or unable to do: “Rid our planet of all nuclear weapons.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zWQIwJsqXrI\u003c/p>\n\u003cp>He then grabbed thousands of intercontinental ballistic missiles in midair (the unwilling governments having helpfully launched them) and put them in a big skynet (literally a net in the sky, not the \u003cem>Terminator\u003c/em> Skynet) after which he hurled them at the sun.\u003c/p>\n\u003cp>This was, presumably, good for the planet, less good for blockbustering. After all, if you get rid of the world’s atomic weapons, how’s Will Smith going to neutralize the alien invaders in \u003cem>Independence Day\u003c/em>? And in \u003cem>Armageddon\u003c/em>, the good guys needed weapons of mass destruction for the destruction-of-a-cosmic-mass (an asteroid on a collision course with Earth).\u003c/p>\n\u003cp>Not to mention that superhero flicks would have to look elsewhere for big finishes—no \u003cem>Dark Knight Rising\u003c/em> with A-bomb in tow, to spirit it to sea and save Gotham. No Iron Man slamming a sky-portal shut with a nuke in \u003cem>The Avengers\u003c/em>. No \u003cem>Wolverine\u003c/em> (working, as always, on a more intimate scale) saving a single Japanese soldier at Nagasaki from the blast only he knew was on the way.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YERtfFpLIsU\u003c/p>\n\u003cp>All of those plots are admittedly pretty silly and, again, not responsive to our own era’s heightened world tensions.\u003c/p>\n\u003cp>Still, if Hollywood isn’t making new nuclear films, some harrowing old ones have recently surfaced—declassified just as they were turning to dust. They’re footage shot by military researchers of nuclear tests conducted between 1945 and 1962.\u003c/p>\n\u003cp>More than 100 are \u003ca href=\"https://www.youtube.com/playlist?list=PLvGO_dWo8VfcmG166wKRy5z-GlJ_OQND5\" target=\"_blank\" rel=\"noopener noreferrer\">available for viewing on YouTube\u003c/a> from the Lawrence Livermore National Laboratory, which is analyzing them with computers and discovering that the readings made by scientists decades ago—readings on which computer simulations of current weaponry are based—are off by as much as 30 percent.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Still, their mushroom clouds are breathtaking, the power they document unfathomable. And when you realize the point of digitizing them is to help modernize nuclear stockpiles, their power as cinema is … well, I’m not sure there’s a word for that.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27And+The+World+Went+Crazy%27%3A+How+Hollywood+Changed+After+Hiroshima&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>On the Beach, \u003c/em>the 1959 film version of Nevil Shute’s cataclysmic bestseller, kicks into gear with a newscast designed to transport 1950s movie audiences from the nuclear age into a post-nuclear age:\u003c/p>\n\u003cp>“Scientists disagree as to when radiation will reach Australia,” intones the newscaster. “The atomic war has ended. But the prime minister reports no proof of survival of human life anywhere except here.”\u003c/p>\n\u003cp>The film then tags along as the world’s last submarine crew, captained by Gregory Peck, searches the globe for signs of humanity. The ship’s Geiger counter readings are dire even in mid-Pacific.\u003c/p>\n\u003cp>Then, in a scene met by hushed silence from ’50s audiences, the sub surfaces in the San Francisco Bay to discover an unbombed but irradiated ghost town. Nothing moving, no sign of life. It was the first portrait most movie patrons had seen of what the world might look like without them.\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/HusewgIe_1k'\n title='//www.youtube.com/embed/HusewgIe_1k'\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>Shortly after leaving the port, the sub’s crew asks its resident egghead, played by Fred Astaire, how he thinks the war started, and with a faraway look in his eye, he articulates the basic scenario for scores of nuclear thrillers to come:\u003c/p>\n\u003cp>“Somewhere some poor bloke probably looked at a radar screen and thought he saw something, knew that if he hesitated one-thousandth of a second, his own country would be wiped off the map. So he pushed the button and the world went …” Astaire looks helpless as he says the next word, “crazy.”\u003c/p>\n\u003cp>For 1959 audiences, \u003cem>On the Beach\u003c/em> took place in the not-too-distant future: 1964, to be precise. And that year in real life turned out to be a watershed for Cold War nuclear thrillers.\u003c/p>\n\u003cp>An intensifying arms race and the Cuban missile crisis had primed audiences for alarmism, and Tinseltown provided a double whammy: war mongering generals taking over the U.S. nuclear arsenal in \u003cem>Seven Days in May\u003c/em>, and just weeks later, \u003cem>Fail Safe\u003c/em>, which fleshed out Astaire’s accident scenario with frantic calls from Henry Fonda’s White House to a soon-to-be vaporized Kremlin.\u003c/p>\n\u003cp>Also released in 1964 was an acidly comic counterweight to these serious films—the one true classic the genre has produced—Stanley Kubrick’s \u003cem>Dr. Strangelove or: How I learned to Stop Worrying and Love the Bomb.\u003c/em> Kubrick combined the crazed-general scenario and the mistake scenario, had Peter Sellers play multiple roles so he could embody all sides of the argument, and came up with a satire that could say the unspeakable by disguising it as a joke.\u003c/p>\n\u003cp>By the time Slim Pickens rode his A-bomb to that last roundup in the sky, the audience had laughed at the existential absurdity of a weapon that only lets you win by also killing yourself.\u003c/p>\n\u003cp>The nuclear thriller had reached maturity.\u003c/p>\n\u003cp>Compared with a film like \u003cem>Dr. Strangelove\u003c/em>, the earlier, first films of the nuclear genre look decidedly silly. In 1954, the U.S. government produced a chirpy little civil-defense tutorial called \u003cem>Atomic Attack\u003c/em> in which a family’s quiet suburban life is rudely interrupted when New York City, some 50 miles away, gets vaporized. Featuring a very young Walter Matthau, the film pictures post-nuclear survival as downright inconvenient.\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/e5JiIjSjo_c'\n title='//www.youtube.com/embed/e5JiIjSjo_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hollywood, meanwhile, had become fascinated by reports that radiation could cause cells to mutate, a notion it took to illogical conclusions in unforgettably cheesy special effects flicks. Huge lizards, spiders and ants began emerging from the deserts near New Mexico’s White Sands nuclear test site, as scientists—who were the real villains, having gotten us into this mess—very slowly put two and two together.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Audiences have always gravitated to these escapist films rather than to serious fare like \u003cem>Fail Safe\u003c/em>, which may be why nuclear proliferation in the real world couldn’t hope to match Hollywood’s version.\u003c/p>\n\u003cp>By the 1970s, it wasn’t just governments that had atomic weapons in movies. Practically everyone Agent 007 met seemed to have enough enriched plutonium to blow up at least a small corner of the globe. Meanwhile, \u003cem>Mad Max\u003c/em> was playing demolition derby in dusty post-nuclear landscapes, and \u003cem>WarGames\u003c/em> had teen hacker Matthew Broderick matching wits with the Pentagon’s doomsday computer.\u003c/p>\n\u003cp>Apart from the \u003cem>Terminator \u003c/em>movies, the whole notion of nuclear annihilation seemed to have receded on the big screen. In the thriller \u003cem>True Lies\u003c/em>, when a mushroom cloud rose above the Florida Keys, it was being used the way fireworks usually are, to underscore a kiss between Arnold Schwarzenegger and Jamie Lee Curtis.\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/3CfQDpoQQD8'\n title='//www.youtube.com/embed/3CfQDpoQQD8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Big bangs are what big blockbusters are all about, of course, which has mostly left the real-world implications of nuclear weapons to television.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em>, produced by the BBC, served as a wake-up call to British audiences. It depicted a U.S. vs. Soviet Union nuclear battle in which America’s NATO allies amounted to collateral damage.\u003c/p>\n\u003cp>And while the effects were enough to traumatize audiences in Britain, they couldn’t hold a candle to the ones in ABC TV’s $7 million shocker, \u003cem>The Day After\u003c/em>.\u003c/p>\n\u003cp>At a time of heightened East/West tensions, the two-hour show (the last hour presented without commercial interruption) was designed to show the aftermath of an all-out nuclear war. And did it ever.\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/Iyy9n8r16hs'\n title='//www.youtube.com/embed/Iyy9n8r16hs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I remember the shock of seeing the blast in that telecast, and then the horror, a moment later, of a second blast—a second mushroom cloud rising behind the characters—then a third. It was a possibility no duck-and-cover drill in my youth had ever mentioned.\u003c/p>\n\u003cp>By film’s end, nearly all the characters are dead or dying—an outcome witnessed by 100 million Americans on Sunday, Nov. 20, 1983, at the time the largest audience ever to watch a television film.\u003c/p>\n\u003cp>And the day after \u003cem>The Day After\u003c/em>, there was a new national dialogue about nuclear weapons—one that affected public policy. President Ronald Reagan wrote in his diary of being “greatly depressed” by the film. After signing a nuclear-non-proliferation treaty a few years later, he sent a telegram to the director saying: “Don’t think your movie didn’t have any part of this, because it did.”\u003c/p>\n\u003cp>None of this kept Hollywood from going its own, more escapist way. Going Reagan one better in \u003cem>Superman IV, The Quest for Peace\u003c/em>, Christopher Reeve’s Man of Steel addressed a special session of the U.N. saying that he’s going to do what governments have been unwilling or unable to do: “Rid our planet of all nuclear weapons.”\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/zWQIwJsqXrI'\n title='//www.youtube.com/embed/zWQIwJsqXrI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He then grabbed thousands of intercontinental ballistic missiles in midair (the unwilling governments having helpfully launched them) and put them in a big skynet (literally a net in the sky, not the \u003cem>Terminator\u003c/em> Skynet) after which he hurled them at the sun.\u003c/p>\n\u003cp>This was, presumably, good for the planet, less good for blockbustering. After all, if you get rid of the world’s atomic weapons, how’s Will Smith going to neutralize the alien invaders in \u003cem>Independence Day\u003c/em>? And in \u003cem>Armageddon\u003c/em>, the good guys needed weapons of mass destruction for the destruction-of-a-cosmic-mass (an asteroid on a collision course with Earth).\u003c/p>\n\u003cp>Not to mention that superhero flicks would have to look elsewhere for big finishes—no \u003cem>Dark Knight Rising\u003c/em> with A-bomb in tow, to spirit it to sea and save Gotham. No Iron Man slamming a sky-portal shut with a nuke in \u003cem>The Avengers\u003c/em>. No \u003cem>Wolverine\u003c/em> (working, as always, on a more intimate scale) saving a single Japanese soldier at Nagasaki from the blast only he knew was on the way.\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/YERtfFpLIsU'\n title='//www.youtube.com/embed/YERtfFpLIsU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All of those plots are admittedly pretty silly and, again, not responsive to our own era’s heightened world tensions.\u003c/p>\n\u003cp>Still, if Hollywood isn’t making new nuclear films, some harrowing old ones have recently surfaced—declassified just as they were turning to dust. They’re footage shot by military researchers of nuclear tests conducted between 1945 and 1962.\u003c/p>\n\u003cp>More than 100 are \u003ca href=\"https://www.youtube.com/playlist?list=PLvGO_dWo8VfcmG166wKRy5z-GlJ_OQND5\" target=\"_blank\" rel=\"noopener noreferrer\">available for viewing on YouTube\u003c/a> from the Lawrence Livermore National Laboratory, which is analyzing them with computers and discovering that the readings made by scientists decades ago—readings on which computer simulations of current weaponry are based—are off by as much as 30 percent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, their mushroom clouds are breathtaking, the power they document unfathomable. And when you realize the point of digitizing them is to help modernize nuclear stockpiles, their power as cinema is … well, I’m not sure there’s a word for that.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27And+The+World+Went+Crazy%27%3A+How+Hollywood+Changed+After+Hiroshima&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Annie Burke died in 1962, she left her daughter with an important but daunting request.\u003c/p>\n\u003cp>Annie and her daughter Elsie Allen were Pomo—a Native people whose traditions dictated that women’s intricately hand-crafted baskets were always buried with them or other relatives. Burke asked her daughter to instead keep her baskets, pass them down, and use them to educate future generations of both Pomo people \u003cem>and\u003c/em> the outsiders who looked down on them.\u003c/p>\n\u003cp>Not only did Elsie Allen fulfill her mother’s dying wish, she also built a platform to fight for Native American civil rights, equal education opportunities, and greater visibility in the world.\u003c/p>\n\u003cp>Elsie Allen was born on Sept. 22, 1899 in Cloverdale, north of Santa Rosa, to farm laborers George and Annie Comanche. Though the first few years of her life were fairly idyllic, Allen encountered hardship early. Her father died when she was eight. By the time she turned 10, she was working in the fields alongside her mother. At the age of 11, she was forced by the government to attend an English-speaking boarding school 80 miles north of her Hopland home, despite having only ever spoken Pomo. She, like many Native children forced into the “\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=16516865\" target=\"_blank\" rel=\"noopener noreferrer\">Indian Boarding Schools\u003c/a>” of the time, struggled there and later counted it as one of the worst times of her life.\u003c/p>\n\u003cfigure id=\"attachment_13883687\" class=\"wp-caption alignnone\" style=\"max-width: 466px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/105_053_websize_bw.jpg\" alt=\"Elsie Allen cutting willow at Warm Springs Dam site, Sonoma County, 1980. \" width=\"466\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/105_053_websize_bw.jpg 466w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/105_053_websize_bw-160x201.jpg 160w\" sizes=\"auto, (max-width: 466px) 100vw, 466px\">\u003cfigcaption class=\"wp-caption-text\">Elsie Allen cutting willow at Warm Springs Dam site, Sonoma County, 1980. \u003ccite>(Scott M. Patterson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once a new school opened in Hopland, Allen was able to return home, learn English and receive a formal education. But she never stopped working, throughout her teens as a farm laborer and, once she was 18, as a domestic servant in San Francisco. She enjoyed neither the tight household restrictions nor the discrimination to which she was subjected, and within a year, went to work as a custodian at St. Joseph’s Hospital in San Francisco instead.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1919, Allen met her husband Arthur, and eventually had four children—two girls (Genevieve and Dorothy) and two boys (Leonard and George). She busied herself with raising a family and returned to farm work while she did so. But Allen always found time for activism on behalf of her people. [aside postid='pop_102633']\u003c/p>\n\u003cp>She was a member of both the Pomo and Hintil Women’s Clubs—organizations that fought segregation and performed charitable outreach. This included providing scholarships for deserving members of the community, for which Allen raised money through the making and selling of baskets.\u003c/p>\n\u003cp>By the time her mother asked her to begin saving the baskets of her family, it wasn’t hard for Allen to get on board with the idea. Despite members of her community pleading with her to stick with tradition, she had long been frustrated by her labors of love ending up in the ground.\u003c/p>\n\u003cp>“In the first few years of my married life,” \u003ca href=\"https://www.notablebiographies.com/supp/Supplement-A-Bu-and-Obituaries/Allen-Elsie.html\" target=\"_blank\" rel=\"noopener noreferrer\">Allen said\u003c/a> later, “I made a basket that was buried with my grandmother. My next basket was buried with my great uncle. A third basket was passed all around to relatives… [and was finally] buried with my brother-in-law. I didn’t have a good feeling about making baskets after that.”\u003c/p>\n\u003cp>Pomo baskets, whether they be decorative or functional, are extraordinary feats of engineering. Some can take years to construct. First, the materials—willow, redbud bark, various roots, sedges, feathers—must be gathered. (No easy task when many of these plants were labeled as weeds and subsequently destroyed when white settlers arrived.) Then those materials must be cured and prepped. Finally there’s the weaving—so intricate and precise, it can easily be mistaken for machine work.\u003c/p>\n\u003cfigure id=\"attachment_13883636\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883636\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-800x444.jpg\" alt='Intricate items from the Elsie Allen Pomo Basket Collection. The collection \"reflects a multigenerational family effort—mother to daughter to granddaughter\" and contains work by 26 Pomo weavers, including 30 pieces by Elsie Allen and her immediate family. ' width=\"800\" height=\"444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-800x444.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-1536x853.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-2048x1138.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-1920x1066.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Intricate items from the Elsie Allen Pomo Basket Collection. The collection “reflects a multigenerational family effort—mother to daughter to granddaughter” and contains work by 26 Pomo weavers, including 30 pieces by Elsie Allen and her immediate family. \u003ccite>(Courtesy of the Jesse Peter Multicultural Museum, Santa Rosa Junior College.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeking to educate outsiders about Pomo traditions, Allen’s mother, Annie, had displayed baskets at fairs around Northern California. After Annie’s death, Allen went further and began teaching the craft at the \u003ca href=\"http://www.mendocinoartcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Mendocino Art Center\u003c/a>, to whomever wanted to learn—whether they were Pomo or not. Simultaneously, at home, she passed her skills onto her daughters and grand-niece, \u003ca href=\"https://en.wikipedia.org/wiki/Susan_Billy\" target=\"_blank\" rel=\"noopener noreferrer\">Susan Billy\u003c/a>, who has since curated collections all over the country. Then, in 1972, Allen immortalized all of her techniques into a book—\u003cem>\u003ca href=\"https://www.biblio.com/book/pomo-basketmaking-supreme-art-weaver-elsie/d/1242068654?aid=frg&utm_source=google&utm_medium=product&utm_campaign=feed-details&gclid=EAIaIQobChMIuY7lqaff6gIV0z2tBh3GJgzJEAQYBCABEgIdjPD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">Pomo Basketmaking: A Supreme Art For The Weaver\u003c/a>—\u003c/em>so that anyone in the world might learn these skills.\u003c/p>\n\u003cp>As Allen made a name for herself, she never wasted her platform. From 1979 to 1981, she worked on the Native American Advisory Council, which helped gather a recorded history of the Makahmo and Mahilakawna Pomo. In addition, the council organized the relocation and preservation of endangered plants before the Warm Springs Dam commenced construction and Lake Sonoma was created. By the end of her life, Allen had been recognized in her community as a female chief, a cultural scholar and a Pomo Sage. [aside postid='arts_13863165']\u003c/p>\n\u003cp>Elsie Allen died on Dec. 31, 1990, at the age of 91. Up to the end, she worked tirelessly for both the betterment of her own community and for the standing of Native peoples across America. In the process, she successfully preserved traditions that were, before her, in great danger of being lost.\u003c/p>\n\u003cp>It doesn’t feel like an accident, then, that her lessons about basket weaving sometimes feel more like lessons on living well. “Basket weaving needs dedication and interest and increasing skill and knowledge,” \u003ca href=\"https://library.sonoma.edu/research/guides/regional/notablepeople/allen\" target=\"_blank\" rel=\"noopener noreferrer\">she once said\u003c/a>. “It needs feeling and love and honor for the great weavers of the past who showed us the way. If you can rouse in yourself this interest, feeling and dedication, you also can create matchless beauty.”\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>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Special thanks to the \u003ca href=\"https://museum.santarosa.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Jesse Peter Multicultural Museum\u003c/a>, Santa Rosa Junior College, for images of Elsie Allen, as well as pieces from the \u003ca href=\"https://museum.santarosa.edu/elsie-allen-pomo-basket-collection\" target=\"_blank\" rel=\"noopener noreferrer\">Elsie Allen Pomo Basket Collection\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>When Annie Burke died in 1962, she left her daughter with an important but daunting request.\u003c/p>\n\u003cp>Annie and her daughter Elsie Allen were Pomo—a Native people whose traditions dictated that women’s intricately hand-crafted baskets were always buried with them or other relatives. Burke asked her daughter to instead keep her baskets, pass them down, and use them to educate future generations of both Pomo people \u003cem>and\u003c/em> the outsiders who looked down on them.\u003c/p>\n\u003cp>Not only did Elsie Allen fulfill her mother’s dying wish, she also built a platform to fight for Native American civil rights, equal education opportunities, and greater visibility in the world.\u003c/p>\n\u003cp>Elsie Allen was born on Sept. 22, 1899 in Cloverdale, north of Santa Rosa, to farm laborers George and Annie Comanche. Though the first few years of her life were fairly idyllic, Allen encountered hardship early. Her father died when she was eight. By the time she turned 10, she was working in the fields alongside her mother. At the age of 11, she was forced by the government to attend an English-speaking boarding school 80 miles north of her Hopland home, despite having only ever spoken Pomo. She, like many Native children forced into the “\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=16516865\" target=\"_blank\" rel=\"noopener noreferrer\">Indian Boarding Schools\u003c/a>” of the time, struggled there and later counted it as one of the worst times of her life.\u003c/p>\n\u003cfigure id=\"attachment_13883687\" class=\"wp-caption alignnone\" style=\"max-width: 466px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/105_053_websize_bw.jpg\" alt=\"Elsie Allen cutting willow at Warm Springs Dam site, Sonoma County, 1980. \" width=\"466\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/105_053_websize_bw.jpg 466w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/105_053_websize_bw-160x201.jpg 160w\" sizes=\"auto, (max-width: 466px) 100vw, 466px\">\u003cfigcaption class=\"wp-caption-text\">Elsie Allen cutting willow at Warm Springs Dam site, Sonoma County, 1980. \u003ccite>(Scott M. Patterson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once a new school opened in Hopland, Allen was able to return home, learn English and receive a formal education. But she never stopped working, throughout her teens as a farm laborer and, once she was 18, as a domestic servant in San Francisco. She enjoyed neither the tight household restrictions nor the discrimination to which she was subjected, and within a year, went to work as a custodian at St. Joseph’s Hospital in San Francisco instead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1919, Allen met her husband Arthur, and eventually had four children—two girls (Genevieve and Dorothy) and two boys (Leonard and George). She busied herself with raising a family and returned to farm work while she did so. But Allen always found time for activism on behalf of her people. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She was a member of both the Pomo and Hintil Women’s Clubs—organizations that fought segregation and performed charitable outreach. This included providing scholarships for deserving members of the community, for which Allen raised money through the making and selling of baskets.\u003c/p>\n\u003cp>By the time her mother asked her to begin saving the baskets of her family, it wasn’t hard for Allen to get on board with the idea. Despite members of her community pleading with her to stick with tradition, she had long been frustrated by her labors of love ending up in the ground.\u003c/p>\n\u003cp>“In the first few years of my married life,” \u003ca href=\"https://www.notablebiographies.com/supp/Supplement-A-Bu-and-Obituaries/Allen-Elsie.html\" target=\"_blank\" rel=\"noopener noreferrer\">Allen said\u003c/a> later, “I made a basket that was buried with my grandmother. My next basket was buried with my great uncle. A third basket was passed all around to relatives… [and was finally] buried with my brother-in-law. I didn’t have a good feeling about making baskets after that.”\u003c/p>\n\u003cp>Pomo baskets, whether they be decorative or functional, are extraordinary feats of engineering. Some can take years to construct. First, the materials—willow, redbud bark, various roots, sedges, feathers—must be gathered. (No easy task when many of these plants were labeled as weeds and subsequently destroyed when white settlers arrived.) Then those materials must be cured and prepped. Finally there’s the weaving—so intricate and precise, it can easily be mistaken for machine work.\u003c/p>\n\u003cfigure id=\"attachment_13883636\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883636\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-800x444.jpg\" alt='Intricate items from the Elsie Allen Pomo Basket Collection. The collection \"reflects a multigenerational family effort—mother to daughter to granddaughter\" and contains work by 26 Pomo weavers, including 30 pieces by Elsie Allen and her immediate family. ' width=\"800\" height=\"444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-800x444.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-1536x853.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-2048x1138.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Elsie-Allen-Santa-Rosa-Junior-College-1920x1066.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Intricate items from the Elsie Allen Pomo Basket Collection. The collection “reflects a multigenerational family effort—mother to daughter to granddaughter” and contains work by 26 Pomo weavers, including 30 pieces by Elsie Allen and her immediate family. \u003ccite>(Courtesy of the Jesse Peter Multicultural Museum, Santa Rosa Junior College.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeking to educate outsiders about Pomo traditions, Allen’s mother, Annie, had displayed baskets at fairs around Northern California. After Annie’s death, Allen went further and began teaching the craft at the \u003ca href=\"http://www.mendocinoartcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Mendocino Art Center\u003c/a>, to whomever wanted to learn—whether they were Pomo or not. Simultaneously, at home, she passed her skills onto her daughters and grand-niece, \u003ca href=\"https://en.wikipedia.org/wiki/Susan_Billy\" target=\"_blank\" rel=\"noopener noreferrer\">Susan Billy\u003c/a>, who has since curated collections all over the country. Then, in 1972, Allen immortalized all of her techniques into a book—\u003cem>\u003ca href=\"https://www.biblio.com/book/pomo-basketmaking-supreme-art-weaver-elsie/d/1242068654?aid=frg&utm_source=google&utm_medium=product&utm_campaign=feed-details&gclid=EAIaIQobChMIuY7lqaff6gIV0z2tBh3GJgzJEAQYBCABEgIdjPD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">Pomo Basketmaking: A Supreme Art For The Weaver\u003c/a>—\u003c/em>so that anyone in the world might learn these skills.\u003c/p>\n\u003cp>As Allen made a name for herself, she never wasted her platform. From 1979 to 1981, she worked on the Native American Advisory Council, which helped gather a recorded history of the Makahmo and Mahilakawna Pomo. In addition, the council organized the relocation and preservation of endangered plants before the Warm Springs Dam commenced construction and Lake Sonoma was created. By the end of her life, Allen had been recognized in her community as a female chief, a cultural scholar and a Pomo Sage. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elsie Allen died on Dec. 31, 1990, at the age of 91. Up to the end, she worked tirelessly for both the betterment of her own community and for the standing of Native peoples across America. In the process, she successfully preserved traditions that were, before her, in great danger of being lost.\u003c/p>\n\u003cp>It doesn’t feel like an accident, then, that her lessons about basket weaving sometimes feel more like lessons on living well. “Basket weaving needs dedication and interest and increasing skill and knowledge,” \u003ca href=\"https://library.sonoma.edu/research/guides/regional/notablepeople/allen\" target=\"_blank\" rel=\"noopener noreferrer\">she once said\u003c/a>. “It needs feeling and love and honor for the great weavers of the past who showed us the way. If you can rouse in yourself this interest, feeling and dedication, you also can create matchless beauty.”\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>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Special thanks to the \u003ca href=\"https://museum.santarosa.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Jesse Peter Multicultural Museum\u003c/a>, Santa Rosa Junior College, for images of Elsie Allen, as well as pieces from the \u003ca href=\"https://museum.santarosa.edu/elsie-allen-pomo-basket-collection\" target=\"_blank\" rel=\"noopener noreferrer\">Elsie Allen Pomo Basket Collection\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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"content": "\u003cp>On Oct. 5, 1891, the San Francisco \u003cem>Morning Call\u003c/em> newspaper featured an \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=SFC18911005.2.65&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">in-depth report\u003c/a> about “the shadow of misfortune” that was, at that time, hanging over Nob Hill’s most prestigious homes. The article focused on the abandoned mansions of the prominent Stanford, Crocker, Colton, Hopkins and Flood families. “Lifeless and forlorn,” the newspaper stated, “they tell no story but of pride ungratified and happiness that could not be purchased. So the shadows seem to rest on Nob Hill.”\u003c/p>\n\u003cp>The trail of misery was undeniable.\u003c/p>\n\u003cp>Leland and Jane Stanford abandoned their 50-room mansion on the corner of Powell and California Streets after their son died at 15 years old. In 1883, after the senator and his wife held Leland Jr.’s funeral in the 41,000 square-foot house, they moved to Menlo Park, leaving the mansion as a sort of shrine to their son. One particularly macabre feature was left visible for passersby. “In [Leland Jr.’s] old room, looking out over the bay,” \u003cem>The Morning Call\u003c/em> observed, “all the belongings of his boyhood cluster undisturbed. His picture hangs before a window, the blinds of which are never drawn. To this room, a mother comes to weep. It is the shrine of her grief.”\u003c/p>\n\u003cfigure id=\"attachment_13904177\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904177\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/20211004_134556-800x588.jpg\" alt=\"\" width=\"800\" height=\"588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-1536x1128.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-2048x1504.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-1920x1410.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Stanford mansion in 1883. Behind it, at the top of the hill, is the Hopkins mansion. \u003ccite>(The Bancroft Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the Stanfords’ neighbors were struck with similar misfortunes.\u003c/p>\n\u003cp>Charles Crocker, a co-founder of the Central Pacific Railroad, as well as the bank that later became Wells Fargo, had built his 25,000 square-foot home at the peak of Nob Hill (then called California Hill). His intention was to acquire and demolish the 13 houses already on the land and build on the vacant plot. He succeeded in buying 12. When the owner of the final home—an undertaker named Nicholas Yung—requested $12,000 to move, Crocker refused to pay and, instead, walled off Yung’s home behind a monstrous, 40-foot-tall “spite fence.”\u003c/p>\n\u003cfigure id=\"attachment_13883180\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Muybridge_SF_pan_1878_portion_showing_spite_fence.jpg\" alt=\"Portion of a panoramic photograph, taken in April 1878 by Eadweard Muybridge, showing the spite fence constructed by Charles Crocker around Nicolas Yung's home.\" width=\"640\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Muybridge_SF_pan_1878_portion_showing_spite_fence.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Muybridge_SF_pan_1878_portion_showing_spite_fence-160x140.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Portion of a panoramic photograph, taken in April 1878 by Eadweard Muybridge, showing the spite fence constructed by Charles Crocker around Nicolas Yung’s home.\u003c/figcaption>\u003c/figure>\n\u003cp>Crocker died in 1888, leaving two of his sons squabbling over ownership of the house while also continuing their father’s feud with Yung. It’s remarkable that the eldest Crocker, Fred, had the energy for such pettiness, having lost his 29-year-old wife in childbirth the year before his father died. (Fred never married again and their daughter, Mary, only made it to 24.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Next door to the Crocker mansion (and the spite fence) was the Italian-style villa of General David Colton, an attorney and another co-founder of the Central Pacific Railroad. The $75,000 L-shaped, two-story home was completed in 1872. Six years later, Colton was thrown from a horse and subsequently crushed by the animal. Surgery was attempted, but a deadly infection resulted and he died at the age of 47, leaving significant debts.\u003c/p>\n\u003cp>[aside postid='arts_13937270']Colton’s death triggered a series of unfortunate events. Believing that her husband’s Pacific Railroad colleagues had swindled her out of money, Ellen Colton took action that resulted in \u003ca href=\"http://pcad.lib.washington.edu/building/16605/\" target=\"_blank\" rel=\"noopener noreferrer\">multiple lawsuits\u003c/a>, two years in court and a mountain of \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=DAC18840712.2.4&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">gossip in the local press\u003c/a>. The \u003cem>Morning Call\u003c/em> reported that the lawsuits resulted in “much of the [Colton] estate” being “frittered away.”\u003c/p>\n\u003cp>The paper was also careful to note the bad luck that had befallen one of the Coltons’ two daughters, Carrie. It reported that her first husband died after a year and a half of their marriage, and her second, Henry McClane Martin—“a love match without doubt”—died of a sudden illness that once again left her “heart-broken.” The newspaper said the family mansion was left, “vacant and gruesome with memories.”\u003c/p>\n\u003cp>Eventually, one of the people Ellen had fought in court, Collis P. Huntington, bought the Colton home for $250,000. But because his family was based in New York, the mansion remained largely empty.\u003c/p>\n\u003cfigure id=\"attachment_13883191\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/nob-hill-houses-800x800.jpg\" alt=\"The Crocker, Stanford and Colton mansions, as illustrated in an 1891 edition of San Francisco's 'Morning Call' newspaper.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crocker, Stanford and Colton mansions, as illustrated in an 1891 edition of San Francisco’s ‘Morning Call’ newspaper.\u003c/figcaption>\u003c/figure>\n\u003cp>Another neighbor on California Street was Richard Tobin, a lawyer, co-founder of The Hibernia Savings and Loan Society and one of the original owners of the \u003cem>San Francisco Chronicle\u003c/em>. He became successful after emigrating from Ireland in 1849 with his father and brother, but his 5,400 square-foot mansion at Taylor Street was more modest than his neighbors’ abodes. (It did, however, still include a 75-foot-tall observatory tower and a private chapel, complete with stained glass windows.)\u003c/p>\n\u003cp>[aside postid='arts_13879301']The Tobin clan evidently experienced some trouble with their neighbors. The \u003ca href=\"https://www.maritimeheritage.org/vips/tobin.htm\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daily Alta\u003c/em> reported\u003c/a> on May 21, 1877 that “On Thursday morning, Charles A. Crocker [he of the spite fence] and William Tobin engaged in a row in a Market Street saloon, during which Tobin was stabbed in the abdomen. Yesterday Crocker was examined before Judge Lawler, and Tobin asserted that they were both drunk, and that the stabbing was done accidentally. The charge was consequently dismissed.”\u003c/p>\n\u003cp>(It is unclear from records whether William was Richard’s brother or father.)\u003c/p>\n\u003cp>Richard Tobin died in 1887, but his wife remained in their Nob Hill home. That was until August 27, 1895, when house-painters using gasoline lamps to burn off old paint caused a massive fire. The \u003ca href=\"https://www.maritimeheritage.org/vips/tobin.htm\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Call\u003c/em> reported\u003c/a> that “between $10,000 and $15,000 [of] damages” were caused, in part because “the heavy steam engines” of the fire trucks had trouble mounting the hill. The paper also reported that the house was insured for only $5,000.\u003c/p>\n\u003cp>The grand twist in all of this is that the architectural firm responsible for all four of these homes was one and the same: Bugbee & Sons. And the head of that company, Samuel C. Bugbee, just happens to be the great-great grandfather of Shirley Jackson. Jackson, of course, was an author who built her career writing about strange and cursed old houses in books like 1959’s \u003cem>The Haunting of Hill House\u003c/em> and 1962’s \u003cem>We Have Always Lived in the\u003c/em> \u003cem>Castle\u003c/em>. In 1958’s \u003cem>The Sundial\u003c/em>, a cantankerous family lives in a mansion at the top of the hill, surrounded by an imposing wall. (It’s impossible not to think of the Crockers.)\u003c/p>\n\u003cp>[aside postid='arts_13881990']Though enormously successful with their architecture firm—they also built Mills Hall at Mills College (1871), Wade Opera House (1876) and the Golden Gate Park Conservatory—the Bugbees had a habit of dying suddenly. Samuel died Sept. 1, 1877 on a ferry between San Francisco and Oakland. His son Charles dropped dead in the street a few years later. His other son, Sumner Bugbee, died unexpectedly during a train journey from New York to California. And later, Charles’ brother, John Stephenson Bugbee (the only non-architect in the family) died of a stroke in the middle of making a speech to the 1896 Alaska Republican convention.\u003c/p>\n\u003cp>Today, none of the Bugbee mansions of Nob Hill are still standing. Those that survived until 1906 all burned in the fires following the earthquake. Landmarks do remain in their places though. The Huntington family, who purchased the Colton mansion, donated the land to the city after the house burned down. \u003ca href=\"https://www.sfparksalliance.org/our-parks/parks/huntington-park\" target=\"_blank\" rel=\"noopener noreferrer\">Huntington Park\u003c/a> now stands where it once did. And across the street, standing on the site of the old Crocker mansion, is Grace Cathedral.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>At the time of writing \u003cem>The Haunting of Hill House\u003c/em>, Shirley Jackson had requested photos of the mansions her ancestors built for inspiration. Her mother sent her a batch of newspaper clippings. One contained a picture of the Crocker House and a note. “Glad [it] didn’t survive the earthquake.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Oct. 5, 1891, the San Francisco \u003cem>Morning Call\u003c/em> newspaper featured an \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=SFC18911005.2.65&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">in-depth report\u003c/a> about “the shadow of misfortune” that was, at that time, hanging over Nob Hill’s most prestigious homes. The article focused on the abandoned mansions of the prominent Stanford, Crocker, Colton, Hopkins and Flood families. “Lifeless and forlorn,” the newspaper stated, “they tell no story but of pride ungratified and happiness that could not be purchased. So the shadows seem to rest on Nob Hill.”\u003c/p>\n\u003cp>The trail of misery was undeniable.\u003c/p>\n\u003cp>Leland and Jane Stanford abandoned their 50-room mansion on the corner of Powell and California Streets after their son died at 15 years old. In 1883, after the senator and his wife held Leland Jr.’s funeral in the 41,000 square-foot house, they moved to Menlo Park, leaving the mansion as a sort of shrine to their son. One particularly macabre feature was left visible for passersby. “In [Leland Jr.’s] old room, looking out over the bay,” \u003cem>The Morning Call\u003c/em> observed, “all the belongings of his boyhood cluster undisturbed. His picture hangs before a window, the blinds of which are never drawn. To this room, a mother comes to weep. It is the shrine of her grief.”\u003c/p>\n\u003cfigure id=\"attachment_13904177\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904177\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/20211004_134556-800x588.jpg\" alt=\"\" width=\"800\" height=\"588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-1536x1128.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-2048x1504.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/20211004_134556-1920x1410.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Stanford mansion in 1883. Behind it, at the top of the hill, is the Hopkins mansion. \u003ccite>(The Bancroft Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the Stanfords’ neighbors were struck with similar misfortunes.\u003c/p>\n\u003cp>Charles Crocker, a co-founder of the Central Pacific Railroad, as well as the bank that later became Wells Fargo, had built his 25,000 square-foot home at the peak of Nob Hill (then called California Hill). His intention was to acquire and demolish the 13 houses already on the land and build on the vacant plot. He succeeded in buying 12. When the owner of the final home—an undertaker named Nicholas Yung—requested $12,000 to move, Crocker refused to pay and, instead, walled off Yung’s home behind a monstrous, 40-foot-tall “spite fence.”\u003c/p>\n\u003cfigure id=\"attachment_13883180\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Muybridge_SF_pan_1878_portion_showing_spite_fence.jpg\" alt=\"Portion of a panoramic photograph, taken in April 1878 by Eadweard Muybridge, showing the spite fence constructed by Charles Crocker around Nicolas Yung's home.\" width=\"640\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Muybridge_SF_pan_1878_portion_showing_spite_fence.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Muybridge_SF_pan_1878_portion_showing_spite_fence-160x140.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Portion of a panoramic photograph, taken in April 1878 by Eadweard Muybridge, showing the spite fence constructed by Charles Crocker around Nicolas Yung’s home.\u003c/figcaption>\u003c/figure>\n\u003cp>Crocker died in 1888, leaving two of his sons squabbling over ownership of the house while also continuing their father’s feud with Yung. It’s remarkable that the eldest Crocker, Fred, had the energy for such pettiness, having lost his 29-year-old wife in childbirth the year before his father died. (Fred never married again and their daughter, Mary, only made it to 24.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Next door to the Crocker mansion (and the spite fence) was the Italian-style villa of General David Colton, an attorney and another co-founder of the Central Pacific Railroad. The $75,000 L-shaped, two-story home was completed in 1872. Six years later, Colton was thrown from a horse and subsequently crushed by the animal. Surgery was attempted, but a deadly infection resulted and he died at the age of 47, leaving significant debts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Colton’s death triggered a series of unfortunate events. Believing that her husband’s Pacific Railroad colleagues had swindled her out of money, Ellen Colton took action that resulted in \u003ca href=\"http://pcad.lib.washington.edu/building/16605/\" target=\"_blank\" rel=\"noopener noreferrer\">multiple lawsuits\u003c/a>, two years in court and a mountain of \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=DAC18840712.2.4&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">gossip in the local press\u003c/a>. The \u003cem>Morning Call\u003c/em> reported that the lawsuits resulted in “much of the [Colton] estate” being “frittered away.”\u003c/p>\n\u003cp>The paper was also careful to note the bad luck that had befallen one of the Coltons’ two daughters, Carrie. It reported that her first husband died after a year and a half of their marriage, and her second, Henry McClane Martin—“a love match without doubt”—died of a sudden illness that once again left her “heart-broken.” The newspaper said the family mansion was left, “vacant and gruesome with memories.”\u003c/p>\n\u003cp>Eventually, one of the people Ellen had fought in court, Collis P. Huntington, bought the Colton home for $250,000. But because his family was based in New York, the mansion remained largely empty.\u003c/p>\n\u003cfigure id=\"attachment_13883191\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/nob-hill-houses-800x800.jpg\" alt=\"The Crocker, Stanford and Colton mansions, as illustrated in an 1891 edition of San Francisco's 'Morning Call' newspaper.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/nob-hill-houses-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crocker, Stanford and Colton mansions, as illustrated in an 1891 edition of San Francisco’s ‘Morning Call’ newspaper.\u003c/figcaption>\u003c/figure>\n\u003cp>Another neighbor on California Street was Richard Tobin, a lawyer, co-founder of The Hibernia Savings and Loan Society and one of the original owners of the \u003cem>San Francisco Chronicle\u003c/em>. He became successful after emigrating from Ireland in 1849 with his father and brother, but his 5,400 square-foot mansion at Taylor Street was more modest than his neighbors’ abodes. (It did, however, still include a 75-foot-tall observatory tower and a private chapel, complete with stained glass windows.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Tobin clan evidently experienced some trouble with their neighbors. The \u003ca href=\"https://www.maritimeheritage.org/vips/tobin.htm\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daily Alta\u003c/em> reported\u003c/a> on May 21, 1877 that “On Thursday morning, Charles A. Crocker [he of the spite fence] and William Tobin engaged in a row in a Market Street saloon, during which Tobin was stabbed in the abdomen. Yesterday Crocker was examined before Judge Lawler, and Tobin asserted that they were both drunk, and that the stabbing was done accidentally. The charge was consequently dismissed.”\u003c/p>\n\u003cp>(It is unclear from records whether William was Richard’s brother or father.)\u003c/p>\n\u003cp>Richard Tobin died in 1887, but his wife remained in their Nob Hill home. That was until August 27, 1895, when house-painters using gasoline lamps to burn off old paint caused a massive fire. The \u003ca href=\"https://www.maritimeheritage.org/vips/tobin.htm\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Call\u003c/em> reported\u003c/a> that “between $10,000 and $15,000 [of] damages” were caused, in part because “the heavy steam engines” of the fire trucks had trouble mounting the hill. The paper also reported that the house was insured for only $5,000.\u003c/p>\n\u003cp>The grand twist in all of this is that the architectural firm responsible for all four of these homes was one and the same: Bugbee & Sons. And the head of that company, Samuel C. Bugbee, just happens to be the great-great grandfather of Shirley Jackson. Jackson, of course, was an author who built her career writing about strange and cursed old houses in books like 1959’s \u003cem>The Haunting of Hill House\u003c/em> and 1962’s \u003cem>We Have Always Lived in the\u003c/em> \u003cem>Castle\u003c/em>. In 1958’s \u003cem>The Sundial\u003c/em>, a cantankerous family lives in a mansion at the top of the hill, surrounded by an imposing wall. (It’s impossible not to think of the Crockers.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though enormously successful with their architecture firm—they also built Mills Hall at Mills College (1871), Wade Opera House (1876) and the Golden Gate Park Conservatory—the Bugbees had a habit of dying suddenly. Samuel died Sept. 1, 1877 on a ferry between San Francisco and Oakland. His son Charles dropped dead in the street a few years later. His other son, Sumner Bugbee, died unexpectedly during a train journey from New York to California. And later, Charles’ brother, John Stephenson Bugbee (the only non-architect in the family) died of a stroke in the middle of making a speech to the 1896 Alaska Republican convention.\u003c/p>\n\u003cp>Today, none of the Bugbee mansions of Nob Hill are still standing. Those that survived until 1906 all burned in the fires following the earthquake. Landmarks do remain in their places though. The Huntington family, who purchased the Colton mansion, donated the land to the city after the house burned down. \u003ca href=\"https://www.sfparksalliance.org/our-parks/parks/huntington-park\" target=\"_blank\" rel=\"noopener noreferrer\">Huntington Park\u003c/a> now stands where it once did. And across the street, standing on the site of the old Crocker mansion, is Grace Cathedral.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the time of writing \u003cem>The Haunting of Hill House\u003c/em>, Shirley Jackson had requested photos of the mansions her ancestors built for inspiration. Her mother sent her a batch of newspaper clippings. One contained a picture of the Crocker House and a note. “Glad [it] didn’t survive the earthquake.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "By the People, For the People: San Francisco Mime Troupe's New Radio Drama",
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"content": "\u003cp>For hundreds of Bay Area dwellers, July 4 is a day usually best spent in Dolores Park for the traditional opening performance of the “never ever silent” San Francisco Mime Troupe’s summer tour.\u003c/p>\n\u003cp>A tradition gleefully leaned into by the irreverent political theater company, the annual Mime Troupe show generally speaks to a specific topical issue across a wide thematic range, including for-profit schools, factory occupations, police violence and \u003ca href=\"https://www.kqed.org/arts/13860900/san-francisco-mime-troupe-celebrates-60-years-with-treasure-island\">land speculation and development\u003c/a>. Currently part of San Francisco’s LaborFest—which runs for the entire month of July—this worker-owned collective proudly wears its politics on its quirkily costumed sleeve.\u003c/p>\n\u003cp>This year, due to COVID-19 concerns, instead of gathering in the park, the Mime Troupe has changed their open-air musical theater approach to that of a more stay-at-home friendly format: a serialized radio drama. And though picnicking in my living room while listening in on the Fourth of July wasn’t quite the same as being surrounded by fellow Mime Troupe fans at the park, the knowledge that other folks were also tuning in online at the same time did give me a sense of solidarity.\u003c/p>\n\u003cfigure id=\"attachment_13882990\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating-800x800.jpg\" alt=\"Michael Gene Sullivan penned and stars in 'Jade for Hire! The Mystery of the Missing Worker.'\" width=\"600\" height=\"600\" class=\"size-medium wp-image-13882990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Michael Gene Sullivan penned and stars in ‘Jade for Hire! The Mystery of the Missing Worker.’ \u003ccite>(Lisa Keating)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A brief half-hour long, the first episode of the Mime Troupe’s nine-week series is modeled after the hard-boiled detective noir. Written by and starring Michael Gene Sullivan, \u003cem>Jade, For Hire! The Mystery of the Missing Worker\u003c/em> sends the titular Jade on a search for a vanished tech worker, Derrick. Punctuated by droll, dystopian advertisements for surveillance systems and rest homes (written by Marie Cartier), \u003cem>Jade for Hire!\u003c/em> travels through a working-class milieu of bars, cabs, employment agencies, independent coffee shops, and whispers of unionization.\u003c/p>\n\u003cp>Voiced by Mime Troupe regulars, including the redoubtable Velina Brown as a crisp, no-nonsense case manager, Andre Amorotico as a nervous techie snitch, and former trouper Amos Glick as the interstitial announcer, \u003cem>The Mystery of the Missing Worker\u003c/em> culminates neatly with a twist that sets Jade up for future adventuring. As a spoof of serials past, it’s solid, quick-witted, and sets the bar high for subsequent episodes, which will satirize other radio-drama templates—namely adventure, horror, and science fiction.\u003c/p>\n\u003cfigure id=\"attachment_13882988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882988\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mime Troupe collective member Marie Cartier recording her vocals. \u003ccite>(Courtesy of San Francisco Mime Troupe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Interspersing their jocular dialogue with didactic thought-bubbles such as “if the people can’t make it with the current system, it’s not the people that have to change, it’s the system,” the Mime Troupe’s commitment to proselytizing to the workers makes their shows a perfect fit for LaborFest, now in its 27th year. Originally founded to run from July 5, the \u003ca href=\"http://beyondchron.org/bloody-thursday-1934-strike-shook-san-francisco-rocked-pacific-coast/\" rel=\"noopener noreferrer\" target=\"_blank\">anniversary\u003c/a> of “Bloody Thursday,” but now encompassing all of July, LaborFest has offered an eclectic lineup of panels, films, poetry readings, concerts and more interrogating the role of organized labor in the modern state since 1994.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This year’s array of educational discussion topics includes AB5, the so-called “gig worker” bill, public health, and the current status of the International Longshore and Warehouse Union—established after the 1934 West Coast Waterfront Strike, LaborFest’s \u003cem>raison d’etre\u003c/em>. For those more interested in artistic representation of labor politics and working-class struggle, LaborFest’s programming also includes plenty of presentations from poets, playwrights, and even visual artists—albeit mostly from virtual spaces.\u003c/p>\n\u003cp>One exception to the virtual programming: Shaping San Francisco’s in-person Labor History bicycle tour, which occurred on July 5. As keeping socially distanced on bicycles is easier than with most other congregate gatherings, this weekend’s sun-blessed tour was both an exploration of the past and a welcome nod to future possibility. Led by Chris Carlsson, instigator of crowdsourced history archive FoundSF, the Labor History tour is one of \u003ca href=\"http://www.shapingsf.org/tours.html\">Shaping San Francisco’s signature rides\u003c/a>. Wending its way through the Mission District to the waterfront, stopping at locations of labor monuments and moments, the four-hour tour gave participants a crash course in the role of unions and working-class rebellion in the building of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13882986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13882986 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A socially-distanced labor history bicycle tour with Shaping San Francisco. \u003ccite>(LisaRuth Elliott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Straddling a line between “sightseeing” and “lecture series,” Shaping San Francisco’s primers of radical history are always informative, not least of all because they frequently attract other history buffs who contribute their own observations and findings to the conversation.\u003c/p>\n\u003cp>Broadly speaking, LaborFest’s multi-faceted examination of the Bay Area’s leftist legacies and leanings is a boon to the activity-starved. But more importantly, it offers a timely inquiry into class consciousness and worker solidarity during a moment where those concerns have risen to the forefront of national discourse.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>LaborFest runs through July 31, 2020; \u003ca href=\"https://laborfest.net/\">details here\u003c/a>. Listen to San Francisco Mime Troupe radio shows (through Oct 24, 2020) \u003ca href=\"http://www.sfmt.org\">here\u003c/a>. Shaping San Francisco’s most popular walking tour—Beers, Dunes, and Trains—gets underway July 18, and their newest iteration, a boat cruise on the Bay, takes place July 24; \u003ca href=\"http://www.shapingsf.org/\" 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>For hundreds of Bay Area dwellers, July 4 is a day usually best spent in Dolores Park for the traditional opening performance of the “never ever silent” San Francisco Mime Troupe’s summer tour.\u003c/p>\n\u003cp>A tradition gleefully leaned into by the irreverent political theater company, the annual Mime Troupe show generally speaks to a specific topical issue across a wide thematic range, including for-profit schools, factory occupations, police violence and \u003ca href=\"https://www.kqed.org/arts/13860900/san-francisco-mime-troupe-celebrates-60-years-with-treasure-island\">land speculation and development\u003c/a>. Currently part of San Francisco’s LaborFest—which runs for the entire month of July—this worker-owned collective proudly wears its politics on its quirkily costumed sleeve.\u003c/p>\n\u003cp>This year, due to COVID-19 concerns, instead of gathering in the park, the Mime Troupe has changed their open-air musical theater approach to that of a more stay-at-home friendly format: a serialized radio drama. And though picnicking in my living room while listening in on the Fourth of July wasn’t quite the same as being surrounded by fellow Mime Troupe fans at the park, the knowledge that other folks were also tuning in online at the same time did give me a sense of solidarity.\u003c/p>\n\u003cfigure id=\"attachment_13882990\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating-800x800.jpg\" alt=\"Michael Gene Sullivan penned and stars in 'Jade for Hire! The Mystery of the Missing Worker.'\" width=\"600\" height=\"600\" class=\"size-medium wp-image-13882990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Michael Gene Sullivan penned and stars in ‘Jade for Hire! The Mystery of the Missing Worker.’ \u003ccite>(Lisa Keating)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A brief half-hour long, the first episode of the Mime Troupe’s nine-week series is modeled after the hard-boiled detective noir. Written by and starring Michael Gene Sullivan, \u003cem>Jade, For Hire! The Mystery of the Missing Worker\u003c/em> sends the titular Jade on a search for a vanished tech worker, Derrick. Punctuated by droll, dystopian advertisements for surveillance systems and rest homes (written by Marie Cartier), \u003cem>Jade for Hire!\u003c/em> travels through a working-class milieu of bars, cabs, employment agencies, independent coffee shops, and whispers of unionization.\u003c/p>\n\u003cp>Voiced by Mime Troupe regulars, including the redoubtable Velina Brown as a crisp, no-nonsense case manager, Andre Amorotico as a nervous techie snitch, and former trouper Amos Glick as the interstitial announcer, \u003cem>The Mystery of the Missing Worker\u003c/em> culminates neatly with a twist that sets Jade up for future adventuring. As a spoof of serials past, it’s solid, quick-witted, and sets the bar high for subsequent episodes, which will satirize other radio-drama templates—namely adventure, horror, and science fiction.\u003c/p>\n\u003cfigure id=\"attachment_13882988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882988\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mime Troupe collective member Marie Cartier recording her vocals. \u003ccite>(Courtesy of San Francisco Mime Troupe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Interspersing their jocular dialogue with didactic thought-bubbles such as “if the people can’t make it with the current system, it’s not the people that have to change, it’s the system,” the Mime Troupe’s commitment to proselytizing to the workers makes their shows a perfect fit for LaborFest, now in its 27th year. Originally founded to run from July 5, the \u003ca href=\"http://beyondchron.org/bloody-thursday-1934-strike-shook-san-francisco-rocked-pacific-coast/\" rel=\"noopener noreferrer\" target=\"_blank\">anniversary\u003c/a> of “Bloody Thursday,” but now encompassing all of July, LaborFest has offered an eclectic lineup of panels, films, poetry readings, concerts and more interrogating the role of organized labor in the modern state since 1994.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year’s array of educational discussion topics includes AB5, the so-called “gig worker” bill, public health, and the current status of the International Longshore and Warehouse Union—established after the 1934 West Coast Waterfront Strike, LaborFest’s \u003cem>raison d’etre\u003c/em>. For those more interested in artistic representation of labor politics and working-class struggle, LaborFest’s programming also includes plenty of presentations from poets, playwrights, and even visual artists—albeit mostly from virtual spaces.\u003c/p>\n\u003cp>One exception to the virtual programming: Shaping San Francisco’s in-person Labor History bicycle tour, which occurred on July 5. As keeping socially distanced on bicycles is easier than with most other congregate gatherings, this weekend’s sun-blessed tour was both an exploration of the past and a welcome nod to future possibility. Led by Chris Carlsson, instigator of crowdsourced history archive FoundSF, the Labor History tour is one of \u003ca href=\"http://www.shapingsf.org/tours.html\">Shaping San Francisco’s signature rides\u003c/a>. Wending its way through the Mission District to the waterfront, stopping at locations of labor monuments and moments, the four-hour tour gave participants a crash course in the role of unions and working-class rebellion in the building of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13882986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13882986 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A socially-distanced labor history bicycle tour with Shaping San Francisco. \u003ccite>(LisaRuth Elliott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Straddling a line between “sightseeing” and “lecture series,” Shaping San Francisco’s primers of radical history are always informative, not least of all because they frequently attract other history buffs who contribute their own observations and findings to the conversation.\u003c/p>\n\u003cp>Broadly speaking, LaborFest’s multi-faceted examination of the Bay Area’s leftist legacies and leanings is a boon to the activity-starved. But more importantly, it offers a timely inquiry into class consciousness and worker solidarity during a moment where those concerns have risen to the forefront of national discourse.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>LaborFest runs through July 31, 2020; \u003ca href=\"https://laborfest.net/\">details here\u003c/a>. Listen to San Francisco Mime Troupe radio shows (through Oct 24, 2020) \u003ca href=\"http://www.sfmt.org\">here\u003c/a>. Shaping San Francisco’s most popular walking tour—Beers, Dunes, and Trains—gets underway July 18, and their newest iteration, a boat cruise on the Bay, takes place July 24; \u003ca href=\"http://www.shapingsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The 3 Presidents Who Died on the Fourth of July (And Other Strange Fatalities)",
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"content": "\u003cp>Independence Day: America’s birthday, the most terrifying 24 hours of the year for dogs, and the day that American presidents are most likely to kick the bucket.\u003c/p>\n\u003cp>That’s right. The Fourth of July has the strange distinction of being the day that three presidents died. Two of them—John Adams and Thomas Jefferson—passed just five hours apart in 1826. The third, James Monroe, died exactly five years later. The fact that the men were all founding fathers, and served as the second, third and fifth U.S. presidents makes the coincidence even more odd. (The fourth president, James Madison, died on June 28, 1836. Imagine if he’d held on for six days!)\u003c/p>\n\u003cp>[aside postid='pop_22432']While Harry S. Truman and Gerald Ford both died on December 26 (in 1972 and 2006, respectively), and Millard Fillmore and William Howard Taft both died on March 8 (the former in 1874; the latter in 1930), the close cluster of July 4 deaths is definitely stranger. Especially given the historic importance of the day.\u003c/p>\n\u003cp>The first to go, Thomas Jefferson, was 83 at the time of his death and had been bedridden for a month with a variety of physical ailments. He caught a fever on July 3 and succumbed the next day, at 12:50pm at home in Monticello, Virginia. Meanwhile, 569 miles away in Quincy, Massachusetts, 90-year-old John Adams was also on his death bed. He died soon after his friend, entirely unaware of Jefferson’s passing. Adams’ oblivious last words were reportedly: “Thomas Jefferson still survives.” It was the 50th anniversary of the signing of the Declaration of Independence.\u003c/p>\n\u003cp>President John Quincy Adams, struck by his father and Thomas Jefferson dying not just on the same day, but on such a historic occasion, called the timing “visible and palpable remarks of divine favor.” Senator \u003ca href=\"https://www.history.com/news/july-4-two-presidents-died-same-day-coincidence\" target=\"_blank\" rel=\"noopener noreferrer\">Daniel Webster agreed\u003c/a>, remarking in a eulogy a month after Adams’ and Jefferson’s deaths that they were “proofs that our country and its benefactors are objects of His [God’s] care.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Precisely five years after Jefferson and Adams passed away, James Monroe died of tuberculosis, aged 73, at his daughter’s home in New York City. Four days later, the \u003ca href=\"https://enewspaper.latimes.com/infinity/article_popover_share.aspx?guid=77802cc8-f7b9-49a1-8be5-17ca0bb47178\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Boston Traveler\u003c/em> noted\u003c/a>: “Again our national anniversary has been marked by one of those events, which it may be scarcely permitted to ascribe the chance.”\u003c/p>\n\u003cp>[aside postid='pop_20516']Though the timing of the three deaths remains surprising even today, creepy coincidences are something of a tradition when it comes to American presidents. One such example is that of Theodore Roosevelt’s \u003ca href=\"https://twitter.com/HistoryInPics/status/698937389348163585\" target=\"_blank\" rel=\"noopener noreferrer\">wife and mother\u003c/a> dying on the same day in 1884—on Valentine’s Day, no less.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.youtube.com/watch?v=FO-WJrCH-mg\" target=\"_blank\" rel=\"noopener noreferrer\">most infamous\u003c/a> set of eerie parallels, however, can be drawn between the lives of Abraham Lincoln and John F. Kennedy. They include the following:\u003c/p>\n\u003cul>\n\u003cli>Both were elected to Congress in ’46 (granted, in different centuries).\u003c/li>\n\u003cli>Both became President in ’60.\u003c/li>\n\u003cli>Both lost sons while living in the White House. (Lincoln’s 11-year-old son William died of typhoid; Kennedy lost 2-day-old Patrick to infant respiratory distress syndrome.)\u003c/li>\n\u003cli>Both are remembered primarily for their work to advance civil rights.\u003c/li>\n\u003cli>Both were shot in the head on a Friday, while their wives were present.\u003c/li>\n\u003cli>Both were succeeded by Presidents named Johnson (Andrew and Lyndon B. respectively) who were born in ’08.\u003c/li>\n\u003cli>Both of their assassins were known by three names—John Wilkes Booth and Lee Harvey Oswald—comprised of 15 letters total.\u003c/li>\n\u003cli>Both murders involved theaters. (Booth shot Lincoln at Ford’s Theatre, Washington, D.C.; Lee Harvey Oswald was arrested at the Texas Theatre in Dallas directly following Kennedy’s murder.)\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>Happy Independence Day, everyone! (And happy birthday to both Malia Obama and Calvin Coolidge—the only president to ever be \u003cem>born\u003c/em> on the Fourth of July.)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Independence Day: America’s birthday, the most terrifying 24 hours of the year for dogs, and the day that American presidents are most likely to kick the bucket.\u003c/p>\n\u003cp>That’s right. The Fourth of July has the strange distinction of being the day that three presidents died. Two of them—John Adams and Thomas Jefferson—passed just five hours apart in 1826. The third, James Monroe, died exactly five years later. The fact that the men were all founding fathers, and served as the second, third and fifth U.S. presidents makes the coincidence even more odd. (The fourth president, James Madison, died on June 28, 1836. Imagine if he’d held on for six days!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While Harry S. Truman and Gerald Ford both died on December 26 (in 1972 and 2006, respectively), and Millard Fillmore and William Howard Taft both died on March 8 (the former in 1874; the latter in 1930), the close cluster of July 4 deaths is definitely stranger. Especially given the historic importance of the day.\u003c/p>\n\u003cp>The first to go, Thomas Jefferson, was 83 at the time of his death and had been bedridden for a month with a variety of physical ailments. He caught a fever on July 3 and succumbed the next day, at 12:50pm at home in Monticello, Virginia. Meanwhile, 569 miles away in Quincy, Massachusetts, 90-year-old John Adams was also on his death bed. He died soon after his friend, entirely unaware of Jefferson’s passing. Adams’ oblivious last words were reportedly: “Thomas Jefferson still survives.” It was the 50th anniversary of the signing of the Declaration of Independence.\u003c/p>\n\u003cp>President John Quincy Adams, struck by his father and Thomas Jefferson dying not just on the same day, but on such a historic occasion, called the timing “visible and palpable remarks of divine favor.” Senator \u003ca href=\"https://www.history.com/news/july-4-two-presidents-died-same-day-coincidence\" target=\"_blank\" rel=\"noopener noreferrer\">Daniel Webster agreed\u003c/a>, remarking in a eulogy a month after Adams’ and Jefferson’s deaths that they were “proofs that our country and its benefactors are objects of His [God’s] care.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Precisely five years after Jefferson and Adams passed away, James Monroe died of tuberculosis, aged 73, at his daughter’s home in New York City. Four days later, the \u003ca href=\"https://enewspaper.latimes.com/infinity/article_popover_share.aspx?guid=77802cc8-f7b9-49a1-8be5-17ca0bb47178\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Boston Traveler\u003c/em> noted\u003c/a>: “Again our national anniversary has been marked by one of those events, which it may be scarcely permitted to ascribe the chance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though the timing of the three deaths remains surprising even today, creepy coincidences are something of a tradition when it comes to American presidents. One such example is that of Theodore Roosevelt’s \u003ca href=\"https://twitter.com/HistoryInPics/status/698937389348163585\" target=\"_blank\" rel=\"noopener noreferrer\">wife and mother\u003c/a> dying on the same day in 1884—on Valentine’s Day, no less.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.youtube.com/watch?v=FO-WJrCH-mg\" target=\"_blank\" rel=\"noopener noreferrer\">most infamous\u003c/a> set of eerie parallels, however, can be drawn between the lives of Abraham Lincoln and John F. Kennedy. They include the following:\u003c/p>\n\u003cul>\n\u003cli>Both were elected to Congress in ’46 (granted, in different centuries).\u003c/li>\n\u003cli>Both became President in ’60.\u003c/li>\n\u003cli>Both lost sons while living in the White House. (Lincoln’s 11-year-old son William died of typhoid; Kennedy lost 2-day-old Patrick to infant respiratory distress syndrome.)\u003c/li>\n\u003cli>Both are remembered primarily for their work to advance civil rights.\u003c/li>\n\u003cli>Both were shot in the head on a Friday, while their wives were present.\u003c/li>\n\u003cli>Both were succeeded by Presidents named Johnson (Andrew and Lyndon B. respectively) who were born in ’08.\u003c/li>\n\u003cli>Both of their assassins were known by three names—John Wilkes Booth and Lee Harvey Oswald—comprised of 15 letters total.\u003c/li>\n\u003cli>Both murders involved theaters. (Booth shot Lincoln at Ford’s Theatre, Washington, D.C.; Lee Harvey Oswald was arrested at the Texas Theatre in Dallas directly following Kennedy’s murder.)\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>Happy Independence Day, everyone! (And happy birthday to both Malia Obama and Calvin Coolidge—the only president to ever be \u003cem>born\u003c/em> on the Fourth of July.)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Nov. 20, 1934, a brand new symphony brought a \u003ca href=\"https://collections.carnegiehall.org/CS.aspx?VP3=SearchResult&VBID=2RRMLBE0Z296&SMLS=1&RW=1887&RH=901&RW=1598&RH=843\">Carnegie Hall\u003c/a> audience to its feet. The concert featured the \u003ca href=\"https://www.npr.org/artists/16021984/philadelphia-orchestra\">Philadelphia Orchestra\u003c/a>, led by its star conductor \u003ca href=\"https://www.npr.org/artists/15459644/leopold-stokowski\">Leopold Stokowski\u003c/a>. The music was the \u003cem>Negro Folk Symphony\u003c/em>, by the 35-year-old African American composer William Dawson. He was called back to the stage several times to take bows after his symphony ended. \u003c/p>\n\u003cp>Stokowski conducted four back-to-back performances of the piece, one of which was nationally broadcast by CBS radio. One New York critic called it “the most distinctive and promising American symphonic proclamation which has so far been achieved.” Olin Downes, writing in \u003cem>The New York Times\u003c/em>, \u003ca href=\"https://timesmachine.nytimes.com/timesmachine/1934/11/21/101513372.pdf?pdf_redirect=true&ip=0\">noted\u003c/a>: “This music has dramatic feeling, a racial sensuousness and directness of melodic speech.”\u003c/p>\n\u003cp>The immediate success should have made Dawson a household name and buoyed him to write more symphonic works. But after just a handful of performances over the next 18 months, the symphony inexplicably dropped off the radar, and Dawson never wrote another. After decades of neglect, a new recording of the \u003cem>Negro Folk Symphony\u003c/em> has finally been released this week, performed by the ORF Vienna Radio Symphony Orchestra.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jv76C8-cXd4&feature=youtu.be\u003c/p>\n\u003cp>The three-movement piece is emotionally charged and rigorously constructed. Dawson said he wasn’t out to imitate Beethoven or Brahms, but wanted those who heard it to know that it was “unmistakably not the work of a white man.” He found inspiration for the piece in traditional spirituals, which he preferred to call “Negro folk-music.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The themes are taken from what are popularly known as Negro Spirituals,” Dawson wrote for the program notes of the Carnegie Hall performance. “In this composition, the composer has employed three themes taken from typical melodies over which he has brooded since childhood, having learned them at his mother’s knee.” \u003c/p>\n\u003cp>In an \u003ca href=\"https://www.cambridge.org/core/journals/journal-of-the-society-for-american-music/article/whatever-happened-to-william-dawsons-negro-folk-symphony/AC26FD837CD5DB2EC63B5872C423454D\">article\u003c/a> published in the \u003cem>Journal of the Society for American Music\u003c/em>, Gwynne Kuhner Brown, professor of Music History and Music Theory at the University of Puget Sound, notes that Dawson didn’t simply build his symphony by quoting singable melodies from spirituals. “The themes are handled with such virtuosic flexibility of rhythm and timbre that each movement seems to evolve organically,” she writes, adding that Dawson offers a “persuasive musical bridge between the ‘Negro Folk’ and the ‘Symphony.'” \u003c/p>\n\u003cp>William Levi Dawson was born in 1899, in Alabama. At age 13, he ran away from home to the Tuskegee Institute, where he studied music, wrote his first pieces and graduated in 1921. Ten years later, after earning a master’s degree, he returned to the historically Black institution to launch its music school, while making its choir internationally famous, singing his arrangements of spirituals. \u003c/p>\n\u003cp>https://youtu.be/51rIXqGxLOk\u003c/p>\n\u003cp>The heart of Dawson’s symphony is its central movement, titled “Hope in the Night,” which is not based on a spiritual. After three soft strokes of a gong, Dawson gives a plaintive melody to a lone English horn soaring over a lumbering, march-like beat in plucked strings. Dawson described it as an “atmosphere of the humdrum life of a people whose bodies were baked by the sun and lashed with the whip for two hundred and fifty years; whose lives were proscribed before they were born.” In a dramatic moment later in the movement, Dawson lets the entire orchestra take over the theme. \u003c/p>\n\u003cp>The \u003cem>Negro Folk Symphony\u003c/em> was Dawson’s first and last. Stokowski \u003ca href=\"https://www.youtube.com/watch?v=AXDNHwFsmrE\">recorded\u003c/a> the piece in 1963 after Dawson made a trip to Africa and revised the music, and the Detroit Symphony recorded it in 1992. But since then, nothing. The problem in part, was the score: There were never enough copies of it available to meet the early demand, and some say it could stand a careful editing and republication. \u003c/p>\n\u003cp>This new recording, while lacking some of the visceral immediacy of Stokowski’s, has plenty of elegance and fire. Arthur Fagen deftly conducts the orchestra, and to his credit also includes two exemplary works by Ulysses Kay — another African American, slightly younger than Dawson, but more prolific. \u003c/p>\n\u003cp>Kay’s music, too, deserves to be heard more. His\u003cem> Fantasy Variations\u003c/em>, from 1963, is brilliantly orchestrated and deceptive. Instead of starting with the theme and spinning off variations, Kay does the opposite, offering his big reveal at the end. His \u003cem>Umbrian Scene\u003c/em>, written under the spell of his days in Italy after winning the prestigious Prix de Rome Prize twice, presents Kay at his tranquil best. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are a lot of questions these days about diversity and what American orchestras should and shouldn’t be performing. An engaging album like this, with arresting music by two fine American composers, offers some answers. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Someone+Finally+Remembered+William+Dawson%27s+%27Negro+Folk+Symphony%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Nov. 20, 1934, a brand new symphony brought a \u003ca href=\"https://collections.carnegiehall.org/CS.aspx?VP3=SearchResult&VBID=2RRMLBE0Z296&SMLS=1&RW=1887&RH=901&RW=1598&RH=843\">Carnegie Hall\u003c/a> audience to its feet. The concert featured the \u003ca href=\"https://www.npr.org/artists/16021984/philadelphia-orchestra\">Philadelphia Orchestra\u003c/a>, led by its star conductor \u003ca href=\"https://www.npr.org/artists/15459644/leopold-stokowski\">Leopold Stokowski\u003c/a>. The music was the \u003cem>Negro Folk Symphony\u003c/em>, by the 35-year-old African American composer William Dawson. He was called back to the stage several times to take bows after his symphony ended. \u003c/p>\n\u003cp>Stokowski conducted four back-to-back performances of the piece, one of which was nationally broadcast by CBS radio. One New York critic called it “the most distinctive and promising American symphonic proclamation which has so far been achieved.” Olin Downes, writing in \u003cem>The New York Times\u003c/em>, \u003ca href=\"https://timesmachine.nytimes.com/timesmachine/1934/11/21/101513372.pdf?pdf_redirect=true&ip=0\">noted\u003c/a>: “This music has dramatic feeling, a racial sensuousness and directness of melodic speech.”\u003c/p>\n\u003cp>The immediate success should have made Dawson a household name and buoyed him to write more symphonic works. But after just a handful of performances over the next 18 months, the symphony inexplicably dropped off the radar, and Dawson never wrote another. After decades of neglect, a new recording of the \u003cem>Negro Folk Symphony\u003c/em> has finally been released this week, performed by the ORF Vienna Radio Symphony Orchestra.\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/jv76C8-cXd4'\n title='//www.youtube.com/embed/jv76C8-cXd4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The three-movement piece is emotionally charged and rigorously constructed. Dawson said he wasn’t out to imitate Beethoven or Brahms, but wanted those who heard it to know that it was “unmistakably not the work of a white man.” He found inspiration for the piece in traditional spirituals, which he preferred to call “Negro folk-music.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The themes are taken from what are popularly known as Negro Spirituals,” Dawson wrote for the program notes of the Carnegie Hall performance. “In this composition, the composer has employed three themes taken from typical melodies over which he has brooded since childhood, having learned them at his mother’s knee.” \u003c/p>\n\u003cp>In an \u003ca href=\"https://www.cambridge.org/core/journals/journal-of-the-society-for-american-music/article/whatever-happened-to-william-dawsons-negro-folk-symphony/AC26FD837CD5DB2EC63B5872C423454D\">article\u003c/a> published in the \u003cem>Journal of the Society for American Music\u003c/em>, Gwynne Kuhner Brown, professor of Music History and Music Theory at the University of Puget Sound, notes that Dawson didn’t simply build his symphony by quoting singable melodies from spirituals. “The themes are handled with such virtuosic flexibility of rhythm and timbre that each movement seems to evolve organically,” she writes, adding that Dawson offers a “persuasive musical bridge between the ‘Negro Folk’ and the ‘Symphony.'” \u003c/p>\n\u003cp>William Levi Dawson was born in 1899, in Alabama. At age 13, he ran away from home to the Tuskegee Institute, where he studied music, wrote his first pieces and graduated in 1921. Ten years later, after earning a master’s degree, he returned to the historically Black institution to launch its music school, while making its choir internationally famous, singing his arrangements of spirituals. \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/51rIXqGxLOk'\n title='//www.youtube.com/embed/51rIXqGxLOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The heart of Dawson’s symphony is its central movement, titled “Hope in the Night,” which is not based on a spiritual. After three soft strokes of a gong, Dawson gives a plaintive melody to a lone English horn soaring over a lumbering, march-like beat in plucked strings. Dawson described it as an “atmosphere of the humdrum life of a people whose bodies were baked by the sun and lashed with the whip for two hundred and fifty years; whose lives were proscribed before they were born.” In a dramatic moment later in the movement, Dawson lets the entire orchestra take over the theme. \u003c/p>\n\u003cp>The \u003cem>Negro Folk Symphony\u003c/em> was Dawson’s first and last. Stokowski \u003ca href=\"https://www.youtube.com/watch?v=AXDNHwFsmrE\">recorded\u003c/a> the piece in 1963 after Dawson made a trip to Africa and revised the music, and the Detroit Symphony recorded it in 1992. But since then, nothing. The problem in part, was the score: There were never enough copies of it available to meet the early demand, and some say it could stand a careful editing and republication. \u003c/p>\n\u003cp>This new recording, while lacking some of the visceral immediacy of Stokowski’s, has plenty of elegance and fire. Arthur Fagen deftly conducts the orchestra, and to his credit also includes two exemplary works by Ulysses Kay — another African American, slightly younger than Dawson, but more prolific. \u003c/p>\n\u003cp>Kay’s music, too, deserves to be heard more. His\u003cem> Fantasy Variations\u003c/em>, from 1963, is brilliantly orchestrated and deceptive. Instead of starting with the theme and spinning off variations, Kay does the opposite, offering his big reveal at the end. His \u003cem>Umbrian Scene\u003c/em>, written under the spell of his days in Italy after winning the prestigious Prix de Rome Prize twice, presents Kay at his tranquil best. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are a lot of questions these days about diversity and what American orchestras should and shouldn’t be performing. An engaging album like this, with arresting music by two fine American composers, offers some answers. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Someone+Finally+Remembered+William+Dawson%27s+%27Negro+Folk+Symphony%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On May 29, 1854, a 26-year-old woman opened the doors to her Sacramento home and invited 14 students inside. This simple act — in a humble house on Second Street — established the first private school for African American children in the city.\u003c/p>\n\u003cp>From these scrappy beginnings, teacher Elizabeth Thorn Scott Flood would go on to change education in Northern California forever.\u003c/p>\n\u003cp>[aside postid='arts_13916612']By the time she opened that first school in Sacramento, Elizabeth had already proven herself incredibly resilient. Two years earlier, she had left New Bedford, Massachusetts, traveling by ship across the Isthmus of Panama and onto California, so that her husband Joseph Scott — then a mariner — could become a gold miner. Soon after they had settled in the rowdy mining community of Hangtown (now Placerville), Joseph died suddenly, leaving Elizabeth alone with their infant son, Oliver. Understanding that Hangtown was not a safe environment for a single mom, she soon made the move to Sacramento.\u003c/p>\n\u003cp>Elizabeth’s quick thinking soon came into play once again, after Oliver was refused entry to the local public school based on the color of his skin. After talking with her equally frustrated neighbors, Elizabeth’s determination to open a school grew beyond the necessity of educating her own child and toward bettering the lives of her entire community. Some of her first 14 students were adults.\u003c/p>\n\u003cp>Within three months of opening her home this way, Elizabeth was in need of a larger classroom; children of Asian and Native American descent also wanted to enroll. So she moved classes into the basements of the Siloam Baptist Chapel, and to St. Andrew’s Methodist Episcopal Church.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Within a year, the Sacramento School Board accepted Elizabeth’s school into the official school district, making Elizabeth’s the first African American public school in Sacramento. However, the Board also refused to provide her with any funding, following the example of the rest of the state. (Although the \u003ca href=\"http://authortalk.org/index.php?category=blog&page=blog\">California Constitutional Convention\u003c/a> had introduced a tax fund for state schools in 1849, local school boards routinely granted funding to white schools only.) As such, Elizabeth’s students agreed to pay tuition of one dollar per week to keep her doors open.\u003c/p>\n\u003cp>Meanwhile, Elizabeth herself kept involved in civic matters beyond her school. St. Andrew’s hosted California’s first State Convention of Colored Citizens in November 1855. The convention’s primary concerns were voting and housing rights, civil rights protections and access to education. Elizabeth was in attendance, as were 49 delegates from 10 California counties.\u003c/p>\n\u003cfigure id=\"attachment_13882248\" class=\"wp-caption aligncenter\" style=\"max-width: 307px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-18-at-3.25.42-PM.png\" alt=\"An itinerary of proceedings for Sacramento's First State Convention of Colored Citizens.\" width=\"307\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-18-at-3.25.42-PM.png 307w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-18-at-3.25.42-PM-160x265.png 160w\" sizes=\"auto, (max-width: 307px) 100vw, 307px\">\u003cfigcaption class=\"wp-caption-text\">An itinerary of proceedings for Sacramento’s First State Convention of Colored Citizens.\u003c/figcaption>\u003c/figure>\n\u003cp>That same year, she married Isaac Flood, a man who, unlike Elizabeth, had been born into slavery. Flood had purchased his own freedom, moved to Oakland during the Gold Rush and in 1855 worked as a tradesman. At the time of their meeting, Flood was also a single parent to a young son. The merged family soon moved to the area east of Lake Merritt — then named Brooklyn. Elizabeth left her school in the capable hands of another teacher from Massachusetts, Jeremiah B. Sanderson. It was on his watch that a new schoolhouse was finally built for Sacramento’s children of color in 1855.\u003c/p>\n\u003cp>As one of the first African American families to settle in Oakland, the Floods made their presence felt immediately with a series of firsts. In 1857, Elizabeth turned their home into Oakland’s first private school for Black children. That same year, the couple’s first son together, George, was said to be the first Black baby born in Oakland. The next year, in 1858, the Floods helped establish \u003ca href=\"http://authortalk.org/index.php?category=blog&page=blog\">Oakland’s first Black church\u003c/a>—the First African Methodist Episcopal Church. When the church moved into a former schoolhouse, Elizabeth taught classes there, too.\u003c/p>\n\u003cfigure id=\"attachment_13882260\" class=\"wp-caption aligncenter\" style=\"max-width: 890px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882260\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-18-at-5.24.18-PM.png\" alt=\"The First African Methodist Episcopal Church has been located at 3701 Telegraph Avenue since 1954.\" width=\"890\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-18-at-5.24.18-PM.png 890w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-18-at-5.24.18-PM-160x81.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-18-at-5.24.18-PM-800x404.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-18-at-5.24.18-PM-768x388.png 768w\" sizes=\"auto, (max-width: 890px) 100vw, 890px\">\u003cfigcaption class=\"wp-caption-text\">The First African Methodist Episcopal Church has been located at 3701 Telegraph Avenue since 1954. \u003ccite>(Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1866, Elizabeth’s fight for better schools began to pay off. Up until then, no laws existed protecting the right of Black children to attend school. The \u003ca href=\"http://authortalk.org/index.php?category=blog&page=blog\">Revised School Law\u003c/a> required the establishment of a public school for Black students in any district with ten or more Black children that wanted to attend, or else make allowances for them to join white schools — as long as the majority of white parents didn’t object.\u003c/p>\n\u003cp>The following year, Elizabeth’s campaign for equal education came to a tragic halt when she died suddenly at the age of 39. But her loving husband picked up the baton, later serving as secretary on the Education Committee of the Colored Citizens of California. Crucially, in 1871, he successfully petitioned the Oakland School Board to admit children of color based on the passage of the Fourteenth and Fifteenth Amendments. Finally, in 1880, integrated schools became California law.\u003c/p>\n\u003cp>[aside postid='arts_13909738']Elizabeth and Isaac’s youngest child was just five when she lost her mother—but she certainly inherited Elizabeth’s determination. Lydia Flood Jackson was one of the first children in Oakland to attend a desegregated school, and went on to be a campaigner for women’s suffrage, speaking at the 1918 California State Women’s Convention and serving on the board of the Federation of Women’s Colored Clubs.\u003c/p>\n\u003cp>Elizabeth Thorn Scott Flood dedicated her short life to bucking a status quo that steadfastly refused to serve her people. She understood that the best way to prevail over a system that excluded her was to work outside of it. She set good example after good example until the system decided to finally catch up. Those who remember her rightfully call her the Mother of Desegregated Education in California. The number of children’s lives she transformed is impossible to calculate.\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>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\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",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On May 29, 1854, a 26-year-old woman opened the doors to her Sacramento home and invited 14 students inside. This simple act — in a humble house on Second Street — established the first private school for African American children in the city.\u003c/p>\n\u003cp>From these scrappy beginnings, teacher Elizabeth Thorn Scott Flood would go on to change education in Northern California forever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>By the time she opened that first school in Sacramento, Elizabeth had already proven herself incredibly resilient. Two years earlier, she had left New Bedford, Massachusetts, traveling by ship across the Isthmus of Panama and onto California, so that her husband Joseph Scott — then a mariner — could become a gold miner. Soon after they had settled in the rowdy mining community of Hangtown (now Placerville), Joseph died suddenly, leaving Elizabeth alone with their infant son, Oliver. Understanding that Hangtown was not a safe environment for a single mom, she soon made the move to Sacramento.\u003c/p>\n\u003cp>Elizabeth’s quick thinking soon came into play once again, after Oliver was refused entry to the local public school based on the color of his skin. After talking with her equally frustrated neighbors, Elizabeth’s determination to open a school grew beyond the necessity of educating her own child and toward bettering the lives of her entire community. Some of her first 14 students were adults.\u003c/p>\n\u003cp>Within three months of opening her home this way, Elizabeth was in need of a larger classroom; children of Asian and Native American descent also wanted to enroll. So she moved classes into the basements of the Siloam Baptist Chapel, and to St. Andrew’s Methodist Episcopal Church.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Within a year, the Sacramento School Board accepted Elizabeth’s school into the official school district, making Elizabeth’s the first African American public school in Sacramento. However, the Board also refused to provide her with any funding, following the example of the rest of the state. (Although the \u003ca href=\"http://authortalk.org/index.php?category=blog&page=blog\">California Constitutional Convention\u003c/a> had introduced a tax fund for state schools in 1849, local school boards routinely granted funding to white schools only.) As such, Elizabeth’s students agreed to pay tuition of one dollar per week to keep her doors open.\u003c/p>\n\u003cp>Meanwhile, Elizabeth herself kept involved in civic matters beyond her school. St. Andrew’s hosted California’s first State Convention of Colored Citizens in November 1855. The convention’s primary concerns were voting and housing rights, civil rights protections and access to education. Elizabeth was in attendance, as were 49 delegates from 10 California counties.\u003c/p>\n\u003cfigure id=\"attachment_13882248\" class=\"wp-caption aligncenter\" style=\"max-width: 307px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-18-at-3.25.42-PM.png\" alt=\"An itinerary of proceedings for Sacramento's First State Convention of Colored Citizens.\" width=\"307\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-18-at-3.25.42-PM.png 307w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-18-at-3.25.42-PM-160x265.png 160w\" sizes=\"auto, (max-width: 307px) 100vw, 307px\">\u003cfigcaption class=\"wp-caption-text\">An itinerary of proceedings for Sacramento’s First State Convention of Colored Citizens.\u003c/figcaption>\u003c/figure>\n\u003cp>That same year, she married Isaac Flood, a man who, unlike Elizabeth, had been born into slavery. Flood had purchased his own freedom, moved to Oakland during the Gold Rush and in 1855 worked as a tradesman. At the time of their meeting, Flood was also a single parent to a young son. The merged family soon moved to the area east of Lake Merritt — then named Brooklyn. Elizabeth left her school in the capable hands of another teacher from Massachusetts, Jeremiah B. Sanderson. It was on his watch that a new schoolhouse was finally built for Sacramento’s children of color in 1855.\u003c/p>\n\u003cp>As one of the first African American families to settle in Oakland, the Floods made their presence felt immediately with a series of firsts. In 1857, Elizabeth turned their home into Oakland’s first private school for Black children. That same year, the couple’s first son together, George, was said to be the first Black baby born in Oakland. The next year, in 1858, the Floods helped establish \u003ca href=\"http://authortalk.org/index.php?category=blog&page=blog\">Oakland’s first Black church\u003c/a>—the First African Methodist Episcopal Church. When the church moved into a former schoolhouse, Elizabeth taught classes there, too.\u003c/p>\n\u003cfigure id=\"attachment_13882260\" class=\"wp-caption aligncenter\" style=\"max-width: 890px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882260\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-18-at-5.24.18-PM.png\" alt=\"The First African Methodist Episcopal Church has been located at 3701 Telegraph Avenue since 1954.\" width=\"890\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-18-at-5.24.18-PM.png 890w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-18-at-5.24.18-PM-160x81.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-18-at-5.24.18-PM-800x404.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-18-at-5.24.18-PM-768x388.png 768w\" sizes=\"auto, (max-width: 890px) 100vw, 890px\">\u003cfigcaption class=\"wp-caption-text\">The First African Methodist Episcopal Church has been located at 3701 Telegraph Avenue since 1954. \u003ccite>(Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1866, Elizabeth’s fight for better schools began to pay off. Up until then, no laws existed protecting the right of Black children to attend school. The \u003ca href=\"http://authortalk.org/index.php?category=blog&page=blog\">Revised School Law\u003c/a> required the establishment of a public school for Black students in any district with ten or more Black children that wanted to attend, or else make allowances for them to join white schools — as long as the majority of white parents didn’t object.\u003c/p>\n\u003cp>The following year, Elizabeth’s campaign for equal education came to a tragic halt when she died suddenly at the age of 39. But her loving husband picked up the baton, later serving as secretary on the Education Committee of the Colored Citizens of California. Crucially, in 1871, he successfully petitioned the Oakland School Board to admit children of color based on the passage of the Fourteenth and Fifteenth Amendments. Finally, in 1880, integrated schools became California law.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Elizabeth and Isaac’s youngest child was just five when she lost her mother—but she certainly inherited Elizabeth’s determination. Lydia Flood Jackson was one of the first children in Oakland to attend a desegregated school, and went on to be a campaigner for women’s suffrage, speaking at the 1918 California State Women’s Convention and serving on the board of the Federation of Women’s Colored Clubs.\u003c/p>\n\u003cp>Elizabeth Thorn Scott Flood dedicated her short life to bucking a status quo that steadfastly refused to serve her people. She understood that the best way to prevail over a system that excluded her was to work outside of it. She set good example after good example until the system decided to finally catch up. Those who remember her rightfully call her the Mother of Desegregated Education in California. The number of children’s lives she transformed is impossible to calculate.\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>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\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": "how-to-celebrate-juneteenth-in-the-bay-area-at-home-or-outside",
"title": "How to Celebrate Juneteenth in the Bay Area—at Home or Outside",
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"content": "\u003cp>As the country enters a third week of constant protests over the killing of George Floyd and Breonna Taylor and reckons with its racist structures, this year’s Juneteenth celebrations have seen increased interest.\u003c/p>\n\u003cp>An \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" rel=\"noopener noreferrer\" target=\"_blank\">annual day observing the end of slavery in the south\u003c/a>, Juneteenth falls each year on June 19. This Friday’s celebrations get underway not only during a national uprising for racial justice, but during a global pandemic. Below, find ways to honor Juneteenth at home with streamed music and art, and view a select list of outdoor celebrations happening around the Bay Area.[aside postid='news_11824859']\u003c/p>\n\u003cp>\u003cem>Additional reporting by Dacia Mitchell.\u003c/em>\u003c/p>\n\u003ch2>Select Online Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>‘Polar Bears, Black Boys & Prairie Fringed Orchids’\u003c/strong>\u003cbr>\nThirty Bay Area theater companies come together for this streamed performance of Vincent Terrell Durham’s play, \u003cem>Polar Bears, Black Boys & Prairie Fringed Orchids\u003c/em>, a timely meditation on police killings of Black people and the Black Lives Matter movement. The play is presented as part of the PlayGround Zoom Fest and the Juneteenth Theatre Justice Project, a national movement spanning theaters across America. Starts at 7pm Pacific time; \u003ca href=\"https://playground-sf.org/juneteenth/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Marcus Shelby: Juneteenth and the Blues\u003c/strong>\u003cbr>\nCarrying on the tradition of figures like Charles Mingus and Archie Shepp, who infused jazz with politics, composer and bassist Marcus Shelby has presented jazz programs on Harriet Tubman, the Negro Leagues, the school-to-prison pipeline and more. In an hour-long Zoom presentation of live music, readings and poetry, Shelby delves into Juneteenth’s history and resonance today. Starts at 4pm Pacific time; \u003ca href=\"https://www.moadsf.org/event/talk-performance-juneteenth-and-the-blues-with-marcus-shelby/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13882181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg\" alt=\"A still from 'Take This Hammer,' featuring James Baldwin.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Take This Hammer,’ featuring James Baldwin. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Take This Hammer’\u003c/strong>\u003cbr>\nFilmed by KQED in 1963, \u003cem>Take This Hammer\u003c/em> follows James Baldwin around San Francisco as he speaks with young Black people and compasres the racial atmosphere in the so-called “progressive” city to the segregated south. The full director’s cut is available to stream; \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>NAACP Black Family Reunion\u003cbr>\nThe NAACP hosts a two-hour special about lives lost and personal stories from the Black community. Participants can submit their story for potential inclusion in advance. Starts at 1pm Pacific time; \u003ca href=\"https://naacp.org/juneteenth/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Music From Other Minds: Juneteenth\u003c/strong>\u003cbr>\nThe Other Minds radio show expands to two hours for a Juneteenth special with the music of Black American composers including Matana Roberts, Moor Mother, Ben LaMar Gay, LOAN (Tongo Eisen-Martin & Chris Peck) and more. Hosted by Liam Herb, the special starts at 10pm Pacific time; \u003ca href=\"https://www.otherminds.org/mfom/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/strong>\u003cbr>\nElizabeth Pepin Silva and Lewis Watts, authors of the book \u003cem>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/em>, discuss the neighborhood’s robust history of Black culture, which urban renewal erased in the 1960s and 1970s. Starts at noon Pacific time; \u003ca href=\"https://bit.ly/HarlemWestJune2020\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Select Outdoor Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>Oakland\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.juneteenthspt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth West Coast Port Shutdown\u003c/a> & Caravan to Frank Ogawa Plaza – 10am\u003c/p>\n\u003cp>Second Annual \u003ca href=\"https://www.instagram.com/p/CBWcTrTBwMc/\" target=\"_blank\" rel=\"noopener noreferrer\">Bike 4 Justice Rally\u003c/a> in West Oakland – 12:30pm to 4pm[aside postid='arts_13882225']\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBb2gBLhIYF/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth at the Lake\u003c/a> – Meet at Alameda County Courthouse & March around Lake Merritt – 1pm to Sunset\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/balck-youth-march-people-liberation/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Youth for the People’s Liberation\u003c/a> Protest at deFremery Park – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBe819Oh0J6/\" target=\"_blank\" rel=\"noopener noreferrer\">California Nurses Assoc. Black Lives Matter Protest\u003c/a> – at Kaiser on Broadway – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBVBduHhUUA/\" target=\"_blank\" rel=\"noopener noreferrer\">Lake Merritt Amphitheater Juneteenth Celebration\u003c/a> – 4pm to 7pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/justice-juneteenth-lakemerritt/\" target=\"_blank\" rel=\"noopener noreferrer\">Justice for Juneteenth \u003c/a>at Lake Merritt – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://hueypnewtonfoundation.org/initiatives\" target=\"_blank\" rel=\"noopener noreferrer\">Rally for Huey P. Newton Monument\u003c/a> with Fredrika Newton at Alameda County Courthouse – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/funcheap/photos/p.10156909708402504/10156909708402504/?type=3&av=327396872503&eav=AfZ5kPmE0-C1VtLOp9LqpPcbLt1c78rut53h4mwMK1lSdSC28es2LLLFvjaVap3CjuA&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Park Blvd. Juneteenth Protest\u003c/a> at Park Blvd. between I-580 and CA13. – 5-6pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBWu88Yhtmu/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Black Mass’ Juneteenth Spoken Word & Drum Circle\u003c/a> at Lake Merritt Amphitheater – 7pm\u003c/p>\n\u003cp>\u003cstrong>San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/566725343925258/?event_time_id=566725350591924\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom & Justice\u003c/a> from Ferry Building to City Hall – Noon\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-caravan-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Caravan Protest\u003c/a> – location TBD – 10am–1pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBRiLPwBw5h/\" target=\"_blank\" rel=\"noopener noreferrer\">“Kicking for Freedom”\u003c/a> three-mile skate through SF starting at Ferry Building – 1 to 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://dothebay.com/events/2020/6/19/sf-qbar-juneteenth-reunion-black-queer-rally\" rel=\"noopener noreferrer\" target=\"_blank\">Rally Celebrating Black Queer Joy\u003c/a> at QBar in the Castro – 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBf_p41h-jd/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Rally\u003c/a> at City Hall – 1pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-peaceful-yoga-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Yoga Protest at Dolores Park\u003c/a> – 4pm to 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/bay-swimmers-in-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Swimmers in Solidarity Floating Protest\u003c/a> at Aquatic Park – 5:30pm\u003c/p>\n\u003cp>\u003cstrong>Antioch\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBe9AOJBkr5/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Peace Walk, Arts & Music\u003c/a> from City Hall to 6th & A St. – 11am to 3pm\u003c/p>\n\u003cp>\u003cstrong>Santa Rosa\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWPC7tBVV_/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Festival \u003c/a>at Pioneer Park – Noon\u003c/p>\n\u003cp>\u003cstrong>Fremont\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/juneteenth-march-for-justice-fremont/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth March for Justice\u003c/a> to City Hall – 1pm\u003c/p>\n\u003cp>\u003cstrong>Santa Clara\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/march-for-freedom/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom Day\u003c/a> at Santa Clara University- 3pm to 5pm\u003c/p>\n\u003cp>\u003cstrong>Pittsburg\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWVqluheJt/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Justice\u003c/a> from Buchanan Park to Marina – 3pm\u003c/p>\n\u003cp>\u003cstrong>Livermore\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBcjmTdhXS1/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Protest\u003c/a> at City Hall with speeches and march to Carnegie Park – 4pm\u003c/p>\n\u003cp>\u003cstrong>Palo Alto\u003c/strong>\u003cbr>\n\u003ca href=\"https://act.sixnineteen.com/event/action/86?source=map&akid=\" target=\"_blank\" rel=\"noopener noreferrer\">Defend Black Lives Protest\u003c/a> at King Plaza, City Hall – 5pm\u003c/p>\n\u003cp>\u003c/p>\n",
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"headline": "How to Celebrate Juneteenth in the Bay Area—at Home or Outside",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the country enters a third week of constant protests over the killing of George Floyd and Breonna Taylor and reckons with its racist structures, this year’s Juneteenth celebrations have seen increased interest.\u003c/p>\n\u003cp>An \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" rel=\"noopener noreferrer\" target=\"_blank\">annual day observing the end of slavery in the south\u003c/a>, Juneteenth falls each year on June 19. This Friday’s celebrations get underway not only during a national uprising for racial justice, but during a global pandemic. Below, find ways to honor Juneteenth at home with streamed music and art, and view a select list of outdoor celebrations happening around the Bay Area.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Dacia Mitchell.\u003c/em>\u003c/p>\n\u003ch2>Select Online Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>‘Polar Bears, Black Boys & Prairie Fringed Orchids’\u003c/strong>\u003cbr>\nThirty Bay Area theater companies come together for this streamed performance of Vincent Terrell Durham’s play, \u003cem>Polar Bears, Black Boys & Prairie Fringed Orchids\u003c/em>, a timely meditation on police killings of Black people and the Black Lives Matter movement. The play is presented as part of the PlayGround Zoom Fest and the Juneteenth Theatre Justice Project, a national movement spanning theaters across America. Starts at 7pm Pacific time; \u003ca href=\"https://playground-sf.org/juneteenth/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Marcus Shelby: Juneteenth and the Blues\u003c/strong>\u003cbr>\nCarrying on the tradition of figures like Charles Mingus and Archie Shepp, who infused jazz with politics, composer and bassist Marcus Shelby has presented jazz programs on Harriet Tubman, the Negro Leagues, the school-to-prison pipeline and more. In an hour-long Zoom presentation of live music, readings and poetry, Shelby delves into Juneteenth’s history and resonance today. Starts at 4pm Pacific time; \u003ca href=\"https://www.moadsf.org/event/talk-performance-juneteenth-and-the-blues-with-marcus-shelby/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13882181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg\" alt=\"A still from 'Take This Hammer,' featuring James Baldwin.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Take This Hammer,’ featuring James Baldwin. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Take This Hammer’\u003c/strong>\u003cbr>\nFilmed by KQED in 1963, \u003cem>Take This Hammer\u003c/em> follows James Baldwin around San Francisco as he speaks with young Black people and compasres the racial atmosphere in the so-called “progressive” city to the segregated south. The full director’s cut is available to stream; \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>NAACP Black Family Reunion\u003cbr>\nThe NAACP hosts a two-hour special about lives lost and personal stories from the Black community. Participants can submit their story for potential inclusion in advance. Starts at 1pm Pacific time; \u003ca href=\"https://naacp.org/juneteenth/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Music From Other Minds: Juneteenth\u003c/strong>\u003cbr>\nThe Other Minds radio show expands to two hours for a Juneteenth special with the music of Black American composers including Matana Roberts, Moor Mother, Ben LaMar Gay, LOAN (Tongo Eisen-Martin & Chris Peck) and more. Hosted by Liam Herb, the special starts at 10pm Pacific time; \u003ca href=\"https://www.otherminds.org/mfom/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/strong>\u003cbr>\nElizabeth Pepin Silva and Lewis Watts, authors of the book \u003cem>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/em>, discuss the neighborhood’s robust history of Black culture, which urban renewal erased in the 1960s and 1970s. Starts at noon Pacific time; \u003ca href=\"https://bit.ly/HarlemWestJune2020\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Select Outdoor Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>Oakland\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.juneteenthspt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth West Coast Port Shutdown\u003c/a> & Caravan to Frank Ogawa Plaza – 10am\u003c/p>\n\u003cp>Second Annual \u003ca href=\"https://www.instagram.com/p/CBWcTrTBwMc/\" target=\"_blank\" rel=\"noopener noreferrer\">Bike 4 Justice Rally\u003c/a> in West Oakland – 12:30pm to 4pm\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBb2gBLhIYF/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth at the Lake\u003c/a> – Meet at Alameda County Courthouse & March around Lake Merritt – 1pm to Sunset\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/balck-youth-march-people-liberation/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Youth for the People’s Liberation\u003c/a> Protest at deFremery Park – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBe819Oh0J6/\" target=\"_blank\" rel=\"noopener noreferrer\">California Nurses Assoc. Black Lives Matter Protest\u003c/a> – at Kaiser on Broadway – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBVBduHhUUA/\" target=\"_blank\" rel=\"noopener noreferrer\">Lake Merritt Amphitheater Juneteenth Celebration\u003c/a> – 4pm to 7pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/justice-juneteenth-lakemerritt/\" target=\"_blank\" rel=\"noopener noreferrer\">Justice for Juneteenth \u003c/a>at Lake Merritt – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://hueypnewtonfoundation.org/initiatives\" target=\"_blank\" rel=\"noopener noreferrer\">Rally for Huey P. Newton Monument\u003c/a> with Fredrika Newton at Alameda County Courthouse – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/funcheap/photos/p.10156909708402504/10156909708402504/?type=3&av=327396872503&eav=AfZ5kPmE0-C1VtLOp9LqpPcbLt1c78rut53h4mwMK1lSdSC28es2LLLFvjaVap3CjuA&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Park Blvd. Juneteenth Protest\u003c/a> at Park Blvd. between I-580 and CA13. – 5-6pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBWu88Yhtmu/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Black Mass’ Juneteenth Spoken Word & Drum Circle\u003c/a> at Lake Merritt Amphitheater – 7pm\u003c/p>\n\u003cp>\u003cstrong>San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/566725343925258/?event_time_id=566725350591924\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom & Justice\u003c/a> from Ferry Building to City Hall – Noon\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-caravan-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Caravan Protest\u003c/a> – location TBD – 10am–1pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBRiLPwBw5h/\" target=\"_blank\" rel=\"noopener noreferrer\">“Kicking for Freedom”\u003c/a> three-mile skate through SF starting at Ferry Building – 1 to 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://dothebay.com/events/2020/6/19/sf-qbar-juneteenth-reunion-black-queer-rally\" rel=\"noopener noreferrer\" target=\"_blank\">Rally Celebrating Black Queer Joy\u003c/a> at QBar in the Castro – 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBf_p41h-jd/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Rally\u003c/a> at City Hall – 1pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-peaceful-yoga-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Yoga Protest at Dolores Park\u003c/a> – 4pm to 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/bay-swimmers-in-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Swimmers in Solidarity Floating Protest\u003c/a> at Aquatic Park – 5:30pm\u003c/p>\n\u003cp>\u003cstrong>Antioch\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBe9AOJBkr5/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Peace Walk, Arts & Music\u003c/a> from City Hall to 6th & A St. – 11am to 3pm\u003c/p>\n\u003cp>\u003cstrong>Santa Rosa\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWPC7tBVV_/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Festival \u003c/a>at Pioneer Park – Noon\u003c/p>\n\u003cp>\u003cstrong>Fremont\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/juneteenth-march-for-justice-fremont/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth March for Justice\u003c/a> to City Hall – 1pm\u003c/p>\n\u003cp>\u003cstrong>Santa Clara\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/march-for-freedom/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom Day\u003c/a> at Santa Clara University- 3pm to 5pm\u003c/p>\n\u003cp>\u003cstrong>Pittsburg\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWVqluheJt/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Justice\u003c/a> from Buchanan Park to Marina – 3pm\u003c/p>\n\u003cp>\u003cstrong>Livermore\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBcjmTdhXS1/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Protest\u003c/a> at City Hall with speeches and march to Carnegie Park – 4pm\u003c/p>\n\u003cp>\u003cstrong>Palo Alto\u003c/strong>\u003cbr>\n\u003ca href=\"https://act.sixnineteen.com/event/action/86?source=map&akid=\" target=\"_blank\" rel=\"noopener noreferrer\">Defend Black Lives Protest\u003c/a> at King Plaza, City Hall – 5pm\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "The Haunted House on Lombard Street That Left a Trail of Tragedy",
"headTitle": "The Haunted House on Lombard Street That Left a Trail of Tragedy | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>at Montandon’s ordeal began at her own party. It was 1968 and the socialite had invited the glitterati of San Francisco to her home at 1000 Lombard Street. The theme was astrology; guests were paired up according to zodiac sign and offered psychic readings from a palmist, a crystal-ball gazer, an astrologer and a tarot reader. At the end of the night, buoyed by compliments from her guests, Montandon felt certain that the party had been a “brilliant success.” Two years later, she recognized it as the start of an unyielding nightmare.\u003c/p>\n\u003cp>Montandon, then 39, was a columnist for the \u003cem>Examiner\u003c/em>, a popular host on the local TV station KGO and the author of a book inspired by her legendary soirée-throwing skills, \u003ca href=\"https://www.goodreads.com/book/show/1638162.How_To_Be_A_Party_Girl\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>How To Be A Party Girl\u003c/em>\u003c/a>. She was vivacious, beautiful and her life was positively enviable … until all of a sudden, it wasn’t.\u003c/p>\n\u003cp>The night of the astrology party, the tarot reader flew into a rage after Montandon forgot to bring him a drink. In \u003ca href=\"https://www.goodreads.com/book/show/1075886.The_Intruders\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Intruders\u003c/em>\u003c/a>, her incredible 1975 book about the events that followed, she wrote:\u003c/p>\n\u003cblockquote>\u003cp>Quivering with rage, he directed a stream of abuse at me: He had never been treated so rudely, I was an insufferable, ungracious hostess, he was leaving, but not before he made certain I would never have any happy moments in that house again. He fixed me with a glare, his face puffed and distorted. ‘I lay a curse upon you and this house. I do not forget, and I do not forgive. Remember that!’\u003c/p>\u003c/blockquote>\n\u003cp>Within weeks, Montandon’s life was falling apart. At home, she was subjected to paranormal events so relentless, they quickly transformed her from a skeptic into a believer. She was plagued by locked doors and windows opening themselves, and freezing temperatures that persisted despite a thermostat turned up to 90 degrees. She was routinely awoken at two in the morning, and she heard strange footsteps and music—specifically a song called “\u003ca href=\"https://www.youtube.com/watch?v=g0OSRuaKKig\" target=\"_blank\" rel=\"noopener noreferrer\">Mockin’ Bird Hill\u003c/a>,” on repeat. [aside postid='arts_13892672']\u003c/p>\n\u003cp>Her home was broken into and ransacked. Her car was destroyed. When she tried to throw another party, a mysterious fire broke out. She was physically assaulted by a date who had to be forcibly removed from the house by police. She was threatened by her new neighbors, a gang of drug dealers. She was forced to give up her beloved Lhasa Apso who developed sores and became so fearful inside the house that he started pulling his own fur out. (The dog returned to full health as soon as he was re-homed.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While in the house, Montandon suffered bouts of dizziness, headaches and disorientation. One night, these symptoms became so severe, she almost overdosed on medication. Worst of all, within three years of the tarot reader’s curse, three of the women closest to her—all young and healthy, all of whom had resided in the house for short stints after the astrology party—were dead.\u003c/p>\n\u003cp>Two of them, Montandon’s cousin Carolyn and a young assistant named Vera Scott (both of whom had been terrified by the house while living there) died by suicide. The third woman, Montandon’s best friend and secretary Mary Lou Ward, died in the home under circumstances so mysterious, a cause of death has never been determined.\u003c/p>\n\u003cp>Here’s what happened. In May 1969, Montandon abandoned the house to live with her new husband, Alfred Wilsey, who moved the date of their wedding up in an effort to loose her from the building’s clutches even faster. Montandon was unable to get out of her lease, and the Lombard Street house sat empty for weeks until Ward asked if she might stay there—she was looking to give her own newlywed daughter and son-in-law some space to themselves in her home. Montandon agreed, but recalls saying: “You’re sure you’re not afraid? I wouldn’t go back on a bet.”\u003c/p>\n\u003cp>One week later, after flames were spotted by a neighbor, Ward was found face down on the bed in Montandon’s bedroom, severely burned. All of the windows and doors to the room were locked. At the inquest, it was determined that the 47-year-old had died before the fire started, but no one could figure out how or why.\u003c/p>\n\u003cp>Coroner Dr. Henry W. Turkel stated:\u003c/p>\n\u003cblockquote>\u003cp>I should explain to you … that we have examined Mary Louise Ward as carefully as we know how and at great length, and we cannot establish any reason for her death. We don’t know why she died.\u003c/p>\u003c/blockquote>\n\u003cp>George Lucas, an inspector from the SFFD who also worked on the case, was equally confounded about the fire’s origin, especially since it broke out \u003cem>after\u003c/em> Ward died and she was home alone. He later wrote to Montandon:\u003c/p>\n\u003cblockquote>\u003cp>I personally went back to that apartment on my own several times to try to solve the mystery there. In my 22 years as a member of the fire department, I have had lots of experiences of death by fire. There was something about this one that just wasn’t right.\u003c/p>\u003c/blockquote>\n\u003cp>Tortured by the fact that the investigation into Ward’s death created more questions than answers, Montandon went about doing her own detective work. Before her death, Ward had told Montandon she didn’t think the tarot reader’s curse was entirely to blame for the run of strange activity that followed. “I think it was already there,” she told Montandon. “Maybe his influence just called it out.”\u003c/p>\n\u003cp>Montandon’s investigation seemed to back up Ward’s theory. She discovered that former tenants of 1000 Lombard Street had uncommonly high rates of both divorce and alcohol dependency. One complained of developing a puzzling illness while living there that she never entirely got rid of, even years after leaving. [aside postid='pop_103040']\u003c/p>\n\u003cp>In addition, at least one woman had died by suicide in the house. Neighbors who knew the deceased later told Montandon that, before the former resident took her life, she listened to music at all hours of the day and night—specifically the song “Mockin’ Bird Hill.” Before her suicide, Montandon’s cousin Carolyn confessed she continued to hear the song even after she moved away from Lombard Street.\u003c/p>\n\u003cp>After Montandon’s ex-landlord sold the building in 1973, he told the writer: “That building surely was a voodoo for me. It had a hex on it. I had more trouble there than I’ve ever had in my life. It was hard to unload.” And in a later letter, he wrote, “I was glad when I finally sold it in 1973.” He got $150,000 for the property.\u003c/p>\n\u003cp>In 2019, 1000 Lombard Street sold for the first time since. And though initially listed for $7,850,000, it ended up selling for \u003ca href=\"https://www.realtor.com/realestateandhomes-detail/1000-Lombard-St_San-Francisco_CA_94109_M10037-31155\" target=\"_blank\" rel=\"noopener noreferrer\">$5,100,000\u003c/a>. Which, for a 12-room, 3-story home with breathtaking views of the Bay and a prime position at the bottom of the Lombard Street wiggle, seems fairly cheap by San Francisco standards. (There are currently 5-bedroom homes in the neighborhood on the market \u003ca href=\"https://www.redfin.com/neighborhood/2352/CA/San-Francisco/Russian-Hill/filter/viewport=37.80419:37.79803:-122.41312:-122.42467?\" target=\"_blank\" rel=\"noopener noreferrer\">for more\u003c/a>.)\u003c/p>\n\u003cp>Pat Montandon sent two psychics to investigate 1000 Lombard Street in 1973. They emerged with strange photographs that seemed to change over time, and an ominous analysis of the spiritual state of the home. Though efforts were made to shield Montandon from the things she had experienced there, the paranormal experts were unable to clear the house of the unusual activity that plagued it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One of the investigators, Frank R. Nocerino, wrote a summary for Montandon afterwards. “You are and will be protected from anything in the house by an exorcism that my group and I have done from a distance, and from symbols left behind in the house itself,” he told her. “I can only again suggest that you do not go there if at all possible. In particular, never go alone.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>at Montandon’s ordeal began at her own party. It was 1968 and the socialite had invited the glitterati of San Francisco to her home at 1000 Lombard Street. The theme was astrology; guests were paired up according to zodiac sign and offered psychic readings from a palmist, a crystal-ball gazer, an astrologer and a tarot reader. At the end of the night, buoyed by compliments from her guests, Montandon felt certain that the party had been a “brilliant success.” Two years later, she recognized it as the start of an unyielding nightmare.\u003c/p>\n\u003cp>Montandon, then 39, was a columnist for the \u003cem>Examiner\u003c/em>, a popular host on the local TV station KGO and the author of a book inspired by her legendary soirée-throwing skills, \u003ca href=\"https://www.goodreads.com/book/show/1638162.How_To_Be_A_Party_Girl\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>How To Be A Party Girl\u003c/em>\u003c/a>. She was vivacious, beautiful and her life was positively enviable … until all of a sudden, it wasn’t.\u003c/p>\n\u003cp>The night of the astrology party, the tarot reader flew into a rage after Montandon forgot to bring him a drink. In \u003ca href=\"https://www.goodreads.com/book/show/1075886.The_Intruders\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Intruders\u003c/em>\u003c/a>, her incredible 1975 book about the events that followed, she wrote:\u003c/p>\n\u003cblockquote>\u003cp>Quivering with rage, he directed a stream of abuse at me: He had never been treated so rudely, I was an insufferable, ungracious hostess, he was leaving, but not before he made certain I would never have any happy moments in that house again. He fixed me with a glare, his face puffed and distorted. ‘I lay a curse upon you and this house. I do not forget, and I do not forgive. Remember that!’\u003c/p>\u003c/blockquote>\n\u003cp>Within weeks, Montandon’s life was falling apart. At home, she was subjected to paranormal events so relentless, they quickly transformed her from a skeptic into a believer. She was plagued by locked doors and windows opening themselves, and freezing temperatures that persisted despite a thermostat turned up to 90 degrees. She was routinely awoken at two in the morning, and she heard strange footsteps and music—specifically a song called “\u003ca href=\"https://www.youtube.com/watch?v=g0OSRuaKKig\" target=\"_blank\" rel=\"noopener noreferrer\">Mockin’ Bird Hill\u003c/a>,” on repeat. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her home was broken into and ransacked. Her car was destroyed. When she tried to throw another party, a mysterious fire broke out. She was physically assaulted by a date who had to be forcibly removed from the house by police. She was threatened by her new neighbors, a gang of drug dealers. She was forced to give up her beloved Lhasa Apso who developed sores and became so fearful inside the house that he started pulling his own fur out. (The dog returned to full health as soon as he was re-homed.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While in the house, Montandon suffered bouts of dizziness, headaches and disorientation. One night, these symptoms became so severe, she almost overdosed on medication. Worst of all, within three years of the tarot reader’s curse, three of the women closest to her—all young and healthy, all of whom had resided in the house for short stints after the astrology party—were dead.\u003c/p>\n\u003cp>Two of them, Montandon’s cousin Carolyn and a young assistant named Vera Scott (both of whom had been terrified by the house while living there) died by suicide. The third woman, Montandon’s best friend and secretary Mary Lou Ward, died in the home under circumstances so mysterious, a cause of death has never been determined.\u003c/p>\n\u003cp>Here’s what happened. In May 1969, Montandon abandoned the house to live with her new husband, Alfred Wilsey, who moved the date of their wedding up in an effort to loose her from the building’s clutches even faster. Montandon was unable to get out of her lease, and the Lombard Street house sat empty for weeks until Ward asked if she might stay there—she was looking to give her own newlywed daughter and son-in-law some space to themselves in her home. Montandon agreed, but recalls saying: “You’re sure you’re not afraid? I wouldn’t go back on a bet.”\u003c/p>\n\u003cp>One week later, after flames were spotted by a neighbor, Ward was found face down on the bed in Montandon’s bedroom, severely burned. All of the windows and doors to the room were locked. At the inquest, it was determined that the 47-year-old had died before the fire started, but no one could figure out how or why.\u003c/p>\n\u003cp>Coroner Dr. Henry W. Turkel stated:\u003c/p>\n\u003cblockquote>\u003cp>I should explain to you … that we have examined Mary Louise Ward as carefully as we know how and at great length, and we cannot establish any reason for her death. We don’t know why she died.\u003c/p>\u003c/blockquote>\n\u003cp>George Lucas, an inspector from the SFFD who also worked on the case, was equally confounded about the fire’s origin, especially since it broke out \u003cem>after\u003c/em> Ward died and she was home alone. He later wrote to Montandon:\u003c/p>\n\u003cblockquote>\u003cp>I personally went back to that apartment on my own several times to try to solve the mystery there. In my 22 years as a member of the fire department, I have had lots of experiences of death by fire. There was something about this one that just wasn’t right.\u003c/p>\u003c/blockquote>\n\u003cp>Tortured by the fact that the investigation into Ward’s death created more questions than answers, Montandon went about doing her own detective work. Before her death, Ward had told Montandon she didn’t think the tarot reader’s curse was entirely to blame for the run of strange activity that followed. “I think it was already there,” she told Montandon. “Maybe his influence just called it out.”\u003c/p>\n\u003cp>Montandon’s investigation seemed to back up Ward’s theory. She discovered that former tenants of 1000 Lombard Street had uncommonly high rates of both divorce and alcohol dependency. One complained of developing a puzzling illness while living there that she never entirely got rid of, even years after leaving. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition, at least one woman had died by suicide in the house. Neighbors who knew the deceased later told Montandon that, before the former resident took her life, she listened to music at all hours of the day and night—specifically the song “Mockin’ Bird Hill.” Before her suicide, Montandon’s cousin Carolyn confessed she continued to hear the song even after she moved away from Lombard Street.\u003c/p>\n\u003cp>After Montandon’s ex-landlord sold the building in 1973, he told the writer: “That building surely was a voodoo for me. It had a hex on it. I had more trouble there than I’ve ever had in my life. It was hard to unload.” And in a later letter, he wrote, “I was glad when I finally sold it in 1973.” He got $150,000 for the property.\u003c/p>\n\u003cp>In 2019, 1000 Lombard Street sold for the first time since. And though initially listed for $7,850,000, it ended up selling for \u003ca href=\"https://www.realtor.com/realestateandhomes-detail/1000-Lombard-St_San-Francisco_CA_94109_M10037-31155\" target=\"_blank\" rel=\"noopener noreferrer\">$5,100,000\u003c/a>. Which, for a 12-room, 3-story home with breathtaking views of the Bay and a prime position at the bottom of the Lombard Street wiggle, seems fairly cheap by San Francisco standards. (There are currently 5-bedroom homes in the neighborhood on the market \u003ca href=\"https://www.redfin.com/neighborhood/2352/CA/San-Francisco/Russian-Hill/filter/viewport=37.80419:37.79803:-122.41312:-122.42467?\" target=\"_blank\" rel=\"noopener noreferrer\">for more\u003c/a>.)\u003c/p>\n\u003cp>Pat Montandon sent two psychics to investigate 1000 Lombard Street in 1973. They emerged with strange photographs that seemed to change over time, and an ominous analysis of the spiritual state of the home. Though efforts were made to shield Montandon from the things she had experienced there, the paranormal experts were unable to clear the house of the unusual activity that plagued it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the investigators, Frank R. Nocerino, wrote a summary for Montandon afterwards. “You are and will be protected from anything in the house by an exorcism that my group and I have done from a distance, and from symbols left behind in the house itself,” he told her. “I can only again suggest that you do not go there if at all possible. In particular, never go alone.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1860s Germany, \u003ca href=\"https://en.wikipedia.org/wiki/Karl_Heinrich_Ulrichs\" target=\"_blank\" rel=\"noopener noreferrer\">Karl Heinrich Ulrichs\u003c/a> urged other gay people to publicly reveal their sexual orientation. In 1914, \u003ca href=\"https://books.google.com/books/about/The_Homosexuality_of_Men_and_Women.html?id=iDhWtiLsIMwC\" target=\"_blank\" rel=\"noopener noreferrer\">Magnus Hirschfeld wrote\u003c/a> of the revolutionary potential of respected gay women and men coming out en masse. By the late 1960s, coming out was treated with the utmost importance within the gay rights movement. And in 1977, Gay Bob arrived.\u003c/p>\n\u003cp>It was the same year that Harvey Milk became the first openly gay man elected to public office in California. And while Milk was urging his friends and community to \u003ca href=\"https://www.huffpost.com/entry/how-harvey-milks-challeng_b_5960258\" target=\"_blank\" rel=\"noopener noreferrer\">come out of the closet\u003c/a>, the “World’s First Gay Doll” was doing the exact same thing.\u003c/p>\n\u003cfigure id=\"attachment_13880946\" class=\"wp-caption aligncenter\" style=\"max-width: 420px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880946\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/gay-bob-doll-4.jpg\" alt=\"An original ad for the Gay Bob doll.\" width=\"420\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gay-bob-doll-4.jpg 420w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gay-bob-doll-4-160x244.jpg 160w\" sizes=\"auto, (max-width: 420px) 100vw, 420px\">\u003cfigcaption class=\"wp-caption-text\">An original ad for the Gay Bob doll.\u003c/figcaption>\u003c/figure>\n\u003cp>Designed to look like a combination of Paul Newman and Robert Redford and packed into his own cardboard closet, Gay Bob was the brainchild of former advertising executive Harvey Rosenberg. The New Yorker used $10,000 of his own money to launch the doll and had it made in Hong Kong after American \u003ca href=\"https://hornet.com/stories/gay-bob-doll/\" target=\"_blank\" rel=\"noopener noreferrer\">manufacturers refused\u003c/a> to make Bob’s groin anatomically correct.\u003c/p>\n\u003cp>Rosenberg wanted Gay Bob to normalize the coming out process, while also acting as a fun accessory for those who were already out and proud. In \u003ca href=\"https://www.youtube.com/watch?v=3z6jPlHMlxU\" target=\"_blank\" rel=\"noopener noreferrer\">an interview\u003c/a> to promote Gay Bob, Rosenberg once said, “Bob’s perfect for an executive’s desk, dash board ornament, the attache case, the bathtub rim, a health club gym bag.”\u003c/p>\n\u003cp>Despite Gay Bob having a realistic penis, the snazzy fashion catalog contained in the doll’s packaging was distinctly child-friendly:\u003c/p>\n\u003cblockquote>\u003cp>Hi boys, girls and grownups, I’m Gay Bob, the world’s first gay doll. I bet you are wondering why I come packed in a closet. ‘Coming out of the closet’ is an expression which means that you admit the truth about yourself and are no longer ashamed of what you are… Gay people are no different than straight people. If everyone came out of their closets, there wouldn’t be so many angry, frustrated, frightened people… It’s not easy to be honest about what you are, in fact it takes a great deal of courage. But remember, if Gay Bob has the courage to come out of his closet, so can you!\u003c/p>\u003c/blockquote>\n\u003cp>Despite his optimistic message, conservative groups of the era viewed Gay Bob as a threat to family values. Edward Rowe, the executive director of Protect America’s Children, was quoted in a \u003ca href=\"https://www.newspapers.com/clip/32186037/gays-and-dolls-a-piece-about-the-gay/\" target=\"_blank\" rel=\"noopener noreferrer\">1978 issue of the \u003cem>Pittsburgh Post-Gazette\u003c/em>\u003c/a> describing Gay Bob as “another evidence of the desperation the homosexual campaign has reached in its effort to put homosexual lifestyle, which is a death style, across to the American people. I can only hope that the children who are given these Gay Bob dolls will not comprehend the meaning and intent of the campaign.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Attempts to get the doll into department stores were largely a failure, so Rosenberg primarily sold Gay Bob via mail order ads in gay magazines. One doll cost $19.50, including shipping and handling, and it was $35 for a pair. Two thousand people snapped up their own Gay Bobs in the first two months of the doll being available, and Bob was later stocked in San Francisco and New York boutiques.\u003c/p>\n\u003cp>In addition to winning \u003cem>Esquire’\u003c/em>s “\u003ca href=\"https://artsandculture.google.com/asset/doll-gay-bob-harvey-rosenberg-inc/7AH5W5xCmLdaPg?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Dubious Achievement Award\u003c/a>” in 1978, Gay Bob got his very own storyline in Frank Zappa’s 9-minute ode to sexual experimentation, “\u003ca href=\"https://www.youtube.com/watch?v=-u-0e4Gn2BU\" target=\"_blank\" rel=\"noopener noreferrer\">Sy Borg\u003c/a>.” In the song, a robotic voice tells a human man: “I share this apartment with a modified Gay Bob doll. He goes all the way! Ever try oral sex with a miniature rubberized homo-replica?” And then later: “This is him. Your wish is his command. He likes you. He wants to kiss you always. Just tell him what you want.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Today, Gay Bob is simply an amusing quirk on the timeline of LGBTQ+ history. But he remains in demand as a collector’s item, fetching \u003ca href=\"https://www.ebay.com/itm/1977-GAY-BOB-OUT-THE-CLOSET-13-DOLL-never-pulled-from-box/293550344513?hash=item4458f6c941:g:gHwAAOSwrENemg4G\" target=\"_blank\" rel=\"noopener noreferrer\">upwards of $200\u003c/a> on auction websites. At the time he was made, tongue-in-cheek though he was, Bob was meant to increase the visibility of gay people everywhere. “We had something to learn from the gay movement, just like we did from the Black civil rights movement and the women’s movement,” \u003ca href=\"https://www.babiafi.co.uk/2015/07/gay-bob.html\" target=\"_blank\" rel=\"noopener noreferrer\">Harvey Rosenberg once said\u003c/a>. “And that is having the courage to stand up and say ‘I have a right to be what I am.’”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1860s Germany, \u003ca href=\"https://en.wikipedia.org/wiki/Karl_Heinrich_Ulrichs\" target=\"_blank\" rel=\"noopener noreferrer\">Karl Heinrich Ulrichs\u003c/a> urged other gay people to publicly reveal their sexual orientation. In 1914, \u003ca href=\"https://books.google.com/books/about/The_Homosexuality_of_Men_and_Women.html?id=iDhWtiLsIMwC\" target=\"_blank\" rel=\"noopener noreferrer\">Magnus Hirschfeld wrote\u003c/a> of the revolutionary potential of respected gay women and men coming out en masse. By the late 1960s, coming out was treated with the utmost importance within the gay rights movement. And in 1977, Gay Bob arrived.\u003c/p>\n\u003cp>It was the same year that Harvey Milk became the first openly gay man elected to public office in California. And while Milk was urging his friends and community to \u003ca href=\"https://www.huffpost.com/entry/how-harvey-milks-challeng_b_5960258\" target=\"_blank\" rel=\"noopener noreferrer\">come out of the closet\u003c/a>, the “World’s First Gay Doll” was doing the exact same thing.\u003c/p>\n\u003cfigure id=\"attachment_13880946\" class=\"wp-caption aligncenter\" style=\"max-width: 420px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880946\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/gay-bob-doll-4.jpg\" alt=\"An original ad for the Gay Bob doll.\" width=\"420\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gay-bob-doll-4.jpg 420w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/gay-bob-doll-4-160x244.jpg 160w\" sizes=\"auto, (max-width: 420px) 100vw, 420px\">\u003cfigcaption class=\"wp-caption-text\">An original ad for the Gay Bob doll.\u003c/figcaption>\u003c/figure>\n\u003cp>Designed to look like a combination of Paul Newman and Robert Redford and packed into his own cardboard closet, Gay Bob was the brainchild of former advertising executive Harvey Rosenberg. The New Yorker used $10,000 of his own money to launch the doll and had it made in Hong Kong after American \u003ca href=\"https://hornet.com/stories/gay-bob-doll/\" target=\"_blank\" rel=\"noopener noreferrer\">manufacturers refused\u003c/a> to make Bob’s groin anatomically correct.\u003c/p>\n\u003cp>Rosenberg wanted Gay Bob to normalize the coming out process, while also acting as a fun accessory for those who were already out and proud. In \u003ca href=\"https://www.youtube.com/watch?v=3z6jPlHMlxU\" target=\"_blank\" rel=\"noopener noreferrer\">an interview\u003c/a> to promote Gay Bob, Rosenberg once said, “Bob’s perfect for an executive’s desk, dash board ornament, the attache case, the bathtub rim, a health club gym bag.”\u003c/p>\n\u003cp>Despite Gay Bob having a realistic penis, the snazzy fashion catalog contained in the doll’s packaging was distinctly child-friendly:\u003c/p>\n\u003cblockquote>\u003cp>Hi boys, girls and grownups, I’m Gay Bob, the world’s first gay doll. I bet you are wondering why I come packed in a closet. ‘Coming out of the closet’ is an expression which means that you admit the truth about yourself and are no longer ashamed of what you are… Gay people are no different than straight people. If everyone came out of their closets, there wouldn’t be so many angry, frustrated, frightened people… It’s not easy to be honest about what you are, in fact it takes a great deal of courage. But remember, if Gay Bob has the courage to come out of his closet, so can you!\u003c/p>\u003c/blockquote>\n\u003cp>Despite his optimistic message, conservative groups of the era viewed Gay Bob as a threat to family values. Edward Rowe, the executive director of Protect America’s Children, was quoted in a \u003ca href=\"https://www.newspapers.com/clip/32186037/gays-and-dolls-a-piece-about-the-gay/\" target=\"_blank\" rel=\"noopener noreferrer\">1978 issue of the \u003cem>Pittsburgh Post-Gazette\u003c/em>\u003c/a> describing Gay Bob as “another evidence of the desperation the homosexual campaign has reached in its effort to put homosexual lifestyle, which is a death style, across to the American people. I can only hope that the children who are given these Gay Bob dolls will not comprehend the meaning and intent of the campaign.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Attempts to get the doll into department stores were largely a failure, so Rosenberg primarily sold Gay Bob via mail order ads in gay magazines. One doll cost $19.50, including shipping and handling, and it was $35 for a pair. Two thousand people snapped up their own Gay Bobs in the first two months of the doll being available, and Bob was later stocked in San Francisco and New York boutiques.\u003c/p>\n\u003cp>In addition to winning \u003cem>Esquire’\u003c/em>s “\u003ca href=\"https://artsandculture.google.com/asset/doll-gay-bob-harvey-rosenberg-inc/7AH5W5xCmLdaPg?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Dubious Achievement Award\u003c/a>” in 1978, Gay Bob got his very own storyline in Frank Zappa’s 9-minute ode to sexual experimentation, “\u003ca href=\"https://www.youtube.com/watch?v=-u-0e4Gn2BU\" target=\"_blank\" rel=\"noopener noreferrer\">Sy Borg\u003c/a>.” In the song, a robotic voice tells a human man: “I share this apartment with a modified Gay Bob doll. He goes all the way! Ever try oral sex with a miniature rubberized homo-replica?” And then later: “This is him. Your wish is his command. He likes you. He wants to kiss you always. Just tell him what you want.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Today, Gay Bob is simply an amusing quirk on the timeline of LGBTQ+ history. But he remains in demand as a collector’s item, fetching \u003ca href=\"https://www.ebay.com/itm/1977-GAY-BOB-OUT-THE-CLOSET-13-DOLL-never-pulled-from-box/293550344513?hash=item4458f6c941:g:gHwAAOSwrENemg4G\" target=\"_blank\" rel=\"noopener noreferrer\">upwards of $200\u003c/a> on auction websites. At the time he was made, tongue-in-cheek though he was, Bob was meant to increase the visibility of gay people everywhere. “We had something to learn from the gay movement, just like we did from the Black civil rights movement and the women’s movement,” \u003ca href=\"https://www.babiafi.co.uk/2015/07/gay-bob.html\" target=\"_blank\" rel=\"noopener noreferrer\">Harvey Rosenberg once said\u003c/a>. “And that is having the courage to stand up and say ‘I have a right to be what I am.’”\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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