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"headline": "Watch a Huey P. Newton Rally, with H. Rap Brown and Stokely Carmichael, from 1968",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While Black Panther Party co-founder Huey P. Newton sat in jail on his birthday in 1968, H. Rap Brown and Stokely Carmichael addressed a giant crowd at the Oakland Civic Auditorium in an event known today as the Huey P. Newton Birthday Rally. The day’s events received widespread attention, and catalyzed the “Free Huey” movement.\u003c/p>\n\u003cp>With 5,000 people in attendance, Brown and Carmichael spoke passionately on Newton’s work, the need for black empowerment, the Vietnam war, and the responsibility of the black community to see through a veil of false comfort from white leaders at the height of the civil rights era. \u003c/p>\n\u003cp>As Carmichael says in the clip: “We have to recognize who our major enemy is! The major enemy is not your brother, flesh of your flesh, blood of your blood. The major enemy is the honkey and his institutions of racism! That is the major enemy! That is the major enemy!”\u003c/p>\n\u003cp>Even more pointed were H. Rap Brown’s comments: “A lot of you runnin’ around talkin’ ‘bout you Democrats, and the Democrats got you in the biggest trick goin’—they tell you ‘It ain’t our fault, its the Dixiecrats!’ No such thing as a Dixiecrat! The only difference between George Wallace and Lyndon Johnson is one of ‘em’s wife’s got cancer!” \u003c/p>\n\u003cp>\u003cstrong>KQED recently unearthed this special footage from the KQED archives\u003c/strong>. Watch select moments from their speeches above. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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\">T\u003c/span>he United States is a machine fueled by energy extracted from African Americans.\u003c/p>\n\u003cp>Police brutality is the most visceral example of the state taking our life force. Cellphone footage of this country’s first line of defense, its imperial team of overseers, taking the life from black folks works twofold: it not only documents the victim’s life being ended, but it deducts from the value of life of African American viewers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_.jpg\" alt=\"\" width=\"180\" height=\"207\" class=\"alignright size-full wp-image-13833985\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>What started the confrontation that led to an officer taking George Floyd’s life? Floyd’s attempt to exchange a counterfeit bill. A minor crime that ended in horrific fashion, and gives further evidence that capitalism and racism are a married couple of mosquitoes, pulling blood from black folks, everyday.\u003c/p>\n\u003cp>And this is only the most newsworthy and sensational of the long list of more covert extractions that happen to black folks everyday in America. Look at data around health disparities, incarceration rates, wealth, child mortality, education levels and life expectancy. These numbers show that life is pulled from us from the cradle to the grave.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Want qualitative evidence? Let’s talk about how passive comments in the classroom plant seeds of self-destruction in little boys and girls, which manifest for the rest of our lives. Let’s discuss how microagressions in the workplace chip away from the souls of black folks. Let’s focus on the stories of the overwhelming amount of unhoused African American people.\u003c/p>\n\u003cfigure id=\"attachment_13881305\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Bike.BrandonRuffin-1020x1530.jpg\" alt=\"A cyclist amidst a protest in downtown Oakland during the final weekend of May 2020. Photographer Brandon Ruffin says he was hit with rubber bullets and subject to tear gas while taking these photos. \" width=\"640\" height=\"960\" class=\"size-large wp-image-13881305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Bike.BrandonRuffin-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Bike.BrandonRuffin-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Bike.BrandonRuffin-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Bike.BrandonRuffin-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Bike.BrandonRuffin.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A cyclist amidst a protest in downtown Oakland during the final weekend of May 2020. Photographer Brandon Ruffin says he was hit with rubber bullets and subject to tear gas while taking these photos. \u003ccite>(Brandon Ruffin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unless you’re talking about changing the way America has had its knee on our neck in just about every facet of life, I don’t want to hear it this week. I don’t have the energy.\u003c/p>\n\u003cp>That’s why I’m not out protesting. I’m not social media posting. I’m not making guest appearances on public radio specials about how the black community is feeling right now. I’m not staying up at 2am sending emails for nonprofits who want to save “at-risk youth,” or whatever term they use for black folks, but don’t have an exit strategy for when black folks are “saved.”\u003c/p>\n\u003cp>Appreciate the gesture, but I don’t really care for the “how are you feeling” texts. I’ll respond when the spirits moves me.\u003c/p>\n\u003cp>Otherwise, I’m not doing a damn thing that would take energy from me. America has taken enough.\u003c/p>\n\u003cp>I’m drawing a line in this stolen soil, because I know: If the system doesn’t kill you, you’ll die fighting it.\u003c/p>\n\u003cfigure id=\"attachment_13881338\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/HowardYearbook-800x1002.jpg\" alt=\"Dr. Leon A. Ransom (center) in the 1942 Howard University yearbook.\" width=\"600\" height=\"800\" class=\"size-medium wp-image-13881338\">\u003cfigcaption class=\"wp-caption-text\">Dr. Leon A. Ransom (center) in the 1942 Howard University yearbook. \u003ccite>(Howard University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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\">I\u003c/span> spent a large part of this past weekend talking with my great-grandfather. He died over 60 years ago, but we still had a conversation that was right on time.\u003c/p>\n\u003cp>He called on me last week, when I learned that digital versions of \u003ca href=\"https://dh.howard.edu/bison_yearbooks/\">Howard University\u003c/a>’s yearbooks were made public. There he was, on page 27 of the 1942 edition, my mother’s paternal grandfather. Front, center and dapper—check out the kicks. He shares space on the page with the famous philosopher and theologian Howard Thurman. And he’s surrounded by images of Lewis K. Downing, E. Franklin Frazier and A.J. Blackburn—all of whom have buildings or centers named in their honor at the Mecca.\u003c/p>\n\u003cp>My great-grandfather, Dr. Leon A. Ransom, was a high-ranking graduate of Ohio State’s law school. He also earned a post-grad degree from Harvard. He went on to be a member of Howard University faculty for over a decade, serving as the acting dean of its law school from 1941 to 1946, during the war years.\u003c/p>\n\u003cfigure id=\"attachment_13881335\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/IMG_0297-1020x1360.jpg\" alt=\"Dr. Leon A. Ransom discussing how he deals with stress: 'I work.'\" width=\"640\" height=\"853\" class=\"size-large wp-image-13881335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_0297-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_0297-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_0297-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_0297-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_0297-1920x2560.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Leon A. Ransom discussing how he deals with stress: ‘I work.’ \u003ccite>(Dr. Leon A. Ransom Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside of academia, he was a part of the NAACP Legal Defense team; he worked closely with a number of top African American lawyers of the time, including Thurgood Marshall. My great-grandfather’s work focused on “educational and salary discrimination, jury exclusion, and race riots,” according to \u003ca href=\"https://dh.howard.edu/cgi/viewcontent.cgi?article=1162&context=finaid_manu\">Howard’s records\u003c/a>.\u003c/p>\n\u003cp>One of the more notable cases he worked was the 1946 “\u003ca href=\"https://tennesseeencyclopedia.net/entries/columbia-race-riot-1946/\">Columbia Race Riots\u003c/a>.” He helped clear the names of 23 of the 25 African American men who were charged with attempted murder after multiple officers were shot during a riot in which a white mob ravaged and fired guns throughout Mink Slide, the black business district in Columbia, Tennessee. During the case, Dr. Ransom spoke in front of known Ku Klux Klansmen, and was threatened by the opposing legal team; the defense attorney at one point told him that if he kept talking he’d “wrap this chair around his goddamn head.”\u003c/p>\n\u003cp>In the book \u003cem>Making Civil Rights Law: Thurgood Marshall and the Supreme Court, 1936-1961\u003c/em>, it’s noted that during the Columbia Race Riot case, my great-grandfather’s “mental conditions began to deteriorate.” He had recently survived a physical attack by a former police officer after one of his court cases in Nashville. Prior to that, he’d endured written threats from a white woman who wanted to keep schools segregated. He even disappeared for a short spell, causing a stir—family rumor has it that he skipped town to attend a baseball game, in order to take a mental break from his work.\u003c/p>\n\u003cp>I have a folder of clippings about my great-grandfather’s work that I keep near my bed. One article asks a handful of well-known figures of the era how they deal with stress. My great-grandfather said, “I work.”\u003c/p>\n\u003cp>Dr. Leon A. Ransom died at age 55 of a stroke, according to his \u003ca href=\"https://www.newspapers.com/clip/13361137/leon-a-ransom-obituary/\">obituary\u003c/a>. He wasn’t killed by police during a protest or traffic stop. But his effort to combat America’s racist system obviously impacted his health.\u003c/p>\n\u003cp>He was a black man fighting against injustice during his life, and it’s clear that the fight for freedom hastened his death.\u003c/p>\n\u003cfigure id=\"attachment_13881304\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Embrace.BrandonRuffin-1020x1530.jpg\" alt=\"An embrace in the midst of chaos in downtown Oakland during protests in late May 2020.\" width=\"640\" height=\"960\" class=\"size-large wp-image-13881304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Embrace.BrandonRuffin-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Embrace.BrandonRuffin-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Embrace.BrandonRuffin-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Embrace.BrandonRuffin-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Embrace.BrandonRuffin.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">An embrace in the midst of chaos in downtown Oakland during protests in late May 2020. \u003ccite>(Brandon Ruffin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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\">T\u003c/span>his system is tricky. It’ll either squash you for existing, or let you get close enough to think you’re doing something to change it—just to kill you.\u003c/p>\n\u003cp>In knowing that, it’s on me to prioritize my physical and mental health in a country that’s inherently unhealthy for me and my people.\u003c/p>\n\u003cp>Do I not combat oppression? You’re a damn fool if you think I’d be passive.\u003c/p>\n\u003cp>Do I turn into a martyr for the cause, or some sort of kamikaze fighter for black liberation? No. Because my death won’t change anything.\u003c/p>\n\u003cp>I’ll take a bit of my great-grandfather’s advice for navigating times of stress, and I’ll continue to work.\u003c/p>\n\u003cp>And at the same time, I’ll be mindful that many of the frontline protesters in Ferguson have \u003ca href=\"https://www.chicagotribune.com/nation-world/ct-ferguson-activist-deaths-black-lives-matter-20190317-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">mysteriously died\u003c/a>. And police brutality, as seen in the past week’s nationwide protests, is still an issue. And the Fair Housing Act of 1968 (also known as the Civil Rights Act) was signed just after Dr. Martin Luther King, Jr. was killed, yet we’re \u003ca href=\"https://www.newyorker.com/news/news-desk/the-unfulfilled-promise-of-the-fair-housing-act\" target=\"_blank\" rel=\"noopener noreferrer\">just as divided today\u003c/a>. And, I’ll keep in mind that my great-grandfather died a young age, largely due to stress caused by the hard work he did as a lawyer.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So, I’ll draw the line on how much I work. I’ll fulfill my personal responsibilities, and do my 40 hours each week—I have to work, my daughter’s tummy demands it—but not a minute more. It’s the only action that’s within my power to ensure that the capitalist system driving this racist country doesn’t take any more of my life.\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\">T\u003c/span>he United States is a machine fueled by energy extracted from African Americans.\u003c/p>\n\u003cp>Police brutality is the most visceral example of the state taking our life force. Cellphone footage of this country’s first line of defense, its imperial team of overseers, taking the life from black folks works twofold: it not only documents the victim’s life being ended, but it deducts from the value of life of African American viewers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_.jpg\" alt=\"\" width=\"180\" height=\"207\" class=\"alignright size-full wp-image-13833985\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>What started the confrontation that led to an officer taking George Floyd’s life? Floyd’s attempt to exchange a counterfeit bill. A minor crime that ended in horrific fashion, and gives further evidence that capitalism and racism are a married couple of mosquitoes, pulling blood from black folks, everyday.\u003c/p>\n\u003cp>And this is only the most newsworthy and sensational of the long list of more covert extractions that happen to black folks everyday in America. Look at data around health disparities, incarceration rates, wealth, child mortality, education levels and life expectancy. These numbers show that life is pulled from us from the cradle to the grave.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Want qualitative evidence? Let’s talk about how passive comments in the classroom plant seeds of self-destruction in little boys and girls, which manifest for the rest of our lives. Let’s discuss how microagressions in the workplace chip away from the souls of black folks. Let’s focus on the stories of the overwhelming amount of unhoused African American people.\u003c/p>\n\u003cfigure id=\"attachment_13881305\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Bike.BrandonRuffin-1020x1530.jpg\" alt=\"A cyclist amidst a protest in downtown Oakland during the final weekend of May 2020. Photographer Brandon Ruffin says he was hit with rubber bullets and subject to tear gas while taking these photos. \" width=\"640\" height=\"960\" class=\"size-large wp-image-13881305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Bike.BrandonRuffin-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Bike.BrandonRuffin-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Bike.BrandonRuffin-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Bike.BrandonRuffin-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Bike.BrandonRuffin.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A cyclist amidst a protest in downtown Oakland during the final weekend of May 2020. Photographer Brandon Ruffin says he was hit with rubber bullets and subject to tear gas while taking these photos. \u003ccite>(Brandon Ruffin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unless you’re talking about changing the way America has had its knee on our neck in just about every facet of life, I don’t want to hear it this week. I don’t have the energy.\u003c/p>\n\u003cp>That’s why I’m not out protesting. I’m not social media posting. I’m not making guest appearances on public radio specials about how the black community is feeling right now. I’m not staying up at 2am sending emails for nonprofits who want to save “at-risk youth,” or whatever term they use for black folks, but don’t have an exit strategy for when black folks are “saved.”\u003c/p>\n\u003cp>Appreciate the gesture, but I don’t really care for the “how are you feeling” texts. I’ll respond when the spirits moves me.\u003c/p>\n\u003cp>Otherwise, I’m not doing a damn thing that would take energy from me. America has taken enough.\u003c/p>\n\u003cp>I’m drawing a line in this stolen soil, because I know: If the system doesn’t kill you, you’ll die fighting it.\u003c/p>\n\u003cfigure id=\"attachment_13881338\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/HowardYearbook-800x1002.jpg\" alt=\"Dr. Leon A. Ransom (center) in the 1942 Howard University yearbook.\" width=\"600\" height=\"800\" class=\"size-medium wp-image-13881338\">\u003cfigcaption class=\"wp-caption-text\">Dr. Leon A. Ransom (center) in the 1942 Howard University yearbook. \u003ccite>(Howard University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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\">I\u003c/span> spent a large part of this past weekend talking with my great-grandfather. He died over 60 years ago, but we still had a conversation that was right on time.\u003c/p>\n\u003cp>He called on me last week, when I learned that digital versions of \u003ca href=\"https://dh.howard.edu/bison_yearbooks/\">Howard University\u003c/a>’s yearbooks were made public. There he was, on page 27 of the 1942 edition, my mother’s paternal grandfather. Front, center and dapper—check out the kicks. He shares space on the page with the famous philosopher and theologian Howard Thurman. And he’s surrounded by images of Lewis K. Downing, E. Franklin Frazier and A.J. Blackburn—all of whom have buildings or centers named in their honor at the Mecca.\u003c/p>\n\u003cp>My great-grandfather, Dr. Leon A. Ransom, was a high-ranking graduate of Ohio State’s law school. He also earned a post-grad degree from Harvard. He went on to be a member of Howard University faculty for over a decade, serving as the acting dean of its law school from 1941 to 1946, during the war years.\u003c/p>\n\u003cfigure id=\"attachment_13881335\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/IMG_0297-1020x1360.jpg\" alt=\"Dr. Leon A. Ransom discussing how he deals with stress: 'I work.'\" width=\"640\" height=\"853\" class=\"size-large wp-image-13881335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_0297-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_0297-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_0297-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_0297-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_0297-1920x2560.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Leon A. Ransom discussing how he deals with stress: ‘I work.’ \u003ccite>(Dr. Leon A. Ransom Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside of academia, he was a part of the NAACP Legal Defense team; he worked closely with a number of top African American lawyers of the time, including Thurgood Marshall. My great-grandfather’s work focused on “educational and salary discrimination, jury exclusion, and race riots,” according to \u003ca href=\"https://dh.howard.edu/cgi/viewcontent.cgi?article=1162&context=finaid_manu\">Howard’s records\u003c/a>.\u003c/p>\n\u003cp>One of the more notable cases he worked was the 1946 “\u003ca href=\"https://tennesseeencyclopedia.net/entries/columbia-race-riot-1946/\">Columbia Race Riots\u003c/a>.” He helped clear the names of 23 of the 25 African American men who were charged with attempted murder after multiple officers were shot during a riot in which a white mob ravaged and fired guns throughout Mink Slide, the black business district in Columbia, Tennessee. During the case, Dr. Ransom spoke in front of known Ku Klux Klansmen, and was threatened by the opposing legal team; the defense attorney at one point told him that if he kept talking he’d “wrap this chair around his goddamn head.”\u003c/p>\n\u003cp>In the book \u003cem>Making Civil Rights Law: Thurgood Marshall and the Supreme Court, 1936-1961\u003c/em>, it’s noted that during the Columbia Race Riot case, my great-grandfather’s “mental conditions began to deteriorate.” He had recently survived a physical attack by a former police officer after one of his court cases in Nashville. Prior to that, he’d endured written threats from a white woman who wanted to keep schools segregated. He even disappeared for a short spell, causing a stir—family rumor has it that he skipped town to attend a baseball game, in order to take a mental break from his work.\u003c/p>\n\u003cp>I have a folder of clippings about my great-grandfather’s work that I keep near my bed. One article asks a handful of well-known figures of the era how they deal with stress. My great-grandfather said, “I work.”\u003c/p>\n\u003cp>Dr. Leon A. Ransom died at age 55 of a stroke, according to his \u003ca href=\"https://www.newspapers.com/clip/13361137/leon-a-ransom-obituary/\">obituary\u003c/a>. He wasn’t killed by police during a protest or traffic stop. But his effort to combat America’s racist system obviously impacted his health.\u003c/p>\n\u003cp>He was a black man fighting against injustice during his life, and it’s clear that the fight for freedom hastened his death.\u003c/p>\n\u003cfigure id=\"attachment_13881304\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Embrace.BrandonRuffin-1020x1530.jpg\" alt=\"An embrace in the midst of chaos in downtown Oakland during protests in late May 2020.\" width=\"640\" height=\"960\" class=\"size-large wp-image-13881304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Embrace.BrandonRuffin-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Embrace.BrandonRuffin-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Embrace.BrandonRuffin-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Embrace.BrandonRuffin-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Embrace.BrandonRuffin.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">An embrace in the midst of chaos in downtown Oakland during protests in late May 2020. \u003ccite>(Brandon Ruffin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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\">T\u003c/span>his system is tricky. It’ll either squash you for existing, or let you get close enough to think you’re doing something to change it—just to kill you.\u003c/p>\n\u003cp>In knowing that, it’s on me to prioritize my physical and mental health in a country that’s inherently unhealthy for me and my people.\u003c/p>\n\u003cp>Do I not combat oppression? You’re a damn fool if you think I’d be passive.\u003c/p>\n\u003cp>Do I turn into a martyr for the cause, or some sort of kamikaze fighter for black liberation? No. Because my death won’t change anything.\u003c/p>\n\u003cp>I’ll take a bit of my great-grandfather’s advice for navigating times of stress, and I’ll continue to work.\u003c/p>\n\u003cp>And at the same time, I’ll be mindful that many of the frontline protesters in Ferguson have \u003ca href=\"https://www.chicagotribune.com/nation-world/ct-ferguson-activist-deaths-black-lives-matter-20190317-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">mysteriously died\u003c/a>. And police brutality, as seen in the past week’s nationwide protests, is still an issue. And the Fair Housing Act of 1968 (also known as the Civil Rights Act) was signed just after Dr. Martin Luther King, Jr. was killed, yet we’re \u003ca href=\"https://www.newyorker.com/news/news-desk/the-unfulfilled-promise-of-the-fair-housing-act\" target=\"_blank\" rel=\"noopener noreferrer\">just as divided today\u003c/a>. And, I’ll keep in mind that my great-grandfather died a young age, largely due to stress caused by the hard work he did as a lawyer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So, I’ll draw the line on how much I work. I’ll fulfill my personal responsibilities, and do my 40 hours each week—I have to work, my daughter’s tummy demands it—but not a minute more. It’s the only action that’s within my power to ensure that the capitalist system driving this racist country doesn’t take any more of my life.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Larry Kramer, the playwright whose angry voice and pen raised theatergoers’ consciousness about AIDS and roused thousands to militant protests in the early years of the epidemic, has died at 84.\u003c/p>\n\u003cp>Bill Goldstein, a writer who was working on a biography of Kramer, confirmed the news to The Associated Press. Kramer’s husband, David Webster, told \u003cem>The New York Times\u003c/em> that Kramer died Wednesday of pneumonia.\u003c/p>\n\u003cp>“We have lost a giant of a man who stood up for gay rights like a warrior. His anger was needed at a time when gay men’s deaths to AIDS were being ignored by the American government,” said Elton John in a statement.\u003c/p>\n\u003cp>Kramer, who wrote \u003cem>The Normal Heart\u003c/em> and founded the AIDS Coalition to Unleash Power, or ACT UP, lost his lover to acquired immune deficiency syndrome in 1984 and was himself infected with the virus. He also suffered from hepatitis B and received a liver transplant in 2001 because the virus had caused liver failure.\u003c/p>\n\u003cp>He was nominated for an Academy Award for his screenplay for \u003cem>Women in Love\u003c/em>, the 1969 adaptation of D.H. Lawrence’s novel. It starred Glenda Jackson, who won her first Oscar for her performance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He also wrote the 1972 screenplay \u003cem>Lost Horizon\u003c/em>, a novel, \u003cem>Faggots\u003c/em>, and the plays \u003cem>Sissies’ Scrapbook, The Furniture of Home, Just Say No\u003c/em> and \u003cem>The Destiny of Me\u003c/em>, which was a finalist for the Pulitzer Prize in 1993.\u003c/p>\n\u003cp>But for many years he was best known for his public fight to secure medical treatment, acceptance and civil rights for people with AIDS. He loudly told everyone that the gay community was grappling with a plague.\u003c/p>\n\u003cp>Tributes from the arts community flooded in Wednesday, with Lin-Manuel Miranda on Twitter saying “What an extraordinary writer, what a life.” Dan Savage wrote: “He ordered us to love ourselves and each other and to fight for our lives. He was a hero.”\u003c/p>\n\u003cp>In 1981, when AIDS had not yet acquired its name and only a few dozen people had been diagnosed with it, Kramer and a group of his friends in New York City founded Gay Men’s Health Crisis, one of the first groups in the country to address the epidemic.\u003c/p>\n\u003cp>He tried to rouse the gay community with speeches and articles such as “1,112 and Counting,” published in gay newspapers in 1983.\u003c/p>\n\u003cp>“Our continued existence as gay men upon the face of this earth is at stake,” he wrote. “Unless we fight for our lives, we shall die.”\u003c/p>\n\u003cp>The late journalist Randy Shilts, in his best selling account of the AIDS epidemic \u003cem>And the Band Played On\u003c/em>, called that article “inarguably one of the most influential works of advocacy journalism of the decade” and credited it with “crystallizing the epidemic into a political movement for the gay community.”\u003c/p>\n\u003cp>Kramer lived to see gay marriage a reality — and married himself in 2013 — but never rested. “I’m married,” he told The AP. “But that’s only part of where we are. AIDS is still decimating us and we still don’t have protection under the law.”\u003c/p>\n\u003cp>Kramer split with GMHC in 1983 after other board members decided to concentrate on providing support services to people with AIDS. It remains one of the largest AIDS-service groups in the country.\u003c/p>\n\u003cp>After leaving GMHC, Kramer wrote \u003cem>The Normal Heart\u003c/em>, in which a furious young writer — not unlike Kramer himself — battles politicians, society, the media and other gay leaders to bring attention to the crisis.\u003c/p>\n\u003cp>The play premiered at The Public Theater in April 1985. Associated Press drama critic Michael Kuchwara called it an “angry but compelling indictment of a society as well as a subculture for failing to respond adequately to the tragedy.”\u003c/p>\n\u003cp>A revival in 2011 was almost universally praised by critics and earned the best revival Tony. Two actors from it — Ellen Barkin and John Benjamin Hickey — also won Tonys. Joe Mantello played the main character of Ned Weeks, the alter ego of Kramer.\u003c/p>\n\u003cp>“I’m very moved that it moved so many people,” he said at the time. Kramer often stood outside the theater passing out fliers asking the world to take action against HIV/AIDS. “Please know that AIDS is a worldwide plague. Please know there is no cure,” it said.\u003c/p>\n\u003cp>The play was turned into a TV film for HBO in 2014 starring Mark Ruffalo, Jonathan Groff, Matt Bomer, Taylor Kitsch, Jim Parsons, Alfred Molina, Joe Mantello and Julia Roberts. It won the Emmy for best movie. Kramer stood onstage in heavy winter clothing as the statuette was presented to director Ryan Murphy.\u003c/p>\n\u003cp>The 1992 play \u003cem>The Destiny of Me\u003c/em> continues the story of Weeks from \u003cem>The Normal Heart\u003c/em>. Weeks, in the hospital for an experimental AIDS treatment, reflects on the past, particularly his relationship with his family. His parents and brother appear to act out what happened in the past, as does the young Ned, who confronts his older self.\u003c/p>\n\u003cp>In 1987, Kramer founded ACT UP, the group that became famous for staging civil disobedience at places like the Food and Drug Administration, the New York Stock Exchange and Burroughs-Wellcome Corp., the maker of the chief anti-AIDS drug, AZT.\u003c/p>\n\u003cp>ACT UP’s protests helped persuade the FDA to speed the approval of new drugs and Burroughs-Wellcome to lower its price for AZT. He also battled — and later reconciled — with Dr. Anthony Fauci, the longtime director of the National Institute of Allergy and Infectious Diseases, who has been leading the national response to the coronavirus pandemic.\u003c/p>\n\u003cp>Kramer soon relinquished a leadership role in ACT UP, and as support for AIDS research increased, he found some common ground with health officials whom ACT UP had bitterly criticized.\u003c/p>\n\u003cp>Kramer never softened the urgency of his demands. In 2011, he helped the American Foundation for Equal Rights mount their play \u003cem>8\u003c/em> on Broadway about the legal battle over same-sex marriage in California.\u003c/p>\n\u003cp>“The one nice thing that I seem to have acquired, accidentally, is this reputation of everyone afraid of my voice,” he told The AP in 2015. “So I get heard, whether it changes anything or not.”\u003c/p>\n\u003cp>One of his last projects was the massive two-volume \u003cem>The American People\u003c/em>, which chronicled the history of gay people in America and took decades to write.\u003c/p>\n\u003cp>“I just think it’s so important that we know our history — the history of how badly we’re treated and how hard we have to fight to get what we deserve, which is equality,” he told The AP.\u003c/p>\n\u003cp>At the 2013 Tonys, he was honored with the Isabelle Stevenson Award, given to a member of the theater community for philanthropic or civic efforts.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A few months later, Kramer married his longtime partner, architect David Webster, in the intensive care unit of NYU Langone Medical Center, where Kramer was recovering from surgery for a bowel obstruction.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Larry Kramer, the playwright whose angry voice and pen raised theatergoers’ consciousness about AIDS and roused thousands to militant protests in the early years of the epidemic, has died at 84.\u003c/p>\n\u003cp>Bill Goldstein, a writer who was working on a biography of Kramer, confirmed the news to The Associated Press. Kramer’s husband, David Webster, told \u003cem>The New York Times\u003c/em> that Kramer died Wednesday of pneumonia.\u003c/p>\n\u003cp>“We have lost a giant of a man who stood up for gay rights like a warrior. His anger was needed at a time when gay men’s deaths to AIDS were being ignored by the American government,” said Elton John in a statement.\u003c/p>\n\u003cp>Kramer, who wrote \u003cem>The Normal Heart\u003c/em> and founded the AIDS Coalition to Unleash Power, or ACT UP, lost his lover to acquired immune deficiency syndrome in 1984 and was himself infected with the virus. He also suffered from hepatitis B and received a liver transplant in 2001 because the virus had caused liver failure.\u003c/p>\n\u003cp>He was nominated for an Academy Award for his screenplay for \u003cem>Women in Love\u003c/em>, the 1969 adaptation of D.H. Lawrence’s novel. It starred Glenda Jackson, who won her first Oscar for her performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He also wrote the 1972 screenplay \u003cem>Lost Horizon\u003c/em>, a novel, \u003cem>Faggots\u003c/em>, and the plays \u003cem>Sissies’ Scrapbook, The Furniture of Home, Just Say No\u003c/em> and \u003cem>The Destiny of Me\u003c/em>, which was a finalist for the Pulitzer Prize in 1993.\u003c/p>\n\u003cp>But for many years he was best known for his public fight to secure medical treatment, acceptance and civil rights for people with AIDS. He loudly told everyone that the gay community was grappling with a plague.\u003c/p>\n\u003cp>Tributes from the arts community flooded in Wednesday, with Lin-Manuel Miranda on Twitter saying “What an extraordinary writer, what a life.” Dan Savage wrote: “He ordered us to love ourselves and each other and to fight for our lives. He was a hero.”\u003c/p>\n\u003cp>In 1981, when AIDS had not yet acquired its name and only a few dozen people had been diagnosed with it, Kramer and a group of his friends in New York City founded Gay Men’s Health Crisis, one of the first groups in the country to address the epidemic.\u003c/p>\n\u003cp>He tried to rouse the gay community with speeches and articles such as “1,112 and Counting,” published in gay newspapers in 1983.\u003c/p>\n\u003cp>“Our continued existence as gay men upon the face of this earth is at stake,” he wrote. “Unless we fight for our lives, we shall die.”\u003c/p>\n\u003cp>The late journalist Randy Shilts, in his best selling account of the AIDS epidemic \u003cem>And the Band Played On\u003c/em>, called that article “inarguably one of the most influential works of advocacy journalism of the decade” and credited it with “crystallizing the epidemic into a political movement for the gay community.”\u003c/p>\n\u003cp>Kramer lived to see gay marriage a reality — and married himself in 2013 — but never rested. “I’m married,” he told The AP. “But that’s only part of where we are. AIDS is still decimating us and we still don’t have protection under the law.”\u003c/p>\n\u003cp>Kramer split with GMHC in 1983 after other board members decided to concentrate on providing support services to people with AIDS. It remains one of the largest AIDS-service groups in the country.\u003c/p>\n\u003cp>After leaving GMHC, Kramer wrote \u003cem>The Normal Heart\u003c/em>, in which a furious young writer — not unlike Kramer himself — battles politicians, society, the media and other gay leaders to bring attention to the crisis.\u003c/p>\n\u003cp>The play premiered at The Public Theater in April 1985. Associated Press drama critic Michael Kuchwara called it an “angry but compelling indictment of a society as well as a subculture for failing to respond adequately to the tragedy.”\u003c/p>\n\u003cp>A revival in 2011 was almost universally praised by critics and earned the best revival Tony. Two actors from it — Ellen Barkin and John Benjamin Hickey — also won Tonys. Joe Mantello played the main character of Ned Weeks, the alter ego of Kramer.\u003c/p>\n\u003cp>“I’m very moved that it moved so many people,” he said at the time. Kramer often stood outside the theater passing out fliers asking the world to take action against HIV/AIDS. “Please know that AIDS is a worldwide plague. Please know there is no cure,” it said.\u003c/p>\n\u003cp>The play was turned into a TV film for HBO in 2014 starring Mark Ruffalo, Jonathan Groff, Matt Bomer, Taylor Kitsch, Jim Parsons, Alfred Molina, Joe Mantello and Julia Roberts. It won the Emmy for best movie. Kramer stood onstage in heavy winter clothing as the statuette was presented to director Ryan Murphy.\u003c/p>\n\u003cp>The 1992 play \u003cem>The Destiny of Me\u003c/em> continues the story of Weeks from \u003cem>The Normal Heart\u003c/em>. Weeks, in the hospital for an experimental AIDS treatment, reflects on the past, particularly his relationship with his family. His parents and brother appear to act out what happened in the past, as does the young Ned, who confronts his older self.\u003c/p>\n\u003cp>In 1987, Kramer founded ACT UP, the group that became famous for staging civil disobedience at places like the Food and Drug Administration, the New York Stock Exchange and Burroughs-Wellcome Corp., the maker of the chief anti-AIDS drug, AZT.\u003c/p>\n\u003cp>ACT UP’s protests helped persuade the FDA to speed the approval of new drugs and Burroughs-Wellcome to lower its price for AZT. He also battled — and later reconciled — with Dr. Anthony Fauci, the longtime director of the National Institute of Allergy and Infectious Diseases, who has been leading the national response to the coronavirus pandemic.\u003c/p>\n\u003cp>Kramer soon relinquished a leadership role in ACT UP, and as support for AIDS research increased, he found some common ground with health officials whom ACT UP had bitterly criticized.\u003c/p>\n\u003cp>Kramer never softened the urgency of his demands. In 2011, he helped the American Foundation for Equal Rights mount their play \u003cem>8\u003c/em> on Broadway about the legal battle over same-sex marriage in California.\u003c/p>\n\u003cp>“The one nice thing that I seem to have acquired, accidentally, is this reputation of everyone afraid of my voice,” he told The AP in 2015. “So I get heard, whether it changes anything or not.”\u003c/p>\n\u003cp>One of his last projects was the massive two-volume \u003cem>The American People\u003c/em>, which chronicled the history of gay people in America and took decades to write.\u003c/p>\n\u003cp>“I just think it’s so important that we know our history — the history of how badly we’re treated and how hard we have to fight to get what we deserve, which is equality,” he told The AP.\u003c/p>\n\u003cp>At the 2013 Tonys, he was honored with the Isabelle Stevenson Award, given to a member of the theater community for philanthropic or civic efforts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>While most California officials focus on current-day solutions for the COVID-19 pandemic, at least one state office is already considering its place in future history books.\u003c/p>\n\u003cp>The California State Archives, a division of the Secretary of State, on Thursday launched the \u003ca href=\"https://www.sos.ca.gov/archives/california-covid-19-archive/\" rel=\"noopener noreferrer\" target=\"_blank\">California COVID-19 Archive\u003c/a>. All California residents are welcome to submit their stories reflecting the challenges and uncertainty of the current pandemic, and the ways they have adapted. Submissions are accepted at an online portal \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSefeBSLV-qI8atr9aJtqH6g6h-L6UA4ODCVynOqBq_Pi4bTJw/viewform?usp=sf_link\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>“Your submission will serve as an important contribution to this community memory project and will be a critical primary source so that future generations can better understand how the COVID-19 pandemic impacted Californians,” reads the site. Submissions will become a part of the official state historical collection. \u003c/p>\n\u003cp>The state project mirrors local efforts to document San Francisco’s response to the pandemic, led by the San Francisco Public Library. The \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center/digital-collections/covid19-time-capsule\" rel=\"noopener noreferrer\" target=\"_blank\">COVID-19 Community Time Capsule\u003c/a> project solicits stories as well as a broad range of ephemera, including “photographs; blog posts or social media posts (screenshots okay); video or audio; notices, signs or posters, including government notices or signs from private businesses; letters, emails, postcards; community newspapers; personal journal and diary entries; and creative work, such as drawings, paintings, graffiti, poetry, recipes and games.”\u003c/p>\n\u003cp>Submissions will become a permanent part of the City and County Archives of San Francisco, and can be made \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center/digital-collections/covid19-time-capsule\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>— Gabe Meline\u003c/em> (\u003ca href=\"https://twitter.com/gmeline\" rel=\"noopener noreferrer\" target=\"_blank\">@gmeline\u003c/a>)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While most California officials focus on current-day solutions for the COVID-19 pandemic, at least one state office is already considering its place in future history books.\u003c/p>\n\u003cp>The California State Archives, a division of the Secretary of State, on Thursday launched the \u003ca href=\"https://www.sos.ca.gov/archives/california-covid-19-archive/\" rel=\"noopener noreferrer\" target=\"_blank\">California COVID-19 Archive\u003c/a>. All California residents are welcome to submit their stories reflecting the challenges and uncertainty of the current pandemic, and the ways they have adapted. Submissions are accepted at an online portal \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSefeBSLV-qI8atr9aJtqH6g6h-L6UA4ODCVynOqBq_Pi4bTJw/viewform?usp=sf_link\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>“Your submission will serve as an important contribution to this community memory project and will be a critical primary source so that future generations can better understand how the COVID-19 pandemic impacted Californians,” reads the site. Submissions will become a part of the official state historical collection. \u003c/p>\n\u003cp>The state project mirrors local efforts to document San Francisco’s response to the pandemic, led by the San Francisco Public Library. The \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center/digital-collections/covid19-time-capsule\" rel=\"noopener noreferrer\" target=\"_blank\">COVID-19 Community Time Capsule\u003c/a> project solicits stories as well as a broad range of ephemera, including “photographs; blog posts or social media posts (screenshots okay); video or audio; notices, signs or posters, including government notices or signs from private businesses; letters, emails, postcards; community newspapers; personal journal and diary entries; and creative work, such as drawings, paintings, graffiti, poetry, recipes and games.”\u003c/p>\n\u003cp>Submissions will become a permanent part of the City and County Archives of San Francisco, and can be made \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center/digital-collections/covid19-time-capsule\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 1894, when Tien Fuh Wu was rescued from a Chinatown gambling den, she was covered in so many burns, cuts and bruises that it brought tears to the eyes of the police officers who’d come to retrieve her. The two missionaries leading the rescue worked out of the Occidental Board’s Presbyterian Mission House, five blocks away on Sacramento Street, and Wu would go on to spend most of her life there—first as a defiant child, and later as the tenacious rescuer of thousands of young women and girls just like her.\u003c/p>\n\u003cp>Wu had found herself in San Francisco two years earlier, after her father had sold her to pay off his gambling debts. Somewhere between the age of six and ten, Wu—under the pretense of going to visit her grandmother—was escorted to a boat. Her father locked her inside a cabin onboard with only a toothbrush and washcloth, told her to eat her supper, and left without saying goodbye. (She never saw her family again, despite attempting to locate them decades later.)\u003c/p>\n\u003cp>From her native province of Zehjiang, China, Wu was first taken a hundred miles north to Shanghai, then onto San Francisco via steamship. There, she was forced to work in a brothel, the Peking, as a “\u003ca href=\"https://en.wikipedia.org/wiki/Mui_tsai\" target=\"_blank\" rel=\"noopener noreferrer\">mui tsai\u003c/a>.” The phrase literally means “little sister,” while her role was that of a domestic slave. When her owner at the brothel fell into debt, Wu was sold to the gambling den on Jackson Street. There, she was subjected to rigorous household chores, and physically abused by her new owner.\u003c/p>\n\u003cp>When the children sold into the Chinatown mui tsai system reached their teens, they typically transferred from a life of domestic slavery into one of forced sex work. At the turn of the century in San Francisco, this kind of trafficking was rampant, and largely ignored by city authorities. The only real challenge to the system came in the form of missionaries, keen to free the imprisoned women from what they saw as a life of sin and convert them to Christianity.\u003c/p>\n\u003cfigure id=\"attachment_13880756\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screenshot_20200517-183606-800x768.jpg\" alt=\"920 Sacramento Street, where Tien Fuh Wu worked with Donaldina Cameron to rescue hundreds of women sold or tricked into a life of slavery and/or sexual abuse.\" width=\"800\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606-800x768.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606-768x737.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606-1020x979.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606.jpg 1431w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">920 Sacramento Street, where Tien Fuh Wu worked with Donaldina Cameron to rescue hundreds of women sold or tricked into a life of slavery and/or sexual abuse. \u003ccite>(Matty Messner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fifteen months after Wu was rescued, 23-year-old Donaldina Cameron arrived at the Mission Home at 920 Sacramento Street to teach the girls how to sew. By the time she was 25, she had become Superintendent. Initially the willful child and the strict teacher butted heads, but over time, they grew to form a relationship that more closely resembled that of mother and daughter. As all of the girls in the home tended to do, Wu affectionately called Cameron “Lo Mo,” meaning “Old Mother.” In turn, Cameron referred to her young friend as “Blessed Tien.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Due to her need for a Chinese translator, Cameron employed girls from the Mission House to act as her aides. When Wu was in her teens, Cameron’s favorite aide, Leung Yuen Qui, contracted tuberculosis. Wu not only volunteered to nurse the gravely ill woman, but was witness to her death and the emotional devastation it caused Cameron. It was this that prompted Wu to step up to take Qui’s place.\u003c/p>\n\u003cp>“I offered to help her in the work,” Wu said later, “because I felt very sorry for her, realizing how terribly crushed she was over her co-worker’s death.” It was the beginning of a working relationship that would last both of their lifetimes and save the lives of thousands of trafficked girls and women.\u003c/p>\n\u003cp>Earning $5 a month, Wu translated for Cameron during court cases and helped supervise the Mission House. (According to Julia Flynn Siler’s account of the period, \u003ca href=\"https://www.penguinrandomhouse.com/books/249432/the-white-devils-daughters-by-julia-flynn-siler/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The White Devil’s Daughters\u003c/em>\u003c/a>, one staff member described Wu as a “a stern taskmaster… but she was very kind and fair… so the girls trusted her.”) Most important of all, she accompanied Cameron on dangerous rescues, some of which took many months and intense investigation to orchestrate.\u003c/p>\n\u003cp>Wu’s role was of vital importance, not just for the sake of her ability to translate, but also because she put the rescued girls at ease. Brothel and slave owners commonly spread fear of “White Devils” to stop the women in their possession from seeking help. Many of those girls believed they would be in even greater danger if taken into the charge of white people. Wu—sometimes pointing to her own scars as evidence of her understanding—was the only one who could truly reassure them they were safe.\u003c/p>\n\u003cp>In 1908, a booklet titled \u003ca href=\"https://www.worldcat.org/title/dragon-stories-the-bowl-of-powfah-the-hundredth-maiden-naratives-sic-of-the-rescues-and-romances-of-chinese-slave-girls/oclc/82591864?referer=di&ht=edition\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dragon Stories\u003c/em>\u003c/a> was released by Oakland’s Pacific Presbyterian Publishing Company, in an effort to draw attention to the good work being done by the Chinatown missionaries. In it, a character believed to be at least partially based on Tien Fuh Wu was written about as a brave and determined hero, “excited” and “eager for the fray.” In the stories, she was presented as forcing her way into brothels, warmly reassuring young girls, and fearlessly getting them out of harm’s way.\u003c/p>\n\u003cp>Wu’s bravery cannot be overstated. Though everyone working at the Mission House received threats of violence for the work they were doing, Wu was targeted more than most because she herself was Chinese and therefore viewed as a traitor by the brothel owners in her midst. She was sent so many threats for doing rescue and interpretation work that, after each major rescue, Cameron would routinely stop her 4′ 11″ cohort from going out alone for weeks at a time.\u003c/p>\n\u003cp>One infamous and racist letter called Wu a prostitute, a “stinking sow,” and threatened, “If God has eyes, he will certainly punish you. You have overreached yourself and in so doing, negroes, dogs and thunder will come after you.”\u003c/p>\n\u003cp>Based on the history of the Mission House, if God’s eyes were indeed watching over it, they offered nothing but protection. Though the building had to be reconstructed, not only did the organization survive the 1906 earthquake, everyone living and working there also survived the flu epidemic of 1918 and 1919. This despite most of the women in the home being struck down with the illness. Wu and the home’s Assistant Superintendent, Ethel Higgins, are credited with nursing everyone back to health.\u003c/p>\n\u003cp>Today, the Mission House continues to provide invaluable services to the Chinatown community. It offers over a thousand low-income and immigrant Asian families assistance in the form of counseling, domestic violence intervention, food distribution, after-school and summer programs, adult classes and more. Though it was renamed \u003ca href=\"https://cameronhouse.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Donaldina Cameron House\u003c/a> in 1942, the original Mission House sign remains in brickwork over the main entrance.\u003c/p>\n\u003cfigure id=\"attachment_13880757\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screenshot_20200518-170757-800x1002.jpg\" alt=\"Today, 920 Sacramento Street is named Donaldina Cameron House, but the original Presbyterian Mission House sign remains in the stonework over the main entrance.\" width=\"800\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757-1020x1278.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757.jpg 1127w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Today, 920 Sacramento Street is named Donaldina Cameron House, but the original Presbyterian Mission House sign remains in the stonework over the main entrance. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the 1930s, as Cameron readied herself for retirement, Wu took on even more responsibility, making public appearances to raise funds and awareness, while also dealing with the immigration woes of the women in their care. She also acted as a travel guardian for women who had testified against slave dealers. (They called her “Auntie Wu.”) As if that weren’t enough, she even vetted potential grooms for the girls, investigating both their morality and financial security to be sure that the women would be safe in their new homes. Wu herself turned down a multitude of suitors. “Men are very useful,” she once said, “when it comes to moving furniture.”\u003c/p>\n\u003cp>When Wu eventually retired in 1951, her beloved “Lo Mo” had long since settled on California Avenue in Palo Alto. Cameron offered Wu the cottage next door, and the two lived side-by-side until Cameron’s death in 1968. Wu is said to have been at her mentor’s side, reading from a Bible until the very end. When Wu passed away seven years later, she was buried next to her friend in Cameron’s family plot at the Evergreen Cemetery in Los Angeles.\u003c/p>\n\u003cp>Her \u003ca href=\"http://www.amerasiajournal.org/blog/wp-content/uploads/2010/10/wu.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">small headstone\u003c/a> belies the huge importance of the life she lived. It reads only: “Tien Fuh Wu 1886-1975.”\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>\u003cp>In 1894, when Tien Fuh Wu was rescued from a Chinatown gambling den, she was covered in so many burns, cuts and bruises that it brought tears to the eyes of the police officers who’d come to retrieve her. The two missionaries leading the rescue worked out of the Occidental Board’s Presbyterian Mission House, five blocks away on Sacramento Street, and Wu would go on to spend most of her life there—first as a defiant child, and later as the tenacious rescuer of thousands of young women and girls just like her.\u003c/p>\n\u003cp>Wu had found herself in San Francisco two years earlier, after her father had sold her to pay off his gambling debts. Somewhere between the age of six and ten, Wu—under the pretense of going to visit her grandmother—was escorted to a boat. Her father locked her inside a cabin onboard with only a toothbrush and washcloth, told her to eat her supper, and left without saying goodbye. (She never saw her family again, despite attempting to locate them decades later.)\u003c/p>\n\u003cp>From her native province of Zehjiang, China, Wu was first taken a hundred miles north to Shanghai, then onto San Francisco via steamship. There, she was forced to work in a brothel, the Peking, as a “\u003ca href=\"https://en.wikipedia.org/wiki/Mui_tsai\" target=\"_blank\" rel=\"noopener noreferrer\">mui tsai\u003c/a>.” The phrase literally means “little sister,” while her role was that of a domestic slave. When her owner at the brothel fell into debt, Wu was sold to the gambling den on Jackson Street. There, she was subjected to rigorous household chores, and physically abused by her new owner.\u003c/p>\n\u003cp>When the children sold into the Chinatown mui tsai system reached their teens, they typically transferred from a life of domestic slavery into one of forced sex work. At the turn of the century in San Francisco, this kind of trafficking was rampant, and largely ignored by city authorities. The only real challenge to the system came in the form of missionaries, keen to free the imprisoned women from what they saw as a life of sin and convert them to Christianity.\u003c/p>\n\u003cfigure id=\"attachment_13880756\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screenshot_20200517-183606-800x768.jpg\" alt=\"920 Sacramento Street, where Tien Fuh Wu worked with Donaldina Cameron to rescue hundreds of women sold or tricked into a life of slavery and/or sexual abuse.\" width=\"800\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606-800x768.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606-768x737.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606-1020x979.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606.jpg 1431w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">920 Sacramento Street, where Tien Fuh Wu worked with Donaldina Cameron to rescue hundreds of women sold or tricked into a life of slavery and/or sexual abuse. \u003ccite>(Matty Messner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fifteen months after Wu was rescued, 23-year-old Donaldina Cameron arrived at the Mission Home at 920 Sacramento Street to teach the girls how to sew. By the time she was 25, she had become Superintendent. Initially the willful child and the strict teacher butted heads, but over time, they grew to form a relationship that more closely resembled that of mother and daughter. As all of the girls in the home tended to do, Wu affectionately called Cameron “Lo Mo,” meaning “Old Mother.” In turn, Cameron referred to her young friend as “Blessed Tien.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Due to her need for a Chinese translator, Cameron employed girls from the Mission House to act as her aides. When Wu was in her teens, Cameron’s favorite aide, Leung Yuen Qui, contracted tuberculosis. Wu not only volunteered to nurse the gravely ill woman, but was witness to her death and the emotional devastation it caused Cameron. It was this that prompted Wu to step up to take Qui’s place.\u003c/p>\n\u003cp>“I offered to help her in the work,” Wu said later, “because I felt very sorry for her, realizing how terribly crushed she was over her co-worker’s death.” It was the beginning of a working relationship that would last both of their lifetimes and save the lives of thousands of trafficked girls and women.\u003c/p>\n\u003cp>Earning $5 a month, Wu translated for Cameron during court cases and helped supervise the Mission House. (According to Julia Flynn Siler’s account of the period, \u003ca href=\"https://www.penguinrandomhouse.com/books/249432/the-white-devils-daughters-by-julia-flynn-siler/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The White Devil’s Daughters\u003c/em>\u003c/a>, one staff member described Wu as a “a stern taskmaster… but she was very kind and fair… so the girls trusted her.”) Most important of all, she accompanied Cameron on dangerous rescues, some of which took many months and intense investigation to orchestrate.\u003c/p>\n\u003cp>Wu’s role was of vital importance, not just for the sake of her ability to translate, but also because she put the rescued girls at ease. Brothel and slave owners commonly spread fear of “White Devils” to stop the women in their possession from seeking help. Many of those girls believed they would be in even greater danger if taken into the charge of white people. Wu—sometimes pointing to her own scars as evidence of her understanding—was the only one who could truly reassure them they were safe.\u003c/p>\n\u003cp>In 1908, a booklet titled \u003ca href=\"https://www.worldcat.org/title/dragon-stories-the-bowl-of-powfah-the-hundredth-maiden-naratives-sic-of-the-rescues-and-romances-of-chinese-slave-girls/oclc/82591864?referer=di&ht=edition\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dragon Stories\u003c/em>\u003c/a> was released by Oakland’s Pacific Presbyterian Publishing Company, in an effort to draw attention to the good work being done by the Chinatown missionaries. In it, a character believed to be at least partially based on Tien Fuh Wu was written about as a brave and determined hero, “excited” and “eager for the fray.” In the stories, she was presented as forcing her way into brothels, warmly reassuring young girls, and fearlessly getting them out of harm’s way.\u003c/p>\n\u003cp>Wu’s bravery cannot be overstated. Though everyone working at the Mission House received threats of violence for the work they were doing, Wu was targeted more than most because she herself was Chinese and therefore viewed as a traitor by the brothel owners in her midst. She was sent so many threats for doing rescue and interpretation work that, after each major rescue, Cameron would routinely stop her 4′ 11″ cohort from going out alone for weeks at a time.\u003c/p>\n\u003cp>One infamous and racist letter called Wu a prostitute, a “stinking sow,” and threatened, “If God has eyes, he will certainly punish you. You have overreached yourself and in so doing, negroes, dogs and thunder will come after you.”\u003c/p>\n\u003cp>Based on the history of the Mission House, if God’s eyes were indeed watching over it, they offered nothing but protection. Though the building had to be reconstructed, not only did the organization survive the 1906 earthquake, everyone living and working there also survived the flu epidemic of 1918 and 1919. This despite most of the women in the home being struck down with the illness. Wu and the home’s Assistant Superintendent, Ethel Higgins, are credited with nursing everyone back to health.\u003c/p>\n\u003cp>Today, the Mission House continues to provide invaluable services to the Chinatown community. It offers over a thousand low-income and immigrant Asian families assistance in the form of counseling, domestic violence intervention, food distribution, after-school and summer programs, adult classes and more. Though it was renamed \u003ca href=\"https://cameronhouse.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Donaldina Cameron House\u003c/a> in 1942, the original Mission House sign remains in brickwork over the main entrance.\u003c/p>\n\u003cfigure id=\"attachment_13880757\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screenshot_20200518-170757-800x1002.jpg\" alt=\"Today, 920 Sacramento Street is named Donaldina Cameron House, but the original Presbyterian Mission House sign remains in the stonework over the main entrance.\" width=\"800\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757-1020x1278.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757.jpg 1127w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Today, 920 Sacramento Street is named Donaldina Cameron House, but the original Presbyterian Mission House sign remains in the stonework over the main entrance. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the 1930s, as Cameron readied herself for retirement, Wu took on even more responsibility, making public appearances to raise funds and awareness, while also dealing with the immigration woes of the women in their care. She also acted as a travel guardian for women who had testified against slave dealers. (They called her “Auntie Wu.”) As if that weren’t enough, she even vetted potential grooms for the girls, investigating both their morality and financial security to be sure that the women would be safe in their new homes. Wu herself turned down a multitude of suitors. “Men are very useful,” she once said, “when it comes to moving furniture.”\u003c/p>\n\u003cp>When Wu eventually retired in 1951, her beloved “Lo Mo” had long since settled on California Avenue in Palo Alto. Cameron offered Wu the cottage next door, and the two lived side-by-side until Cameron’s death in 1968. Wu is said to have been at her mentor’s side, reading from a Bible until the very end. When Wu passed away seven years later, she was buried next to her friend in Cameron’s family plot at the Evergreen Cemetery in Los Angeles.\u003c/p>\n\u003cp>Her \u003ca href=\"http://www.amerasiajournal.org/blog/wp-content/uploads/2010/10/wu.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">small headstone\u003c/a> belies the huge importance of the life she lived. It reads only: “Tien Fuh Wu 1886-1975.”\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>It all started in 1913, with a clinic housed inside an old donkey barn. The improvised medical practice was operated by a nurse so formidable and determined, not only did she provide all of the equipment needed to make the clinic functional, she worked without pay until it had sufficient donations to survive.\u003c/p>\n\u003cp>The nurse’s name was Bertha Wright and the clinic was all part of her larger mission to open a hospital dedicated to the care of babies and children in Oakland and Berkeley. Fifteen months after her practice in the barn opened its doors, Bertha’s hard work paid off with the opening of the area’s first children’s hospital — an institution that started in an old mansion, but continues to survive to this day as \u003ca href=\"https://localwiki.org/oakland/Children%27s_Hospital_Oakland\">UCSF’s Benioff Children’s Hospital\u003c/a>. (It was renamed in 2014, after decades as Children’s Hospital Oakland.)\u003c/p>\n\u003cp>[aside postid='arts_13877186']Bertha’s reputation as a dedicated and hardworking nurse was established far earlier than the hospital. Born in Piedmont, the middle child of three, she graduated from the California Women’s Hospital School of Nursing in San Francisco in 1901, at the age of 25. She went on to work both there and at the Nurses’ Settlement House in Potrero Hill, where she served a large population of struggling immigrants. After the 1906 earthquake, Bertha tended to the sick and wounded in refugee camps all over the city.\u003c/p>\n\u003cp>In 1907, as the Bay Area struggled to rebuild after the 1906 earthquake and subsequent fires, community groups and a variety of charities banded together to form the Charitable Organization Society of Berkeley. Wright was appointed Home Secretary and, while serving in that role, helped to establish the Berkeley Day Nursery, the first organization of its kind in California to offer subsidized childcare.\u003c/p>\n\u003cp>The nursery was funded by the City of Berkeley, the Berkeley Community Chest, the United Crusade, public donations and sliding scale payments from parents. Prior to the nursery opening, working women were forced to leave their children at local orphan asylums while they did their jobs. The nursery continued caring for local children until 1965.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1910, Bertha also became the first district nurse to serve underprivileged children in Alameda County. In her mission to get care to the needy by any means necessary, she went on to co-found the Public Health Nurses’ Association of Alameda County and also taught public health nursing at UC Berkeley. In her role as a visiting nurse, Bertha is said to have journeyed to hundreds of homes a week on her trusty horse and buggy. It was during these visits that Bertha became aware of the overwhelming need for hospital services that were dedicated specifically to the needs of children.\u003c/p>\n\u003cp>During one 1912 \u003ca href=\"https://berkhistory.org/wp-content/uploads/2022/02/2007_fall_newsletter.pdf\">meeting of the Berkeley Commission of Public Charities\u003c/a>, it was noted that:\u003c/p>\n\u003cblockquote>\u003cp>Ever since Miss Wright has been in Berkeley, she has [believed] that much of her effort has been wasted because of this lack of a proper place for sick children. The need of a hospital for the babies among whom we work is especially urgent because of the crowded home conditions, a certain ignorance on the part of the parents and their limited incomes, reasons which do not exist in the homes of those in more comfortable circumstances.\u003c/p>\u003c/blockquote>\n\u003cp>Wright was determined that children should not suffer due to the financial hardships of their parents. When the Baby Hospital first opened on September 16, 1914, the cost was supposed to be $1 a day for ward beds and $2.50 for private rooms, but fewer than 10 per cent of patients usually paid the full fee — if any fee at all. The hospital was able to stay open only because of a tireless group of local women who relentlessly fundraised at fairs, dinners, fashion shows and in their own communities.\u003c/p>\n\u003cp>[aside postid='arts_13955066']At the time of its opening, the hospital housed a 20-bed ward on the first floor, a 10-bed ward on the second, along with five private rooms. The staff was small: three nurses, a secretary, a cook and a houseboy. Doctors were summoned from other hospitals when their assistance was required.\u003c/p>\n\u003cp>In that first year, the Baby Hospital treated 611 children. That same year, Bertha’s smaller clinic on the property saw more than 6,000 patients. In 1916, the hospital established a dental clinic. But hospital growth happened quickly. Sheer demand forced the hospital to open new wings in 1928 and 1948. By 1945, it was treating 24,500 patients a year.\u003c/p>\n\u003cp>Even before the hospital had opened, Bertha had begun holding prenatal and baby hygiene classes at her clinic. She also helped organize the first “baby saving fairs” on the West Coast. A maternity clinic at the hospital helped to safely deliver newborns. But Bertha’s dedication to children did not stop in her working life.\u003c/p>\n\u003cp>During her time with the Charitable Organization Society, she met social worker Mabel Weed, who was also key in establishing and fundraising for the Baby Hospital. The women first moved in together in the early 1920s, and went on to lovingly raise three adopted children, Philip, Barbara and Jean. They also fostered a great many others. In fact, the 1940 census shows that, when Bertha was 62 and Mabel was 68, they were still fostering children in Palo Alto. Bertha even continued after Mabel’s death in 1957.\u003c/p>\n\u003cp>Bertha passed away in 1971 just one month shy of her 95th birthday, after a lifetime spent in the service of children, women and all those living on the margins. She was buried close to her beloved Mabel in Alto Mesa Cemetery, Palo Alto.\u003c/p>\n\u003cp>[aside postid='arts_13966861']It’s clear from both her work and personal history that Bertha Wright was blessed with an uncommon drive and an unconventional approach to life. She is also said to have been rather imposing. In 1967 book \u003cem>The Hospital Women Built for Children\u003c/em> by Murray Morgan, Bertha is described as: “Tall and rawboned, dedicated and undemure, she could face down a practical objection with a skeptical glance. A Berkeley businessman recalls fondly, ‘She could always make me feel as if I were unbuttoned.’”\u003c/p>\n\u003cp>Perhaps Bertha’s uniqueness can be attributed to what \u003cem>American Nursing: A Biographical Dictionary, Volume 3\u003c/em> describes as “her circle of progressive feminist women friends,” as well as her “bold and adventurous family of eccentrics and inventors. A family that never said ‘What will people think?’”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It all started in 1913, with a clinic housed inside an old donkey barn. The improvised medical practice was operated by a nurse so formidable and determined, not only did she provide all of the equipment needed to make the clinic functional, she worked without pay until it had sufficient donations to survive.\u003c/p>\n\u003cp>The nurse’s name was Bertha Wright and the clinic was all part of her larger mission to open a hospital dedicated to the care of babies and children in Oakland and Berkeley. Fifteen months after her practice in the barn opened its doors, Bertha’s hard work paid off with the opening of the area’s first children’s hospital — an institution that started in an old mansion, but continues to survive to this day as \u003ca href=\"https://localwiki.org/oakland/Children%27s_Hospital_Oakland\">UCSF’s Benioff Children’s Hospital\u003c/a>. (It was renamed in 2014, after decades as Children’s Hospital Oakland.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bertha’s reputation as a dedicated and hardworking nurse was established far earlier than the hospital. Born in Piedmont, the middle child of three, she graduated from the California Women’s Hospital School of Nursing in San Francisco in 1901, at the age of 25. She went on to work both there and at the Nurses’ Settlement House in Potrero Hill, where she served a large population of struggling immigrants. After the 1906 earthquake, Bertha tended to the sick and wounded in refugee camps all over the city.\u003c/p>\n\u003cp>In 1907, as the Bay Area struggled to rebuild after the 1906 earthquake and subsequent fires, community groups and a variety of charities banded together to form the Charitable Organization Society of Berkeley. Wright was appointed Home Secretary and, while serving in that role, helped to establish the Berkeley Day Nursery, the first organization of its kind in California to offer subsidized childcare.\u003c/p>\n\u003cp>The nursery was funded by the City of Berkeley, the Berkeley Community Chest, the United Crusade, public donations and sliding scale payments from parents. Prior to the nursery opening, working women were forced to leave their children at local orphan asylums while they did their jobs. The nursery continued caring for local children until 1965.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1910, Bertha also became the first district nurse to serve underprivileged children in Alameda County. In her mission to get care to the needy by any means necessary, she went on to co-found the Public Health Nurses’ Association of Alameda County and also taught public health nursing at UC Berkeley. In her role as a visiting nurse, Bertha is said to have journeyed to hundreds of homes a week on her trusty horse and buggy. It was during these visits that Bertha became aware of the overwhelming need for hospital services that were dedicated specifically to the needs of children.\u003c/p>\n\u003cp>During one 1912 \u003ca href=\"https://berkhistory.org/wp-content/uploads/2022/02/2007_fall_newsletter.pdf\">meeting of the Berkeley Commission of Public Charities\u003c/a>, it was noted that:\u003c/p>\n\u003cblockquote>\u003cp>Ever since Miss Wright has been in Berkeley, she has [believed] that much of her effort has been wasted because of this lack of a proper place for sick children. The need of a hospital for the babies among whom we work is especially urgent because of the crowded home conditions, a certain ignorance on the part of the parents and their limited incomes, reasons which do not exist in the homes of those in more comfortable circumstances.\u003c/p>\u003c/blockquote>\n\u003cp>Wright was determined that children should not suffer due to the financial hardships of their parents. When the Baby Hospital first opened on September 16, 1914, the cost was supposed to be $1 a day for ward beds and $2.50 for private rooms, but fewer than 10 per cent of patients usually paid the full fee — if any fee at all. The hospital was able to stay open only because of a tireless group of local women who relentlessly fundraised at fairs, dinners, fashion shows and in their own communities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the time of its opening, the hospital housed a 20-bed ward on the first floor, a 10-bed ward on the second, along with five private rooms. The staff was small: three nurses, a secretary, a cook and a houseboy. Doctors were summoned from other hospitals when their assistance was required.\u003c/p>\n\u003cp>In that first year, the Baby Hospital treated 611 children. That same year, Bertha’s smaller clinic on the property saw more than 6,000 patients. In 1916, the hospital established a dental clinic. But hospital growth happened quickly. Sheer demand forced the hospital to open new wings in 1928 and 1948. By 1945, it was treating 24,500 patients a year.\u003c/p>\n\u003cp>Even before the hospital had opened, Bertha had begun holding prenatal and baby hygiene classes at her clinic. She also helped organize the first “baby saving fairs” on the West Coast. A maternity clinic at the hospital helped to safely deliver newborns. But Bertha’s dedication to children did not stop in her working life.\u003c/p>\n\u003cp>During her time with the Charitable Organization Society, she met social worker Mabel Weed, who was also key in establishing and fundraising for the Baby Hospital. The women first moved in together in the early 1920s, and went on to lovingly raise three adopted children, Philip, Barbara and Jean. They also fostered a great many others. In fact, the 1940 census shows that, when Bertha was 62 and Mabel was 68, they were still fostering children in Palo Alto. Bertha even continued after Mabel’s death in 1957.\u003c/p>\n\u003cp>Bertha passed away in 1971 just one month shy of her 95th birthday, after a lifetime spent in the service of children, women and all those living on the margins. She was buried close to her beloved Mabel in Alto Mesa Cemetery, Palo Alto.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s clear from both her work and personal history that Bertha Wright was blessed with an uncommon drive and an unconventional approach to life. She is also said to have been rather imposing. In 1967 book \u003cem>The Hospital Women Built for Children\u003c/em> by Murray Morgan, Bertha is described as: “Tall and rawboned, dedicated and undemure, she could face down a practical objection with a skeptical glance. A Berkeley businessman recalls fondly, ‘She could always make me feel as if I were unbuttoned.’”\u003c/p>\n\u003cp>Perhaps Bertha’s uniqueness can be attributed to what \u003cem>American Nursing: A Biographical Dictionary, Volume 3\u003c/em> describes as “her circle of progressive feminist women friends,” as well as her “bold and adventurous family of eccentrics and inventors. A family that never said ‘What will people think?’”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Happy 150th! A Brief History of Golden Gate Park in the Movies",
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"content": "\u003cp>Iconic San Francisco landscapes have long been used to enhance scenes on the silver screen. What would \u003cem>Bullitt\u003c/em> be without Steve McQueen careering \u003ca href=\"https://www.youtube.com/watch?v=FJZ-BHBKyos\" target=\"_blank\" rel=\"noopener noreferrer\">up and down the city’s distinctive hills\u003c/a> in his ’68 Mustang? Or \u003cem>Vertigo\u003c/em> without Kim Novak’s \u003ca href=\"https://www.youtube.com/watch?v=B8cWjLMuJgo\" target=\"_blank\" rel=\"noopener noreferrer\">dramatic plunge\u003c/a> into the Bay beneath the Golden Gate Bridge? And how could \u003cem>The Rock\u003c/em> exist without an \u003ca href=\"https://www.youtube.com/watch?v=aEt1ePZGHTY\" target=\"_blank\" rel=\"noopener noreferrer\">exploding Alcatraz\u003c/a>?\u003c/p>\n\u003cp>In its 150 years, Golden Gate Park has played host to its fair share of memorable cinematic moments, starting all the way back in 1915 with Charlie Chaplin’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0005571/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">A Jitney Elopement\u003c/a>\u003c/em>. The silent film gave us the first ever San Francisco movie car chase, and it happened directly in front of the Murphy Windmill that stands at the western edge of the park to this day. After an old-timey sideshow, Chaplin speeds off up a dirt road that would later become the Great Highway.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IiTaPSlFUdE\u003c/p>\n\u003cp>That same year, the 13-minute Roscoe “Fatty” Arbuckle caper \u003ca href=\"https://www.imdb.com/title/tt0006296/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Wished on Mabel\u003c/em>\u003c/a> took a tour of some of the most romantic locations in the park: the Conservatory of Flowers, Stow Lake Bridge, Strawberry Hill’s waterfall and, finally, the stone path around Stow Lake, where Fatty and Mabel share a smooch.\u003c/p>\n\u003cfigure id=\"attachment_13876023\" class=\"wp-caption aligncenter\" style=\"max-width: 424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876023\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n.jpg\" alt=\"Roscoe "Fatty" Arbuckle and Mabel Normand at Stow Lake in 'Wished on Mabel,' 1915; the stepping stone path today.\" width=\"424\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n.jpg 424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n-160x362.jpg 160w\" sizes=\"(max-width: 424px) 100vw, 424px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe “Fatty” Arbuckle and Mabel Normand at Stow Lake in ‘Wished on Mabel,’ 1915; the stepping stone path today. \u003ccite>(Screenshots and photo courtesy of Tim Welsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No movie has better utilized Golden Gate Park as a romantic prop though, than \u003ca href=\"https://www.imdb.com/title/tt0209475/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Wedding Planner\u003c/em>\u003c/a>. In it, Mary (Jennifer Lopez) and Steve (Matthew McConaughey) first fall for each other at a movie night at the park’s Music Concourse. (There’s a dance routine, a Ferris wheel and a rainstorm involved, naturally.) Later in the movie, when Steve attempts to comfort a crying Mary, he does so by saying, “D’you ever think about that night in the park? I do. All the time.” The couple return to the scene of their initial flirtations for the film’s finale.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 2001 rom-com also manages to include the single most popular movie location in all of Golden Gate Park—the Japanese Tea Gardens. In \u003cem>The Wedding Planner\u003c/em>, it’s where Steve breaks up with his fiancée after realizing that Mary is The One, but the picturesque spot in the park’s northeast corner has also found its way into \u003ca href=\"https://www.youtube.com/watch?v=MyzSuy1v6DM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Memoirs of a Geisha\u003c/em>\u003c/a> (2005), \u003ca href=\"https://www.youtube.com/watch?v=MS9Fe-ebUaA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Petulia\u003c/em>\u003c/a> (1968) and noir-thrillers, \u003ca href=\"https://www.youtube.com/watch?v=bG8xNHpstUA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Portrait in Black\u003c/em>\u003c/a> (1960) and \u003ca href=\"https://www.imdb.com/title/tt0113451/locations#filming_locations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jade\u003c/em>\u003c/a> (1995).\u003c/p>\n\u003cfigure id=\"attachment_13876038\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876038\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/tea-gardens-800x800.jpg\" alt=\"Scenes from Golden Gate Park's Japanese Tea Garden in (above) 'Portrait in Black' (1960) and (below) 'Memoirs of a Geisha' (2005).\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scenes from Golden Gate Park’s Japanese Tea Garden in (above) ‘Portrait in Black’ (1960) and (below) ‘Memoirs of a Geisha’ (2005). \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of noir, 1958’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0051866/?ref_=fn_al_tt_4\" target=\"_blank\" rel=\"noopener noreferrer\">The Lineup\u003c/a>\u003c/em>—about heroin smugglers trying to retrieve packages from unsuspecting tourists—features the park’s Steinhart Aquarium (inside the California Academy of Sciences) as a murky backdrop to one such encounter. It’s possible that director Don Siegel took a cue from Orson Welles’ brooding \u003ca href=\"https://www.imdb.com/title/tt0040525/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Lady From Shanghai\u003c/em>\u003c/a> (1947), in which Michael (played by Welles) uses the aquarium to meet his secret lover Elsa (Rita Hayworth). [aside postid='arts_13878883']\u003c/p>\n\u003cp>The scene is memorably foreboding, not just because Welles and Hayworth were on the verge of real-life divorce at the time, but also because they’re surrounded by ominous-looking sea creatures, enlarged and distorted in the tanks behind them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nSvY8KcES5E\u003c/p>\n\u003cp>In happier representations, Golden Gate Park is often the backdrop to new romance. Just as the Music Concourse marked the beginning of Steve and Mary’s relationship in \u003cem>The Wedding Planner\u003c/em>, it’s one of the first places we see Sasha (Ali Wong) and Marcus (Randall Park) as a couple in \u003ca href=\"https://www.netflix.com/title/80202874\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Always Be My Maybe\u003c/em>\u003c/a>. (They also visit the de Young.) Additionally, in 1972’s \u003ca href=\"https://www.imdb.com/title/tt0069097/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Play it Again, Sam\u003c/em>\u003c/a>, Allan (Woody Allen) and Linda (Diane Keaton) make dinner plans on the Music Concourse’s green benches, a date that transforms their relationship from platonic to passionate.\u003c/p>\n\u003cp>Woody Allen gravitated towards Golden Gate Park as a romantic location on more than one occasion. For his first movie, 1969’s \u003ca href=\"https://www.imdb.com/title/tt0065063/?ref_=ttfc_fc_tt\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Take The Money and Run\u003c/em>\u003c/a>, his character Virgil, a petty thief, favors the park as a location to \u003ca href=\"https://www.youtube.com/watch?v=XSKOGevWNqc\" target=\"_blank\" rel=\"noopener noreferrer\">steal women’s purses\u003c/a>. After he attempts to snatch a bag from Louise (Janet Margolin), romance blossoms. (This is a Woody Allen film, after all…)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sexnKfuSHcg\u003c/p>\n\u003cp>Not that Golden Gate Park is a stranger to action. In \u003cem>Dirty Harry\u003c/em>, Clint Eastwood takes down a deranged serial killer inside the park’s 10,000-seater \u003ca href=\"https://www.youtube.com/watch?v=-GvNc24yQZA\" target=\"_blank\" rel=\"noopener noreferrer\">Kezar Stadium\u003c/a>. And in 1952’s \u003cem>Scaramouche\u003c/em>, Andre Moreau (played by Stewart Granger) is seen riding around the park on horseback, as he seeks vengeance against the swordsman who killed his friend.\u003c/p>\n\u003cfigure id=\"attachment_13876027\" class=\"wp-caption aligncenter\" style=\"max-width: 627px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n.jpg\" alt=\"Stewart Granger under the Stow Lake bridge in 'Scaramouche' (1952), and the bridge today.\" width=\"627\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n-160x245.jpg 160w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Granger under the Stow Lake bridge in ‘Scaramouche’ (1952), and the bridge today. \u003ccite>(Screenshots and photo courtesy of Tim Welsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The park was used in several \u003cem>Scaramouche\u003c/em> scenes despite the film’s setting of 18th-century France. In \u003ci>Memoirs of a Geisha\u003c/i>, the Tea Garden stood in for a school in 1930s Japan. Conversely, not all movies purporting to be in Golden Gate Park are actually filmed there. In Mel Brooks’ 1972 spoof, \u003cem>High Anxiety\u003c/em>, his famous \u003ca href=\"https://www.youtube.com/watch?v=e5-HNt_kupk\" target=\"_blank\" rel=\"noopener noreferrer\">parody of \u003cem>The Birds\u003c/em>\u003c/a> occurs directly after he claims to be “in the Golden Gate Park… at the north by northwest corner.” Brooks was, in fact, \u003ca href=\"https://www.movie-locations.com/movies/h/High-Anxiety.php\" target=\"_blank\" rel=\"noopener noreferrer\">in Pasadena\u003c/a>.\u003c/p>\n\u003cp>Golden Gate Park is so expansive, and its environments so varied, that movies of nearly every genre have found their backdrops within it for over 100 years. And though we’ve yet to see a sci-fi flick filmed there, perhaps \u003cem>The Matrix 4\u003c/em> and \u003cem>Venom 2—\u003c/em>both recently spotted filming on location around the city—will change that. (After all, Netflix sci-fi series \u003cem>Sense8\u003c/em> has scenes in the Japanese Tea Garden and Music Concourse.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy 150th, Golden Gate Park! Here’s to another century of movie magic.\u003c/p>\n\n",
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"excerpt": "Charlie Chaplin car chases, Jennifer Lopez romances—these are the most iconic scenes filmed in Golden Gate Park.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Iconic San Francisco landscapes have long been used to enhance scenes on the silver screen. What would \u003cem>Bullitt\u003c/em> be without Steve McQueen careering \u003ca href=\"https://www.youtube.com/watch?v=FJZ-BHBKyos\" target=\"_blank\" rel=\"noopener noreferrer\">up and down the city’s distinctive hills\u003c/a> in his ’68 Mustang? Or \u003cem>Vertigo\u003c/em> without Kim Novak’s \u003ca href=\"https://www.youtube.com/watch?v=B8cWjLMuJgo\" target=\"_blank\" rel=\"noopener noreferrer\">dramatic plunge\u003c/a> into the Bay beneath the Golden Gate Bridge? And how could \u003cem>The Rock\u003c/em> exist without an \u003ca href=\"https://www.youtube.com/watch?v=aEt1ePZGHTY\" target=\"_blank\" rel=\"noopener noreferrer\">exploding Alcatraz\u003c/a>?\u003c/p>\n\u003cp>In its 150 years, Golden Gate Park has played host to its fair share of memorable cinematic moments, starting all the way back in 1915 with Charlie Chaplin’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0005571/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">A Jitney Elopement\u003c/a>\u003c/em>. The silent film gave us the first ever San Francisco movie car chase, and it happened directly in front of the Murphy Windmill that stands at the western edge of the park to this day. After an old-timey sideshow, Chaplin speeds off up a dirt road that would later become the Great Highway.\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/IiTaPSlFUdE'\n title='//www.youtube.com/embed/IiTaPSlFUdE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That same year, the 13-minute Roscoe “Fatty” Arbuckle caper \u003ca href=\"https://www.imdb.com/title/tt0006296/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Wished on Mabel\u003c/em>\u003c/a> took a tour of some of the most romantic locations in the park: the Conservatory of Flowers, Stow Lake Bridge, Strawberry Hill’s waterfall and, finally, the stone path around Stow Lake, where Fatty and Mabel share a smooch.\u003c/p>\n\u003cfigure id=\"attachment_13876023\" class=\"wp-caption aligncenter\" style=\"max-width: 424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876023\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n.jpg\" alt=\"Roscoe "Fatty" Arbuckle and Mabel Normand at Stow Lake in 'Wished on Mabel,' 1915; the stepping stone path today.\" width=\"424\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n.jpg 424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n-160x362.jpg 160w\" sizes=\"(max-width: 424px) 100vw, 424px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe “Fatty” Arbuckle and Mabel Normand at Stow Lake in ‘Wished on Mabel,’ 1915; the stepping stone path today. \u003ccite>(Screenshots and photo courtesy of Tim Welsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No movie has better utilized Golden Gate Park as a romantic prop though, than \u003ca href=\"https://www.imdb.com/title/tt0209475/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Wedding Planner\u003c/em>\u003c/a>. In it, Mary (Jennifer Lopez) and Steve (Matthew McConaughey) first fall for each other at a movie night at the park’s Music Concourse. (There’s a dance routine, a Ferris wheel and a rainstorm involved, naturally.) Later in the movie, when Steve attempts to comfort a crying Mary, he does so by saying, “D’you ever think about that night in the park? I do. All the time.” The couple return to the scene of their initial flirtations for the film’s finale.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 2001 rom-com also manages to include the single most popular movie location in all of Golden Gate Park—the Japanese Tea Gardens. In \u003cem>The Wedding Planner\u003c/em>, it’s where Steve breaks up with his fiancée after realizing that Mary is The One, but the picturesque spot in the park’s northeast corner has also found its way into \u003ca href=\"https://www.youtube.com/watch?v=MyzSuy1v6DM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Memoirs of a Geisha\u003c/em>\u003c/a> (2005), \u003ca href=\"https://www.youtube.com/watch?v=MS9Fe-ebUaA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Petulia\u003c/em>\u003c/a> (1968) and noir-thrillers, \u003ca href=\"https://www.youtube.com/watch?v=bG8xNHpstUA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Portrait in Black\u003c/em>\u003c/a> (1960) and \u003ca href=\"https://www.imdb.com/title/tt0113451/locations#filming_locations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jade\u003c/em>\u003c/a> (1995).\u003c/p>\n\u003cfigure id=\"attachment_13876038\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876038\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/tea-gardens-800x800.jpg\" alt=\"Scenes from Golden Gate Park's Japanese Tea Garden in (above) 'Portrait in Black' (1960) and (below) 'Memoirs of a Geisha' (2005).\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scenes from Golden Gate Park’s Japanese Tea Garden in (above) ‘Portrait in Black’ (1960) and (below) ‘Memoirs of a Geisha’ (2005). \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of noir, 1958’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0051866/?ref_=fn_al_tt_4\" target=\"_blank\" rel=\"noopener noreferrer\">The Lineup\u003c/a>\u003c/em>—about heroin smugglers trying to retrieve packages from unsuspecting tourists—features the park’s Steinhart Aquarium (inside the California Academy of Sciences) as a murky backdrop to one such encounter. It’s possible that director Don Siegel took a cue from Orson Welles’ brooding \u003ca href=\"https://www.imdb.com/title/tt0040525/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Lady From Shanghai\u003c/em>\u003c/a> (1947), in which Michael (played by Welles) uses the aquarium to meet his secret lover Elsa (Rita Hayworth). \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The scene is memorably foreboding, not just because Welles and Hayworth were on the verge of real-life divorce at the time, but also because they’re surrounded by ominous-looking sea creatures, enlarged and distorted in the tanks behind 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/nSvY8KcES5E'\n title='//www.youtube.com/embed/nSvY8KcES5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In happier representations, Golden Gate Park is often the backdrop to new romance. Just as the Music Concourse marked the beginning of Steve and Mary’s relationship in \u003cem>The Wedding Planner\u003c/em>, it’s one of the first places we see Sasha (Ali Wong) and Marcus (Randall Park) as a couple in \u003ca href=\"https://www.netflix.com/title/80202874\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Always Be My Maybe\u003c/em>\u003c/a>. (They also visit the de Young.) Additionally, in 1972’s \u003ca href=\"https://www.imdb.com/title/tt0069097/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Play it Again, Sam\u003c/em>\u003c/a>, Allan (Woody Allen) and Linda (Diane Keaton) make dinner plans on the Music Concourse’s green benches, a date that transforms their relationship from platonic to passionate.\u003c/p>\n\u003cp>Woody Allen gravitated towards Golden Gate Park as a romantic location on more than one occasion. For his first movie, 1969’s \u003ca href=\"https://www.imdb.com/title/tt0065063/?ref_=ttfc_fc_tt\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Take The Money and Run\u003c/em>\u003c/a>, his character Virgil, a petty thief, favors the park as a location to \u003ca href=\"https://www.youtube.com/watch?v=XSKOGevWNqc\" target=\"_blank\" rel=\"noopener noreferrer\">steal women’s purses\u003c/a>. After he attempts to snatch a bag from Louise (Janet Margolin), romance blossoms. (This is a Woody Allen film, after all…)\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/sexnKfuSHcg'\n title='//www.youtube.com/embed/sexnKfuSHcg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not that Golden Gate Park is a stranger to action. In \u003cem>Dirty Harry\u003c/em>, Clint Eastwood takes down a deranged serial killer inside the park’s 10,000-seater \u003ca href=\"https://www.youtube.com/watch?v=-GvNc24yQZA\" target=\"_blank\" rel=\"noopener noreferrer\">Kezar Stadium\u003c/a>. And in 1952’s \u003cem>Scaramouche\u003c/em>, Andre Moreau (played by Stewart Granger) is seen riding around the park on horseback, as he seeks vengeance against the swordsman who killed his friend.\u003c/p>\n\u003cfigure id=\"attachment_13876027\" class=\"wp-caption aligncenter\" style=\"max-width: 627px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n.jpg\" alt=\"Stewart Granger under the Stow Lake bridge in 'Scaramouche' (1952), and the bridge today.\" width=\"627\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n-160x245.jpg 160w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Granger under the Stow Lake bridge in ‘Scaramouche’ (1952), and the bridge today. \u003ccite>(Screenshots and photo courtesy of Tim Welsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The park was used in several \u003cem>Scaramouche\u003c/em> scenes despite the film’s setting of 18th-century France. In \u003ci>Memoirs of a Geisha\u003c/i>, the Tea Garden stood in for a school in 1930s Japan. Conversely, not all movies purporting to be in Golden Gate Park are actually filmed there. In Mel Brooks’ 1972 spoof, \u003cem>High Anxiety\u003c/em>, his famous \u003ca href=\"https://www.youtube.com/watch?v=e5-HNt_kupk\" target=\"_blank\" rel=\"noopener noreferrer\">parody of \u003cem>The Birds\u003c/em>\u003c/a> occurs directly after he claims to be “in the Golden Gate Park… at the north by northwest corner.” Brooks was, in fact, \u003ca href=\"https://www.movie-locations.com/movies/h/High-Anxiety.php\" target=\"_blank\" rel=\"noopener noreferrer\">in Pasadena\u003c/a>.\u003c/p>\n\u003cp>Golden Gate Park is so expansive, and its environments so varied, that movies of nearly every genre have found their backdrops within it for over 100 years. And though we’ve yet to see a sci-fi flick filmed there, perhaps \u003cem>The Matrix 4\u003c/em> and \u003cem>Venom 2—\u003c/em>both recently spotted filming on location around the city—will change that. (After all, Netflix sci-fi series \u003cem>Sense8\u003c/em> has scenes in the Japanese Tea Garden and Music Concourse.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy 150th, Golden Gate Park! Here’s to another century of movie magic.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the effects of the coronavirus crisis has been widespread grassroots organizing, be it among restaurant staff, health care workers or supermarket employees. And few people know about the highs and lows of grassroots movements quite like Aaron Cometbus. He’s the creator of the zine \u003cem>Cometbus\u003c/em>, which has chronicled punkhouses, squats, collectives and the like for the past four decades.\u003c/p>\n\u003cp>Aaron’s latest issue is titled “Post-Mortem.” Its goal? To provide an autopsy on various underground movements: what went wrong, and what went right.\u003c/p>\n\u003cp>Aaron starts his series of interviews in the offices of Epitaph Records, who brought punk to the masses with the Offspring in the mid-1990s, then weaves his way through volunteer bookstores in San Francisco, independent publishers in Seattle, warehouses in New York and an art school in Vermont. (Aaron springs from the East Bay punk scene, and local institutions like Fat Wreck Chords and Thrasher magazine face his line of questioning, too.)\u003c/p>\n\u003cp>Along the way, an unflinching examination unfolds of financial irresponsibilities, reckless sexual liasons, getting harassed by police – and in Aaron’s storytelling, it’s sometimes hard to tell if these are liabilities or assets. Still, he delivers just as many inspiring success stories as he does sad eulogies, and paints DIY not as a relic of the past but as an ongoing continuum.\u003c/p>\n\u003cp>During the shutdown, reading Cometbus #59—with so much real-life, in-person action—is a hopeful reminder of what we’ll be getting back to someday. With bookstores and record stores closed, you’ll have to find \u003cem>Cometbus\u003c/em> #59 \u003ca href=\"https://store.silversprocket.net/products/cometbus-59-post-mortem-by-aaron-cometbus\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the effects of the coronavirus crisis has been widespread grassroots organizing, be it among restaurant staff, health care workers or supermarket employees. And few people know about the highs and lows of grassroots movements quite like Aaron Cometbus. He’s the creator of the zine \u003cem>Cometbus\u003c/em>, which has chronicled punkhouses, squats, collectives and the like for the past four decades.\u003c/p>\n\u003cp>Aaron’s latest issue is titled “Post-Mortem.” Its goal? To provide an autopsy on various underground movements: what went wrong, and what went right.\u003c/p>\n\u003cp>Aaron starts his series of interviews in the offices of Epitaph Records, who brought punk to the masses with the Offspring in the mid-1990s, then weaves his way through volunteer bookstores in San Francisco, independent publishers in Seattle, warehouses in New York and an art school in Vermont. (Aaron springs from the East Bay punk scene, and local institutions like Fat Wreck Chords and Thrasher magazine face his line of questioning, too.)\u003c/p>\n\u003cp>Along the way, an unflinching examination unfolds of financial irresponsibilities, reckless sexual liasons, getting harassed by police – and in Aaron’s storytelling, it’s sometimes hard to tell if these are liabilities or assets. Still, he delivers just as many inspiring success stories as he does sad eulogies, and paints DIY not as a relic of the past but as an ongoing continuum.\u003c/p>\n\u003cp>During the shutdown, reading Cometbus #59—with so much real-life, in-person action—is a hopeful reminder of what we’ll be getting back to someday. With bookstores and record stores closed, you’ll have to find \u003cem>Cometbus\u003c/em> #59 \u003ca href=\"https://store.silversprocket.net/products/cometbus-59-post-mortem-by-aaron-cometbus\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Mindblowing Tales From San Francisco's (Long) History With Epidemics",
"headTitle": "Mindblowing Tales From San Francisco’s (Long) History With Epidemics | KQED",
"content": "\u003cp>As we slowly trudge, un-showered and in sweatpants, towards the end of the first month of lockdown, mood swings are almost inevitable. Oscillating wildly between resignation, frustration and good old-fashioned anxiety has become the new normal.\u003c/p>\n\u003cp>It’s probably the perfect time, then, to point out that not only has the Bay Area been through epidemics before, it definitely handled things much, much worse the last time. And the time before that. Repeatedly. Especially in San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.influenzaarchive.org/cities/city-sanfrancisco.html#\" target=\"_blank\" rel=\"noopener noreferrer\">last time a health-related lockdown\u003c/a> began in the city, it was Friday, Oct. 18, 1918, when the San Francisco Board of Health voted to close all schools and “places of public amusement” in an effort to stem the spread of the dreaded influenza. This was followed one week later by an order that required everyone in the city to don face masks in public.\u003c/p>\n\u003cp>Which all would have been smart and appropriate and proper if only city residents hadn’t been such stubborn jerks about cooperating with the orders. So many folks continued leaving their faces uncovered, the city had to start charging people with disturbing the peace, and punishing them with either $5-10 fines or county jail time.\u003c/p>\n\u003cp>https://twitter.com/coolgrey/status/1234018471702384641\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then, once restrictions on venues were lifted after a 28-day lockdown, people rushed straight out to socialize, fearlessly packing dance halls and theaters with their germs. Apparently leading by example, this included \u003ca href=\"https://www.influenzaarchive.org/cities/city-sanfrancisco.html\" target=\"_blank\" rel=\"noopener noreferrer\">Mayor James Rolph\u003c/a>, who attended a boxing match between Fred Fulton and Willie Meehan at the Civic Auditorium on Nov. 16, and was caught flouting his own mask rule so flagrantly that the police chief fined him $50.\u003c/p>\n\u003cp>Five days later, on Nov. 21 at noon, a city-wide whistle blast signaled that it was “safe” to take masks off. But people simply tossed them in the air, ignoring health officials’ pleas to save the gauze for later. The \u003cem>San Francisco Chronicle\u003c/em> reported the following day that “sidewalks and runnels were strewn with the relics of a torturous month.”\u003c/p>\n\u003cp>Unsurprisingly, flu numbers flared up again after this premature move, and the city responded by sending out as much mixed messaging as humanly possible. Mayor Rolph told San Franciscans on Dec. 7 to put their masks back on, but an official ordinance from the Board of Supervisors didn’t come until Jan. 17, 1919.\u003c/p>\n\u003cp>To make matters worse, the fact that public places were still open and operating was apparently not enough to appease freewheeling San Franciscans. We know this because over 2,000 residents banded together in January to attend a rally organized by some geniuses calling themselves the \u003ca href=\"https://www.sfchronicle.com/bayarea/article/A-city-of-masks-When-the-flu-tore-through-San-6499265.php\" target=\"_blank\" rel=\"noopener noreferrer\">Anti-Mask League\u003c/a>. Mandatory mask use was lifted once again on Feb. 1 as the city grew tired of dealing with loudmouthed rebels flouting the law.\u003c/p>\n\u003cp>All told, the flu epidemic infected 45,000 San Franciscans, and killed 3,000 in the city, due to a deadly combination of mixed messaging from authorities and public resistance to restrictions.\u003c/p>\n\u003cfigure id=\"attachment_13878373\" class=\"wp-caption alignnone\" style=\"max-width: 512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878373\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/AP18006852068959.jpg\" alt=\"Red Cross volunteer nurses tend to flu patients at the Oakland Municipal Auditorium in 1918. It was used as a temporary hospital during the epidemic.\" width=\"512\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AP18006852068959.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AP18006852068959-160x124.jpg 160w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003cfigcaption class=\"wp-caption-text\">Red Cross volunteer nurses tend to flu patients at the Oakland Municipal Auditorium in 1918. It was used as a temporary hospital during the epidemic. \u003ccite>(Edward A. \"Doc\" Rogers/Library of Congress via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco’s uneven response to health crises wasn’t limited to the 1918 flu epidemic. In 1888, a \u003ca href=\"https://books.google.com/books?id=oB4LAAAAIAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Biennial Report\u003c/em>\u003c/a> by the California Department of Public Health reported that the entire Bay Area was, at that time, dealing with cases of smallpox, scarlet fever, typhoid, consumption, diphtheria and cholera.\u003c/p>\n\u003cp>Amazingly, \u003ca href=\"https://books.google.com/books?id=HwwPAAAAYAAJ&printsec=frontcover&dq=The+Cholera+Epidemic+of+1873+in+the+United+States&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwi_l_b_9tvoAhUrGDQIHR7sD6AQ6AEwAHoECAMQAg#v=onepage&q=The%20Cholera%20Epidemic%20of%201873%20in%20the%20United%20States&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cholera Epidemic of 1873 in the United States\u003c/em>\u003c/a>, written by the U.S. Surgeon General’s Office in 1875, reports that cholera first landed in San Francisco as early as September 1850. This was due to the arrival of the S.S. Carolina—a steamer ship that had \u003ca href=\"https://www.maritimeheritage.org/passengers/SS-Carolina-7October1850.html\" target=\"_blank\" rel=\"noopener noreferrer\">lost 13 passengers\u003c/a> to the disease before it even docked—and exacerbated by an attitude to\u003ca href=\"http://www.sf-info.org/history/d4/gold-rush\" target=\"_blank\" rel=\"noopener noreferrer\"> sanitation\u003c/a> that can most kindly be described as \u003cem>laissez faire\u003c/em>.\u003c/p>\n\u003cp>The following description is from 1854’s \u003ca href=\"https://books.google.com/books?id=RKJFAQAAMAAJ&pg=PA419&dq=san+francisco+cholera&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwio-vKP9tvoAhXwHjQIHRUaBRAQ6AEwBXoECAIQAg#v=onepage&q=san%20francisco%20cholera&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Annals of San Francisco\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The streets were thickly covered with black rotten mud. These were the proper dunghills of the town and were made a general depot for all kinds of rubbish and household sweepings, offal and filth. Sometimes the rains came and scattered the abominable stuffs, carrying part of them into the bay. Rats—huge, fat, lazy things—prowled about at pleasure… Sickening stenches invaded every quarter.\u003c/p>\u003c/blockquote>\n\u003cp>Outbreaks of cholera in San Jose, Carson Valley and Sacramento \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=DAC18651009.2.4&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">quickly followed\u003c/a>—said to be made worse by the spread of the illness via “overland emigrants.” By the end of the 1850 cholera outbreak, over 1,000 residents had died in Sacramento alone, out of a population of 8,000.\u003c/p>\n\u003cp>It’s true that infrastructure, including plumbing, had a hard time catching up to the population boom born of the Gold Rush, but it’s also true that San Francisco, for the longest time, cared not what was docking in its Bay. Having failed to learn its lesson after the 1850 cholera outbreak, another infested ship (the \u003ca href=\"https://books.google.com/books?id=9DKe_xdeFpYC&pg=PA14&lpg=PA14&dq=san+francisco+cholera+1855+SS+Sam&source=bl&ots=FFTLixEywm&sig=ACfU3U2wt41EiQGLwc45cDcT1TVq5gK5Mw&hl=en&sa=X&ved=2ahUKEwjD-dbyjNvoAhWXGDQIHVoQCHkQ6AEwDHoECA0QKg#v=onepage&q=san%20francisco%20cholera%201855%20SS%20Sam&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">S.S. Sam\u003c/a> this time) was permitted to enter the city just five years later which—you guessed it—caused another deadly cholera outbreak.\u003c/p>\n\u003cp>This time, the disease’s spread was assisted by both crappy sanitation \u003cem>and\u003c/em> makeshift living quarters. \u003ca href=\"https://www.sfgate.com/sfhistory/article/San-Francisco-1855-1856-incorporation-Gold-Rush-12958094.php\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Historical Museum\u003c/a> has since described the city of the period thusly:\u003c/p>\n\u003cblockquote>\u003cp>What a strange town was that, the San Francisco of 1856, its 30,000 people in speedy transition from a city of tents and shacks to one of brick and stone buildings, architecturally on a par with those of Atlantic seaboard cities, and its flimsy wooden and more pretentious sheet iron buildings filling in the spaces in between.\u003c/p>\u003c/blockquote>\n\u003cp>Remarkably, an 1883 copy of the \u003ca href=\"https://books.google.com/books?id=cy4gAQAAIAAJ&pg=PA327&dq=san+francisco+cholera&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwio-vKP9tvoAhXwHjQIHRUaBRAQ6AEwAXoECAEQAg#v=onepage&q=san%20francisco%20cholera&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Western Lancet\u003c/em>\u003c/a> medical journal suggests that, despite these outbreaks and dangerous habitations, sanitation in San Francisco remained in an abysmal state, even three decades later.\u003c/p>\n\u003cblockquote>\u003cp>The sewer on Fifth Street, having no bottom, continually filling with shifting sand, causes the sewage to collect and foul gasses to generate. One man recently met his death there because of the foul condition of the sewer… Just consider for a moment the condition of a municipal government which will allow a cesspool five miles long to exist in the heart of its jurisdiction. It is a criminal neglect of duty.\u003c/p>\u003c/blockquote>\n\u003cp>No surprise, then, that San Francisco was treated to an \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_plague_of_1900%E2%80%931904\" target=\"_blank\" rel=\"noopener noreferrer\">outbreak of plague\u003c/a> (actual Bubonic Plague!) as late as 1900. The neighborhood affected most was Chinatown, but California’s Governor at the time, Henry Gage, denied the outbreak was happening for two full years. By the time George Pardee replaced Gage in 1902 and started prioritizing people over commerce, the disease had such a foothold that it took another two years to quash.\u003c/p>\n\u003cp>Compared to these moments in the city’s history, we’re blessed in 2020 to have leadership willing to make decisive calls for the sake of public safety. Let’s not forget that San Francisco was the \u003ca href=\"https://www.cnn.com/2020/03/17/us/us-coronavirus-san-francisco-lockdown/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">first American city\u003c/a> to issue a stay-at-home order in this coronavirus crisis, and had zero qualms about \u003ca href=\"https://813dcad3-2b07-4f3f-a25e-23c48c566922.filesusr.com/ugd/84606e_8b76957fcc4b4bab8d6876f7c2793d18.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">extending its stay-at-home order\u003c/a> until at least May 3.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One \u003ca href=\"https://www.history.com/news/spanish-flu-pandemic-response-cities\" target=\"_blank\" rel=\"noopener noreferrer\">2007 analysis\u003c/a> of the 1918 flu epidemic claimed that if lockdown measures had stayed in place in San Francisco until Spring 1919, 90% of deaths in the region could have been prevented. The lessons from history are clear: Stay inside, be grateful for good plumbing and, most importantly of all, don’t be a rebellious jerk.\u003c/p>\n\n",
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"excerpt": "Think this lockdown is hard? You should hear how the last one went.",
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"title": "Mindblowing Tales From San Francisco's (Long) History With Epidemics | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we slowly trudge, un-showered and in sweatpants, towards the end of the first month of lockdown, mood swings are almost inevitable. Oscillating wildly between resignation, frustration and good old-fashioned anxiety has become the new normal.\u003c/p>\n\u003cp>It’s probably the perfect time, then, to point out that not only has the Bay Area been through epidemics before, it definitely handled things much, much worse the last time. And the time before that. Repeatedly. Especially in San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.influenzaarchive.org/cities/city-sanfrancisco.html#\" target=\"_blank\" rel=\"noopener noreferrer\">last time a health-related lockdown\u003c/a> began in the city, it was Friday, Oct. 18, 1918, when the San Francisco Board of Health voted to close all schools and “places of public amusement” in an effort to stem the spread of the dreaded influenza. This was followed one week later by an order that required everyone in the city to don face masks in public.\u003c/p>\n\u003cp>Which all would have been smart and appropriate and proper if only city residents hadn’t been such stubborn jerks about cooperating with the orders. So many folks continued leaving their faces uncovered, the city had to start charging people with disturbing the peace, and punishing them with either $5-10 fines or county jail time.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then, once restrictions on venues were lifted after a 28-day lockdown, people rushed straight out to socialize, fearlessly packing dance halls and theaters with their germs. Apparently leading by example, this included \u003ca href=\"https://www.influenzaarchive.org/cities/city-sanfrancisco.html\" target=\"_blank\" rel=\"noopener noreferrer\">Mayor James Rolph\u003c/a>, who attended a boxing match between Fred Fulton and Willie Meehan at the Civic Auditorium on Nov. 16, and was caught flouting his own mask rule so flagrantly that the police chief fined him $50.\u003c/p>\n\u003cp>Five days later, on Nov. 21 at noon, a city-wide whistle blast signaled that it was “safe” to take masks off. But people simply tossed them in the air, ignoring health officials’ pleas to save the gauze for later. The \u003cem>San Francisco Chronicle\u003c/em> reported the following day that “sidewalks and runnels were strewn with the relics of a torturous month.”\u003c/p>\n\u003cp>Unsurprisingly, flu numbers flared up again after this premature move, and the city responded by sending out as much mixed messaging as humanly possible. Mayor Rolph told San Franciscans on Dec. 7 to put their masks back on, but an official ordinance from the Board of Supervisors didn’t come until Jan. 17, 1919.\u003c/p>\n\u003cp>To make matters worse, the fact that public places were still open and operating was apparently not enough to appease freewheeling San Franciscans. We know this because over 2,000 residents banded together in January to attend a rally organized by some geniuses calling themselves the \u003ca href=\"https://www.sfchronicle.com/bayarea/article/A-city-of-masks-When-the-flu-tore-through-San-6499265.php\" target=\"_blank\" rel=\"noopener noreferrer\">Anti-Mask League\u003c/a>. Mandatory mask use was lifted once again on Feb. 1 as the city grew tired of dealing with loudmouthed rebels flouting the law.\u003c/p>\n\u003cp>All told, the flu epidemic infected 45,000 San Franciscans, and killed 3,000 in the city, due to a deadly combination of mixed messaging from authorities and public resistance to restrictions.\u003c/p>\n\u003cfigure id=\"attachment_13878373\" class=\"wp-caption alignnone\" style=\"max-width: 512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878373\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/AP18006852068959.jpg\" alt=\"Red Cross volunteer nurses tend to flu patients at the Oakland Municipal Auditorium in 1918. It was used as a temporary hospital during the epidemic.\" width=\"512\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AP18006852068959.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/AP18006852068959-160x124.jpg 160w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003cfigcaption class=\"wp-caption-text\">Red Cross volunteer nurses tend to flu patients at the Oakland Municipal Auditorium in 1918. It was used as a temporary hospital during the epidemic. \u003ccite>(Edward A. \"Doc\" Rogers/Library of Congress via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco’s uneven response to health crises wasn’t limited to the 1918 flu epidemic. In 1888, a \u003ca href=\"https://books.google.com/books?id=oB4LAAAAIAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Biennial Report\u003c/em>\u003c/a> by the California Department of Public Health reported that the entire Bay Area was, at that time, dealing with cases of smallpox, scarlet fever, typhoid, consumption, diphtheria and cholera.\u003c/p>\n\u003cp>Amazingly, \u003ca href=\"https://books.google.com/books?id=HwwPAAAAYAAJ&printsec=frontcover&dq=The+Cholera+Epidemic+of+1873+in+the+United+States&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwi_l_b_9tvoAhUrGDQIHR7sD6AQ6AEwAHoECAMQAg#v=onepage&q=The%20Cholera%20Epidemic%20of%201873%20in%20the%20United%20States&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cholera Epidemic of 1873 in the United States\u003c/em>\u003c/a>, written by the U.S. Surgeon General’s Office in 1875, reports that cholera first landed in San Francisco as early as September 1850. This was due to the arrival of the S.S. Carolina—a steamer ship that had \u003ca href=\"https://www.maritimeheritage.org/passengers/SS-Carolina-7October1850.html\" target=\"_blank\" rel=\"noopener noreferrer\">lost 13 passengers\u003c/a> to the disease before it even docked—and exacerbated by an attitude to\u003ca href=\"http://www.sf-info.org/history/d4/gold-rush\" target=\"_blank\" rel=\"noopener noreferrer\"> sanitation\u003c/a> that can most kindly be described as \u003cem>laissez faire\u003c/em>.\u003c/p>\n\u003cp>The following description is from 1854’s \u003ca href=\"https://books.google.com/books?id=RKJFAQAAMAAJ&pg=PA419&dq=san+francisco+cholera&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwio-vKP9tvoAhXwHjQIHRUaBRAQ6AEwBXoECAIQAg#v=onepage&q=san%20francisco%20cholera&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Annals of San Francisco\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The streets were thickly covered with black rotten mud. These were the proper dunghills of the town and were made a general depot for all kinds of rubbish and household sweepings, offal and filth. Sometimes the rains came and scattered the abominable stuffs, carrying part of them into the bay. Rats—huge, fat, lazy things—prowled about at pleasure… Sickening stenches invaded every quarter.\u003c/p>\u003c/blockquote>\n\u003cp>Outbreaks of cholera in San Jose, Carson Valley and Sacramento \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=DAC18651009.2.4&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">quickly followed\u003c/a>—said to be made worse by the spread of the illness via “overland emigrants.” By the end of the 1850 cholera outbreak, over 1,000 residents had died in Sacramento alone, out of a population of 8,000.\u003c/p>\n\u003cp>It’s true that infrastructure, including plumbing, had a hard time catching up to the population boom born of the Gold Rush, but it’s also true that San Francisco, for the longest time, cared not what was docking in its Bay. Having failed to learn its lesson after the 1850 cholera outbreak, another infested ship (the \u003ca href=\"https://books.google.com/books?id=9DKe_xdeFpYC&pg=PA14&lpg=PA14&dq=san+francisco+cholera+1855+SS+Sam&source=bl&ots=FFTLixEywm&sig=ACfU3U2wt41EiQGLwc45cDcT1TVq5gK5Mw&hl=en&sa=X&ved=2ahUKEwjD-dbyjNvoAhWXGDQIHVoQCHkQ6AEwDHoECA0QKg#v=onepage&q=san%20francisco%20cholera%201855%20SS%20Sam&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">S.S. Sam\u003c/a> this time) was permitted to enter the city just five years later which—you guessed it—caused another deadly cholera outbreak.\u003c/p>\n\u003cp>This time, the disease’s spread was assisted by both crappy sanitation \u003cem>and\u003c/em> makeshift living quarters. \u003ca href=\"https://www.sfgate.com/sfhistory/article/San-Francisco-1855-1856-incorporation-Gold-Rush-12958094.php\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Historical Museum\u003c/a> has since described the city of the period thusly:\u003c/p>\n\u003cblockquote>\u003cp>What a strange town was that, the San Francisco of 1856, its 30,000 people in speedy transition from a city of tents and shacks to one of brick and stone buildings, architecturally on a par with those of Atlantic seaboard cities, and its flimsy wooden and more pretentious sheet iron buildings filling in the spaces in between.\u003c/p>\u003c/blockquote>\n\u003cp>Remarkably, an 1883 copy of the \u003ca href=\"https://books.google.com/books?id=cy4gAQAAIAAJ&pg=PA327&dq=san+francisco+cholera&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwio-vKP9tvoAhXwHjQIHRUaBRAQ6AEwAXoECAEQAg#v=onepage&q=san%20francisco%20cholera&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Western Lancet\u003c/em>\u003c/a> medical journal suggests that, despite these outbreaks and dangerous habitations, sanitation in San Francisco remained in an abysmal state, even three decades later.\u003c/p>\n\u003cblockquote>\u003cp>The sewer on Fifth Street, having no bottom, continually filling with shifting sand, causes the sewage to collect and foul gasses to generate. One man recently met his death there because of the foul condition of the sewer… Just consider for a moment the condition of a municipal government which will allow a cesspool five miles long to exist in the heart of its jurisdiction. It is a criminal neglect of duty.\u003c/p>\u003c/blockquote>\n\u003cp>No surprise, then, that San Francisco was treated to an \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_plague_of_1900%E2%80%931904\" target=\"_blank\" rel=\"noopener noreferrer\">outbreak of plague\u003c/a> (actual Bubonic Plague!) as late as 1900. The neighborhood affected most was Chinatown, but California’s Governor at the time, Henry Gage, denied the outbreak was happening for two full years. By the time George Pardee replaced Gage in 1902 and started prioritizing people over commerce, the disease had such a foothold that it took another two years to quash.\u003c/p>\n\u003cp>Compared to these moments in the city’s history, we’re blessed in 2020 to have leadership willing to make decisive calls for the sake of public safety. Let’s not forget that San Francisco was the \u003ca href=\"https://www.cnn.com/2020/03/17/us/us-coronavirus-san-francisco-lockdown/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">first American city\u003c/a> to issue a stay-at-home order in this coronavirus crisis, and had zero qualms about \u003ca href=\"https://813dcad3-2b07-4f3f-a25e-23c48c566922.filesusr.com/ugd/84606e_8b76957fcc4b4bab8d6876f7c2793d18.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">extending its stay-at-home order\u003c/a> until at least May 3.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One \u003ca href=\"https://www.history.com/news/spanish-flu-pandemic-response-cities\" target=\"_blank\" rel=\"noopener noreferrer\">2007 analysis\u003c/a> of the 1918 flu epidemic claimed that if lockdown measures had stayed in place in San Francisco until Spring 1919, 90% of deaths in the region could have been prevented. The lessons from history are clear: Stay inside, be grateful for good plumbing and, most importantly of all, don’t be a rebellious jerk.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Perhaps Nostradamus Predicted Coronavirus After All...",
"headTitle": "Perhaps Nostradamus Predicted Coronavirus After All… | KQED",
"content": "\u003cp>A couple weeks ago, a meme started doing the rounds on social media, claiming that Nostradamus had predicted the coronavirus.\u003c/p>\n\u003cfigure id=\"attachment_13878180\" class=\"wp-caption aligncenter\" style=\"max-width: 305px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-06-at-1.44.25-PM.png\" alt=\"Everything written here is entirely false.\" width=\"305\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-06-at-1.44.25-PM.png 305w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-06-at-1.44.25-PM-160x243.png 160w\" sizes=\"(max-width: 305px) 100vw, 305px\">\u003cfigcaption class=\"wp-caption-text\">Everything written here is entirely false.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.snopes.com/fact-check/nostradamus-covid-19/\" target=\"_blank\" rel=\"noopener noreferrer\">Snopes\u003c/a> and \u003ca href=\"https://www.politifact.com/factchecks/2020/apr/06/facebook-posts/no-evidence-nostradamus-predicted-novel-coronaviru/\" target=\"_blank\" rel=\"noopener noreferrer\">Politifact\u003c/a> quickly stepped up to point out that the claims in the image are fabricated nonsense, and Facebook has since started flagging and obscuring the image with a “false information” tag.\u003c/p>\n\u003cp>Nostradamus was notoriously vague in many of the predictions he made in his 1555 book, \u003cem>Les Prophéties. \u003c/em>But even after nearly five centuries, humans still find themselves turning to his writings in times of woe—probably because of what he \u003cem>did\u003c/em> get right.\u003c/p>\n\u003cp>[aside postid='arts_13892672']Nostradamus victories include air travel (“People will travel safely through the sky”), the year of the great fire of London (“The blood of the just will be demanded of London burnt by fire in three times twenty plus six”) and the rise of Hitler (though Nostradamus referred to him as “Hister.”) It’s worth noting that the astrologer also wrote about something that bears a striking resemblance to 9/11. (“The sky will burn at forty-five degrees, fire approaches the great New City. Immediately a huge scattered flame leaps up.”)\u003c/p>\n\u003cp>In recent weeks, some Nostradamus fans, eager to find coronavirus content in \u003cem>Les Prophéties,\u003c/em> have pointed to passages that are aggravatingly non-specific. Like the one that references “\u003ca href=\"https://www.msn.com/en-sg/news/world/did-nostradamus-predict-the-coronavirus/ar-BBZDRa6?li=AAaGkVj\" target=\"_blank\" rel=\"noopener noreferrer\">The great plague of the maritime city\u003c/a>,” and the one that says “\u003ca href=\"https://www.express.co.uk/news/weird/1265043/Nostradamus-quatrains-prophecies-plague-coronavirus-prediction\" target=\"_blank\" rel=\"noopener noreferrer\">And diverse plagues will be upon mankind\u003c/a>.” But this morning I found one that appears to be a lot more specific.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Prophecies of Nostradamus\u003c/em> by Erika Cheetham is a complete translation of the original text, first published in 1973. Naturally, I just happen to have a copy lying around for lockdown and today I found both a reference to “plague, lightning and hail at the end of March,” and, more importantly, this:\u003c/p>\n\u003cblockquote>\u003cp>In the feeble lists, great calamity through America and Lombardy. The fire in the ship, plague and captivity; Mercury in Sagittarius, Saturn warning.\u003c/p>\u003c/blockquote>\n\u003cp>We can all understand the references to “plague and captivity” at this point, but everything else in this passage lines up too. Assuming “the feeble lists” refer to the sick and the dead, America and Italy (Lombardy is a region in the north of the country) are in the \u003ca href=\"https://www.theguardian.com/world/2020/apr/06/coronavirus-world-map-which-countries-have-the-most-cases-and-deaths-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">top three\u003c/a> most infected countries so far, along with Spain.\u003c/p>\n\u003cp>\u003ca href=\"https://www.refinery29.com/en-us/2019/12/8977939/mercury-in-sagittarius-december-2019-astrology-meaning\" target=\"_blank\" rel=\"noopener noreferrer\">Mercury entered Sagittarius\u003c/a> in December 2019, which is when the \u003ca href=\"https://www.cdc.gov/media/releases/2020/p0121-novel-coronavirus-travel-case.html\" target=\"_blank\" rel=\"noopener noreferrer\">first cases of coronavirus\u003c/a> occurred, and \u003ca href=\"https://www.lovelanyadoo.com/monthly-horoscope/2020/2/24/march-2020\" target=\"_blank\" rel=\"noopener noreferrer\">Saturn moved into Aquarius\u003c/a> on March 21, right as New York City was going into lockdown.\u003c/p>\n\u003cp>[aside postid='arts_13894837']As for the fire in the ship, \u003ca href=\"https://www.cnn.com/travel/article/cruise-ships-stranded-coronavirus-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">multiple cruise liners\u003c/a> have become stranded at sea during this crisis due to coronavirus emergencies on board. This includes the \u003ca href=\"https://www.usatoday.com/story/travel/cruises/2020/03/16/coronavirus-grand-princess-departs-oakland-lets-off-crew/5058788002/\" target=\"_blank\" rel=\"noopener noreferrer\">Grand Princess\u003c/a>, which docked in Oakland on March 9 with 21 confirmed coronavirus cases on board.\u003c/p>\n\u003cp>All of which suggests that Nostradamus did see this coming after all. It wouldn’t be the first time. The following passage is often interpreted as predicting World War I and the flu epidemic that killed over 50 million people directly afterwards:\u003c/p>\n\u003cblockquote>\u003cp>The dreadful war which prepared in the West, the following year the pestilence will come, so very horrible that young, nor old, nor animal (will survive).\u003c/p>\u003c/blockquote>\n\u003cp>Try not to feel too frustrated about our current predicament though. Things could always be worse. After all, Nostradamus has also predicted an imminent zombie apocalypse:\u003c/p>\n\u003cblockquote>\u003cp>The year of the great seventh number accomplished, it will appear at the time of the games of slaughter, not far from the age of the great millennium, when the dead will come out of their graves.\u003c/p>\u003c/blockquote>\n\u003cp>Something for us to look forward to in 2027?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The text of this story was updated after several readers contacted KQED to confirm that Mercury entered Sagittarius in December.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A couple weeks ago, a meme started doing the rounds on social media, claiming that Nostradamus had predicted the coronavirus.\u003c/p>\n\u003cfigure id=\"attachment_13878180\" class=\"wp-caption aligncenter\" style=\"max-width: 305px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-06-at-1.44.25-PM.png\" alt=\"Everything written here is entirely false.\" width=\"305\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-06-at-1.44.25-PM.png 305w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-06-at-1.44.25-PM-160x243.png 160w\" sizes=\"(max-width: 305px) 100vw, 305px\">\u003cfigcaption class=\"wp-caption-text\">Everything written here is entirely false.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.snopes.com/fact-check/nostradamus-covid-19/\" target=\"_blank\" rel=\"noopener noreferrer\">Snopes\u003c/a> and \u003ca href=\"https://www.politifact.com/factchecks/2020/apr/06/facebook-posts/no-evidence-nostradamus-predicted-novel-coronaviru/\" target=\"_blank\" rel=\"noopener noreferrer\">Politifact\u003c/a> quickly stepped up to point out that the claims in the image are fabricated nonsense, and Facebook has since started flagging and obscuring the image with a “false information” tag.\u003c/p>\n\u003cp>Nostradamus was notoriously vague in many of the predictions he made in his 1555 book, \u003cem>Les Prophéties. \u003c/em>But even after nearly five centuries, humans still find themselves turning to his writings in times of woe—probably because of what he \u003cem>did\u003c/em> get right.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Nostradamus victories include air travel (“People will travel safely through the sky”), the year of the great fire of London (“The blood of the just will be demanded of London burnt by fire in three times twenty plus six”) and the rise of Hitler (though Nostradamus referred to him as “Hister.”) It’s worth noting that the astrologer also wrote about something that bears a striking resemblance to 9/11. (“The sky will burn at forty-five degrees, fire approaches the great New City. Immediately a huge scattered flame leaps up.”)\u003c/p>\n\u003cp>In recent weeks, some Nostradamus fans, eager to find coronavirus content in \u003cem>Les Prophéties,\u003c/em> have pointed to passages that are aggravatingly non-specific. Like the one that references “\u003ca href=\"https://www.msn.com/en-sg/news/world/did-nostradamus-predict-the-coronavirus/ar-BBZDRa6?li=AAaGkVj\" target=\"_blank\" rel=\"noopener noreferrer\">The great plague of the maritime city\u003c/a>,” and the one that says “\u003ca href=\"https://www.express.co.uk/news/weird/1265043/Nostradamus-quatrains-prophecies-plague-coronavirus-prediction\" target=\"_blank\" rel=\"noopener noreferrer\">And diverse plagues will be upon mankind\u003c/a>.” But this morning I found one that appears to be a lot more specific.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Prophecies of Nostradamus\u003c/em> by Erika Cheetham is a complete translation of the original text, first published in 1973. Naturally, I just happen to have a copy lying around for lockdown and today I found both a reference to “plague, lightning and hail at the end of March,” and, more importantly, this:\u003c/p>\n\u003cblockquote>\u003cp>In the feeble lists, great calamity through America and Lombardy. The fire in the ship, plague and captivity; Mercury in Sagittarius, Saturn warning.\u003c/p>\u003c/blockquote>\n\u003cp>We can all understand the references to “plague and captivity” at this point, but everything else in this passage lines up too. Assuming “the feeble lists” refer to the sick and the dead, America and Italy (Lombardy is a region in the north of the country) are in the \u003ca href=\"https://www.theguardian.com/world/2020/apr/06/coronavirus-world-map-which-countries-have-the-most-cases-and-deaths-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">top three\u003c/a> most infected countries so far, along with Spain.\u003c/p>\n\u003cp>\u003ca href=\"https://www.refinery29.com/en-us/2019/12/8977939/mercury-in-sagittarius-december-2019-astrology-meaning\" target=\"_blank\" rel=\"noopener noreferrer\">Mercury entered Sagittarius\u003c/a> in December 2019, which is when the \u003ca href=\"https://www.cdc.gov/media/releases/2020/p0121-novel-coronavirus-travel-case.html\" target=\"_blank\" rel=\"noopener noreferrer\">first cases of coronavirus\u003c/a> occurred, and \u003ca href=\"https://www.lovelanyadoo.com/monthly-horoscope/2020/2/24/march-2020\" target=\"_blank\" rel=\"noopener noreferrer\">Saturn moved into Aquarius\u003c/a> on March 21, right as New York City was going into lockdown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As for the fire in the ship, \u003ca href=\"https://www.cnn.com/travel/article/cruise-ships-stranded-coronavirus-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">multiple cruise liners\u003c/a> have become stranded at sea during this crisis due to coronavirus emergencies on board. This includes the \u003ca href=\"https://www.usatoday.com/story/travel/cruises/2020/03/16/coronavirus-grand-princess-departs-oakland-lets-off-crew/5058788002/\" target=\"_blank\" rel=\"noopener noreferrer\">Grand Princess\u003c/a>, which docked in Oakland on March 9 with 21 confirmed coronavirus cases on board.\u003c/p>\n\u003cp>All of which suggests that Nostradamus did see this coming after all. It wouldn’t be the first time. The following passage is often interpreted as predicting World War I and the flu epidemic that killed over 50 million people directly afterwards:\u003c/p>\n\u003cblockquote>\u003cp>The dreadful war which prepared in the West, the following year the pestilence will come, so very horrible that young, nor old, nor animal (will survive).\u003c/p>\u003c/blockquote>\n\u003cp>Try not to feel too frustrated about our current predicament though. Things could always be worse. After all, Nostradamus has also predicted an imminent zombie apocalypse:\u003c/p>\n\u003cblockquote>\u003cp>The year of the great seventh number accomplished, it will appear at the time of the games of slaughter, not far from the age of the great millennium, when the dead will come out of their graves.\u003c/p>\u003c/blockquote>\n\u003cp>Something for us to look forward to in 2027?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The text of this story was updated after several readers contacted KQED to confirm that Mercury entered Sagittarius in December.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘The Windermere Children,’ Holocaust Survivors Find Hope and Healing",
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"content": "\u003cp>Surviving the Holocaust is not an experience that runs close or even parallel to COVID-19 confinement. The virus isn’t discriminating against individuals based on their religion, political beliefs or sexual orientation. It’s not singling out enemies of the state or locking anyone up by force. Nonetheless, the pandemic has engineered a frightening set of tensions in our private and public lives. We’re all watchful of the people we meet in the grocery store, wary of making one fatal misstep lest we catch the disease.\u003c/p>\n\u003cp>Although sheltering in place isn’t yet equivalent to living through a war, the sense of an ongoing, external threat does make it easy to identify with the characters in \u003ci>\u003ca href=\"https://www.pbs.org/show/windermere-children/\" target=\"_blank\" rel=\"noopener noreferrer\">The Windermere Children\u003c/a>\u003c/i>, premiering April 5 on PBS. Based on a true story, this affecting drama is set in the northwest part of England shortly after World War II.\u003c/p>\n\u003cp>The United Kingdom created a temporary sanctuary near the idyllic backdrop of Lake Windermere for nearly 1,000 children who lived through the Holocaust (the reasons why the U.K. did this are left largely unexplained in the film). \u003ci>The Windermere Children\u003c/i> begins in the middle of the night with a busload of new arrivals. For the sake of smart and economic storytelling, the film narrows its focus onto a small group of adolescent boys.\u003c/p>\n\u003cfigure id=\"attachment_13877932\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877932\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Salek (Jakub Jankiewicz) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When they disembark, the camera closes in on the children’s mistrustful expressions. One says the process of lining up and filing into the barracks reminds him of the death camps. The main characters are Polish; their inability to speak or understand English contributes to their sense of disorientation. A boy named Salek (Jakub Jankiewicz) is too terrified to even leave the bus. It is only when Oscar (Thomas Kretschmann), the sanctuary’s director, takes a calm and caring approach with Salek, that we know the group is in good hands.\u003c/p>\n\u003cp>Rather than filling the screen with depraved Nazis, \u003ci>The Windermere Children\u003c/i> concentrates on the damaged psyches of the survivors. That damage is fully apparent in moments like the children’s first breakfast, when they grab frenziedly at the pieces of fresh bread on the table and stampede out of the dining hall, used to years of deprivation and fighting for the tiniest scraps of sustenance.\u003c/p>\n\u003cfigure id=\"attachment_13877933\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877933\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Oscar (Thomas Kretschmann) and Marie (Romola Garai) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The four months of rehabilitation look like they’re taking place at an ordinary summer camp with soccer matches, jump rope and swims in the lake—but the underlying weight of trauma bears down on everyone, not just the survivors. In the classroom of officious child psychologist Marie (Romola Garai), children begin to express their inner turmoil with paint on paper. She is completely unprepared for the images that emerge and her own emotions crack through her professional demeanor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the children are slowly liberated by walks through the woods, bicycle rides, newfound camaraderie or handfuls of clean clothes, the audience is always aware of their scars.\u003c/p>\n\u003cp>Wojciech Szepel, the cinematographer responsible for the 2017 remake of \u003ci>Howards End\u003c/i>, captures the beauty and melancholy of the Cumbrian landscape around Lake Windermere. He does especially well with scenes set in the dark. The children can’t sleep; they frequently have nightmares. When one of the boys wakes at night and wanders outside in his bare feet, the filmmakers thoughtfully construct a scene devoid of extraneous, explanatory dialogue. Oscar is in the distance, smoking a cigarette, watching over his troubled, wandering charges. We understand that, despite their experiences and grievous losses, these children are truly being cared for.\u003c/p>\n\u003cfigure id=\"attachment_13877935\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877935\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">George (Philipp Christopher), Jock (Iain Glenn), Arek (Tomasz Studzinski) and Sala (Anna Maciejewska) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set 75 years in the past, \u003ci>The Windermere Children\u003c/i> makes a brief nod to the contemporary persistence of xenophobia and anti-Semitism—and the moral necessity of combatting such hatred. The confrontation happens on a trip to a nearby town for ice cream, when a group of English teenagers begin to mock the foreign refugees. In a shocking moment, the teens even raise their arms in a Nazi salute. While the other chaperones usher the children inside the shop, Oscar approaches the locals with ice cream cone in hand, calmly shaming them into admitting their behavior was obscene.\u003c/p>\n\u003cp>It’s a heartening yet aspirational scene that points its finger directly at 2020 audiences. Who will stand up for the dignity of others and be the Oscar of our present moment?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Windermere Children’ premieres Sunday, April 5 at 10pm on KQED 9. \u003ca href=\"https://www.pbs.org/show/windermere-children/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Surviving the Holocaust is not an experience that runs close or even parallel to COVID-19 confinement. The virus isn’t discriminating against individuals based on their religion, political beliefs or sexual orientation. It’s not singling out enemies of the state or locking anyone up by force. Nonetheless, the pandemic has engineered a frightening set of tensions in our private and public lives. We’re all watchful of the people we meet in the grocery store, wary of making one fatal misstep lest we catch the disease.\u003c/p>\n\u003cp>Although sheltering in place isn’t yet equivalent to living through a war, the sense of an ongoing, external threat does make it easy to identify with the characters in \u003ci>\u003ca href=\"https://www.pbs.org/show/windermere-children/\" target=\"_blank\" rel=\"noopener noreferrer\">The Windermere Children\u003c/a>\u003c/i>, premiering April 5 on PBS. Based on a true story, this affecting drama is set in the northwest part of England shortly after World War II.\u003c/p>\n\u003cp>The United Kingdom created a temporary sanctuary near the idyllic backdrop of Lake Windermere for nearly 1,000 children who lived through the Holocaust (the reasons why the U.K. did this are left largely unexplained in the film). \u003ci>The Windermere Children\u003c/i> begins in the middle of the night with a busload of new arrivals. For the sake of smart and economic storytelling, the film narrows its focus onto a small group of adolescent boys.\u003c/p>\n\u003cfigure id=\"attachment_13877932\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877932\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Salek (Jakub Jankiewicz) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When they disembark, the camera closes in on the children’s mistrustful expressions. One says the process of lining up and filing into the barracks reminds him of the death camps. The main characters are Polish; their inability to speak or understand English contributes to their sense of disorientation. A boy named Salek (Jakub Jankiewicz) is too terrified to even leave the bus. It is only when Oscar (Thomas Kretschmann), the sanctuary’s director, takes a calm and caring approach with Salek, that we know the group is in good hands.\u003c/p>\n\u003cp>Rather than filling the screen with depraved Nazis, \u003ci>The Windermere Children\u003c/i> concentrates on the damaged psyches of the survivors. That damage is fully apparent in moments like the children’s first breakfast, when they grab frenziedly at the pieces of fresh bread on the table and stampede out of the dining hall, used to years of deprivation and fighting for the tiniest scraps of sustenance.\u003c/p>\n\u003cfigure id=\"attachment_13877933\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877933\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Oscar (Thomas Kretschmann) and Marie (Romola Garai) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The four months of rehabilitation look like they’re taking place at an ordinary summer camp with soccer matches, jump rope and swims in the lake—but the underlying weight of trauma bears down on everyone, not just the survivors. In the classroom of officious child psychologist Marie (Romola Garai), children begin to express their inner turmoil with paint on paper. She is completely unprepared for the images that emerge and her own emotions crack through her professional demeanor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the children are slowly liberated by walks through the woods, bicycle rides, newfound camaraderie or handfuls of clean clothes, the audience is always aware of their scars.\u003c/p>\n\u003cp>Wojciech Szepel, the cinematographer responsible for the 2017 remake of \u003ci>Howards End\u003c/i>, captures the beauty and melancholy of the Cumbrian landscape around Lake Windermere. He does especially well with scenes set in the dark. The children can’t sleep; they frequently have nightmares. When one of the boys wakes at night and wanders outside in his bare feet, the filmmakers thoughtfully construct a scene devoid of extraneous, explanatory dialogue. Oscar is in the distance, smoking a cigarette, watching over his troubled, wandering charges. We understand that, despite their experiences and grievous losses, these children are truly being cared for.\u003c/p>\n\u003cfigure id=\"attachment_13877935\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877935\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">George (Philipp Christopher), Jock (Iain Glenn), Arek (Tomasz Studzinski) and Sala (Anna Maciejewska) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set 75 years in the past, \u003ci>The Windermere Children\u003c/i> makes a brief nod to the contemporary persistence of xenophobia and anti-Semitism—and the moral necessity of combatting such hatred. The confrontation happens on a trip to a nearby town for ice cream, when a group of English teenagers begin to mock the foreign refugees. In a shocking moment, the teens even raise their arms in a Nazi salute. While the other chaperones usher the children inside the shop, Oscar approaches the locals with ice cream cone in hand, calmly shaming them into admitting their behavior was obscene.\u003c/p>\n\u003cp>It’s a heartening yet aspirational scene that points its finger directly at 2020 audiences. Who will stand up for the dignity of others and be the Oscar of our present moment?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Windermere Children’ premieres Sunday, April 5 at 10pm on KQED 9. \u003ca href=\"https://www.pbs.org/show/windermere-children/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s week three of California’s shelter-in-place order due to the spread of COVID-19. How deep into your childhood memories are you by now?\u003c/p>\n\u003cp>Old photos. Ancient notebooks. Video games you haven’t played since the second grade. How about that TV show you used to watch back in the day?\u003c/p>\n\u003cp>Luckily for me, and many others of a certain age and locale, there’s an Instagram page paying homage to the old school Bay Area TV station that hosted shows, music videos and Oakland culture.\u003c/p>\n\u003cp>Soul Beat TV, one of the nation’s first African American-owned TV Networks—which ran from \u003ca href=\"https://www.sfgate.com/bayarea/article/Oaklanders-calling-for-return-of-Soul-Beat-2510067.php\" target=\"_blank\" rel=\"noopener noreferrer\">1978–2003\u003c/a>, and which was filmed and broadcast from East Oakland—has been revived \u003ca href=\"https://www.instagram.com/soulbeattv/\" target=\"_blank\" rel=\"noopener noreferrer\">in Instagram form\u003c/a>. Grainy videos from the early ’90s, cheesy commercials and comical crank calls from the era that I called a childhood have been made readily accessible.\u003c/p>\n\u003cp>https://www.instagram.com/p/B9b3SoNBM3J/\u003c/p>\n\u003cp>It couldn’t have come at a better time.\u003c/p>\n\u003cp>In early March, when the coronavius was something Americans were just starting to seriously prepare for, Rynell “Showbiz” Williams started the \u003ca href=\"https://www.instagram.com/soulbeattv/\" target=\"_blank\" rel=\"noopener noreferrer\">Soul Beat TV Instagram page\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/DjBiz/\" target=\"_blank\" rel=\"noopener noreferrer\">Showbiz\u003c/a> is a longtime radio DJ, formerly with 94.9 KWILD, and currently a host on the morning show with 102.5 KDON. He’s also from East Oakland, and grew up watching Soul Beat TV on Channel 37.\u003c/p>\n\u003cp>“Soul Beat in Oakland was everything,” Showbiz says, over the phone. “It was (one of) the first black-owned television network(s)… Before BET. Before TV One. There was Soul Beat. And it was started by\u003ca href=\"https://www.eastbaytimes.com/2004/07/28/soul-beat-owner-chuck-johnson-dies/\" target=\"_blank\" rel=\"noopener noreferrer\"> Chuck Johnson\u003c/a>.”\u003c/p>\n\u003cp>Chuck Johnson was a former Marine who spent some time in Hollywood, where he worked on movies like \u003cem>Dolemite\u003c/em> before coming to Oakland and starting Soul Beat.\u003c/p>\n\u003cp>Although the production was sometimes low quality, the network’s appeal was immediate in making something for the people, by the people.\u003c/p>\n\u003cp>“It was black faces that you saw. It was black businesses that you saw,” says Showbiz. “The beauty was all about the Soul Beat commercials.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ySQmXtwz-AI\u003c/p>\n\u003cp>The \u003ca href=\"https://www.instagram.com/tv/B-Hkv4pg0Ew/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">corny car commercial\u003c/a> where everyone waves on cue. The commercial for Harputs, an urban \u003ca href=\"https://www.youtube.com/watch?v=ajCwxC3s2Nc\" target=\"_blank\" rel=\"noopener noreferrer\">clothing store in San Francisco\u003c/a> that has since pivoted to more \u003ca href=\"https://thecollection.sbe.com/creators/gus-robin-harputs\" target=\"_blank\" rel=\"noopener noreferrer\">upscale fashion\u003c/a> . The \u003ca href=\"https://www.instagram.com/p/B-LHRqCgSbn/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">S-Curl commercial\u003c/a> that shows the styles of the time.\u003c/p>\n\u003cp>At this point, it’s incredible that this footage has survived. If you lived it, you may or may not want to travel back then. But for me, it’s what the big homies always talked about—so I’m fascinated.\u003c/p>\n\u003cp>Not just by the commercials, but the commentary from Night Dog, whose no-holds-barred \u003ca href=\"https://youtu.be/kONpdG_hKpI?t=50s\" target=\"_blank\" rel=\"noopener noreferrer\">call-in talk show\u003c/a> was a Soul Beat TV staple. The music videos were the soundtrack to my childhood, with lyrics I didn’t fully understood until now. Even the background scenes of Oakland, in the music videos and commercials Soul Beat showed, is now rare documentary footage, what with all the changes that have occurred here. [ad floatright]\u003c/p>\n\u003cp>As far as music, Soul Beat had it covered in more ways than one.\u003c/p>\n\u003cp>“They made sure they showed all the videos. They broke a lot of artists,” says Showbiz. Soul Beat first introduced him to Too $hort, MC Hammer, En Vogue, Seagram, Tony! Toni! Toné! and more.\u003c/p>\n\u003cp>More important than the rotation of local artists was the fiscal impact. “Soul Beat would play an artist, and people would hear it and then go to a store called \u003ca href=\"https://www.complex.com/pop-culture/2011/02/rap-atlas-oakland/eastmontmall\" target=\"_blank\" rel=\"noopener noreferrer\">T’s Wauzi\u003c/a>,” said Showbiz. “Soul Beat was like the circle of life. They’d play the music and we’d go out and buy it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T4RB41Dn9Vg\u003c/p>\n\u003cp>That’s how arts and culture spread throughout East Oakland, and the greater Bay Area, for the course of a few decades. And it wasn’t confined to local artists, either—SoulBeat broadcast early interviews with \u003ca href=\"https://www.youtube.com/watch?v=LRNk_U5telI\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Jackson\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=bPqs1SdZpMU\" target=\"_blank\" rel=\"noopener noreferrer\">Eazy-E\u003c/a>.\u003c/p>\n\u003cp>But Soul Beat has been defunct for nearly 20 years. Why start an Instagram account now?\u003c/p>\n\u003cp>Showbiz was simply having a conversation with Atlantic Records’ \u003ca href=\"https://www.eastbaytimes.com/2005/11/23/east-bay-man-breaks-into-thebiz-hopes-to-end-up-on-top/\" target=\"_blank\" rel=\"noopener noreferrer\">Yancey Richardson\u003c/a>, the co-executive producer of Raphael Saadiq’s album \u003cem>Jimmy Lee\u003c/em>, when he got inspired. Next thing he knew, he was scouring the internet for related content.\u003c/p>\n\u003cp>“I couldn’t find a lot of things about Soul Beat. So, I was like, let me put something together,” says Showbiz.\u003c/p>\n\u003cfigure id=\"attachment_13877705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Showbiz-800x800.jpg\" alt=\"Rynell "Showbiz" Williams\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Rynell “Showbiz” Williams, outside the Oakland Coliseum. \u003ccite>(Rynell \"Showbiz\" Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He found some old commercials online. After tracking down some footage of well-known comedian and actor Luenell, he was on to something. He paired that footage with some commercials, videos and footage of Night Dog. And then he got people to tap in.\u003c/p>\n\u003cp>“A lot of artists from the Bay started following the page,” says Showbiz. “First, you’ve got Raphael Saadiq following, then you’ve got his brother D’Wayne Wiggins … and then members from En Vogue.” He let off a roster of names including the entire Hiero crew, members of RBL Posse and more.\u003c/p>\n\u003cp>Showbiz says, “You got so many people following the page because people feel the same way I feel about SoulBeat, and now I feel like I have a responsibility to make this thing go.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B9ackH-hXGr/\u003c/p>\n\u003cp>I let him know that the special thing for me wasn’t necessarily the retreat into better times, nostalgia being \u003ca href=\"https://www.nytimes.com/2020/03/24/arts/coronavirus-myst-nostalgia.html\" target=\"_blank\" rel=\"noopener noreferrer\">par for the course\u003c/a> for anyone going through what we’re going through. But instead, it’s the history lessons. The ability to understand what the older kids in the neighborhood would talk about back in the day, but that I hadn’t gotten the chance to digest. The commerce. The entrepreneurship. The staked claim of ownership in a town that has always been up for grabs.\u003c/p>\n\u003cp>Of course, it was out there all this time. I just hadn’t seen it curated in this manner, all in one place.\u003c/p>\n\u003cp>On that note, Showbiz tips his hat, and acknowledges that his Instagram page is simply a tribute, not an official page. He has nothing to do with the family or Soul Beat’s ownership. This is a passion project. But he still tries to reach out to people for content, and people reach out to him.\u003c/p>\n\u003cp>He says Charles Johnson (no relation to former owner Charles Johnson), former host of Soul Beat’s hip-hop show, has sent him some photos. Artists have reached out. And the community has been activated.\u003c/p>\n\u003cp>Like I said, it couldn’t have come at a better time.\u003c/p>\n\u003cp>“While we’re in this whole coronavirus time period,” Showbiz says, “maybe this can ease somebody’s mind for five or ten minutes. Help them think back to happier times.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s week three of California’s shelter-in-place order due to the spread of COVID-19. How deep into your childhood memories are you by now?\u003c/p>\n\u003cp>Old photos. Ancient notebooks. Video games you haven’t played since the second grade. How about that TV show you used to watch back in the day?\u003c/p>\n\u003cp>Luckily for me, and many others of a certain age and locale, there’s an Instagram page paying homage to the old school Bay Area TV station that hosted shows, music videos and Oakland culture.\u003c/p>\n\u003cp>Soul Beat TV, one of the nation’s first African American-owned TV Networks—which ran from \u003ca href=\"https://www.sfgate.com/bayarea/article/Oaklanders-calling-for-return-of-Soul-Beat-2510067.php\" target=\"_blank\" rel=\"noopener noreferrer\">1978–2003\u003c/a>, and which was filmed and broadcast from East Oakland—has been revived \u003ca href=\"https://www.instagram.com/soulbeattv/\" target=\"_blank\" rel=\"noopener noreferrer\">in Instagram form\u003c/a>. Grainy videos from the early ’90s, cheesy commercials and comical crank calls from the era that I called a childhood have been made readily accessible.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It couldn’t have come at a better time.\u003c/p>\n\u003cp>In early March, when the coronavius was something Americans were just starting to seriously prepare for, Rynell “Showbiz” Williams started the \u003ca href=\"https://www.instagram.com/soulbeattv/\" target=\"_blank\" rel=\"noopener noreferrer\">Soul Beat TV Instagram page\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/DjBiz/\" target=\"_blank\" rel=\"noopener noreferrer\">Showbiz\u003c/a> is a longtime radio DJ, formerly with 94.9 KWILD, and currently a host on the morning show with 102.5 KDON. He’s also from East Oakland, and grew up watching Soul Beat TV on Channel 37.\u003c/p>\n\u003cp>“Soul Beat in Oakland was everything,” Showbiz says, over the phone. “It was (one of) the first black-owned television network(s)… Before BET. Before TV One. There was Soul Beat. And it was started by\u003ca href=\"https://www.eastbaytimes.com/2004/07/28/soul-beat-owner-chuck-johnson-dies/\" target=\"_blank\" rel=\"noopener noreferrer\"> Chuck Johnson\u003c/a>.”\u003c/p>\n\u003cp>Chuck Johnson was a former Marine who spent some time in Hollywood, where he worked on movies like \u003cem>Dolemite\u003c/em> before coming to Oakland and starting Soul Beat.\u003c/p>\n\u003cp>Although the production was sometimes low quality, the network’s appeal was immediate in making something for the people, by the people.\u003c/p>\n\u003cp>“It was black faces that you saw. It was black businesses that you saw,” says Showbiz. “The beauty was all about the Soul Beat commercials.”\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/ySQmXtwz-AI'\n title='//www.youtube.com/embed/ySQmXtwz-AI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003ca href=\"https://www.instagram.com/tv/B-Hkv4pg0Ew/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">corny car commercial\u003c/a> where everyone waves on cue. The commercial for Harputs, an urban \u003ca href=\"https://www.youtube.com/watch?v=ajCwxC3s2Nc\" target=\"_blank\" rel=\"noopener noreferrer\">clothing store in San Francisco\u003c/a> that has since pivoted to more \u003ca href=\"https://thecollection.sbe.com/creators/gus-robin-harputs\" target=\"_blank\" rel=\"noopener noreferrer\">upscale fashion\u003c/a> . The \u003ca href=\"https://www.instagram.com/p/B-LHRqCgSbn/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">S-Curl commercial\u003c/a> that shows the styles of the time.\u003c/p>\n\u003cp>At this point, it’s incredible that this footage has survived. If you lived it, you may or may not want to travel back then. But for me, it’s what the big homies always talked about—so I’m fascinated.\u003c/p>\n\u003cp>Not just by the commercials, but the commentary from Night Dog, whose no-holds-barred \u003ca href=\"https://youtu.be/kONpdG_hKpI?t=50s\" target=\"_blank\" rel=\"noopener noreferrer\">call-in talk show\u003c/a> was a Soul Beat TV staple. The music videos were the soundtrack to my childhood, with lyrics I didn’t fully understood until now. Even the background scenes of Oakland, in the music videos and commercials Soul Beat showed, is now rare documentary footage, what with all the changes that have occurred here. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As far as music, Soul Beat had it covered in more ways than one.\u003c/p>\n\u003cp>“They made sure they showed all the videos. They broke a lot of artists,” says Showbiz. Soul Beat first introduced him to Too $hort, MC Hammer, En Vogue, Seagram, Tony! Toni! Toné! and more.\u003c/p>\n\u003cp>More important than the rotation of local artists was the fiscal impact. “Soul Beat would play an artist, and people would hear it and then go to a store called \u003ca href=\"https://www.complex.com/pop-culture/2011/02/rap-atlas-oakland/eastmontmall\" target=\"_blank\" rel=\"noopener noreferrer\">T’s Wauzi\u003c/a>,” said Showbiz. “Soul Beat was like the circle of life. They’d play the music and we’d go out and buy it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/T4RB41Dn9Vg'\n title='//www.youtube.com/embed/T4RB41Dn9Vg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s how arts and culture spread throughout East Oakland, and the greater Bay Area, for the course of a few decades. And it wasn’t confined to local artists, either—SoulBeat broadcast early interviews with \u003ca href=\"https://www.youtube.com/watch?v=LRNk_U5telI\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Jackson\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=bPqs1SdZpMU\" target=\"_blank\" rel=\"noopener noreferrer\">Eazy-E\u003c/a>.\u003c/p>\n\u003cp>But Soul Beat has been defunct for nearly 20 years. Why start an Instagram account now?\u003c/p>\n\u003cp>Showbiz was simply having a conversation with Atlantic Records’ \u003ca href=\"https://www.eastbaytimes.com/2005/11/23/east-bay-man-breaks-into-thebiz-hopes-to-end-up-on-top/\" target=\"_blank\" rel=\"noopener noreferrer\">Yancey Richardson\u003c/a>, the co-executive producer of Raphael Saadiq’s album \u003cem>Jimmy Lee\u003c/em>, when he got inspired. Next thing he knew, he was scouring the internet for related content.\u003c/p>\n\u003cp>“I couldn’t find a lot of things about Soul Beat. So, I was like, let me put something together,” says Showbiz.\u003c/p>\n\u003cfigure id=\"attachment_13877705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Showbiz-800x800.jpg\" alt=\"Rynell "Showbiz" Williams\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Rynell “Showbiz” Williams, outside the Oakland Coliseum. \u003ccite>(Rynell \"Showbiz\" Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He found some old commercials online. After tracking down some footage of well-known comedian and actor Luenell, he was on to something. He paired that footage with some commercials, videos and footage of Night Dog. And then he got people to tap in.\u003c/p>\n\u003cp>“A lot of artists from the Bay started following the page,” says Showbiz. “First, you’ve got Raphael Saadiq following, then you’ve got his brother D’Wayne Wiggins … and then members from En Vogue.” He let off a roster of names including the entire Hiero crew, members of RBL Posse and more.\u003c/p>\n\u003cp>Showbiz says, “You got so many people following the page because people feel the same way I feel about SoulBeat, and now I feel like I have a responsibility to make this thing go.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I let him know that the special thing for me wasn’t necessarily the retreat into better times, nostalgia being \u003ca href=\"https://www.nytimes.com/2020/03/24/arts/coronavirus-myst-nostalgia.html\" target=\"_blank\" rel=\"noopener noreferrer\">par for the course\u003c/a> for anyone going through what we’re going through. But instead, it’s the history lessons. The ability to understand what the older kids in the neighborhood would talk about back in the day, but that I hadn’t gotten the chance to digest. The commerce. The entrepreneurship. The staked claim of ownership in a town that has always been up for grabs.\u003c/p>\n\u003cp>Of course, it was out there all this time. I just hadn’t seen it curated in this manner, all in one place.\u003c/p>\n\u003cp>On that note, Showbiz tips his hat, and acknowledges that his Instagram page is simply a tribute, not an official page. He has nothing to do with the family or Soul Beat’s ownership. This is a passion project. But he still tries to reach out to people for content, and people reach out to him.\u003c/p>\n\u003cp>He says Charles Johnson (no relation to former owner Charles Johnson), former host of Soul Beat’s hip-hop show, has sent him some photos. Artists have reached out. And the community has been activated.\u003c/p>\n\u003cp>Like I said, it couldn’t have come at a better time.\u003c/p>\n\u003cp>“While we’re in this whole coronavirus time period,” Showbiz says, “maybe this can ease somebody’s mind for five or ten minutes. Help them think back to happier times.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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