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"content": "\u003cp>On August 16, 1917, Elizabeth Ashe found herself in Northern France, close to the front lines of World War I, in the middle of an air raid.\u003c/p>\n\u003cp>“The Tocsin [siren] sounded and the fearsome took to the cellar,” the nurse wrote in a letter three days later. “I figured it is as dangerous as crossing Market Street…”\u003c/p>\n\u003cp>The casual bravery exhibited in that letter was present throughout Elizabeth’s life, and enabled her to transform innumerable other lives for the better. Whether taking care of the most disease-ridden communities in her native San Francisco, or helping impoverished new mothers and soldiers in France, Elizabeth’s life was spent in enthusiastic service of others. So enthusiastic, in fact, she spent three years \u003ca href=\"https://books.google.com/books?id=AuSEUamWbu0C&printsec=frontcover&dq=%E2%80%98A+Day+At+A+Time:+The+Diary+Literature+of+American+Women+From+1764+to+the+Present.%E2%80%99&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwi2_Jvr6bHoAhXEpZ4KHdtDBxAQ6AEwAHoECAAQAg#v=onepage&q=elizabeth%20ashe&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">persuading the Red Cross\u003c/a> to send her to France in the first place. (They had been hesitant to send a woman in her mid-40s to serve in such a dangerous region.) [aside postid='pop_103422']\u003c/p>\n\u003cp>Born in 1869, Elizabeth Haywood Ashe had bravery woven into her DNA. Her grandfather, North Carolina governor \u003ca href=\"https://en.wikipedia.org/wiki/Samuel_Ashe_(North_Carolina)\" target=\"_blank\" rel=\"noopener noreferrer\">Samuel Ashe\u003c/a> (whom Asheville is named after), served as a lieutenant in the American revolution. Her uncle was Civil War admiral \u003ca href=\"https://en.wikipedia.org/wiki/David_Farragut\" target=\"_blank\" rel=\"noopener noreferrer\">David Farragut\u003c/a>, a Southern Unionist who captured New Orleans in 1862. Her parents, Richard and Caroline, were pioneers who arrived in San Francisco in 1848, just in time for the gold rush.\u003c/p>\n\u003cp>Elizabeth became a community activist in her teens, while teaching Sunday School at what later became Grace Cathedral (then at the intersection of California and Stockton). During her classes, she got to know her neighbors from Telegraph Hill—mostly Irish, Italian, German and Latin American immigrants who frequently lived in overcrowded, unsanitary conditions without heat or plumbing. Elizabeth, born of privilege, found herself deeply concerned about those communities, particularly when it came to the number of unsupervised and sometimes working children she encountered.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When epidemics of diphtheria, tuberculosis, whooping cough and typhoid fever broke out, Elizabeth wasn’t discouraged from staying and working in the area. Instead, she and her friend Alice Griffith established the city’s first \u003ca href=\"https://en.wikipedia.org/wiki/Settlement_movement\" target=\"_blank\" rel=\"noopener noreferrer\">settlement house\u003c/a>—an organization designed to assist struggling families with healthcare, daycare and education. Elizabeth was just 21 at the time. (Today, the house lives on as the \u003ca href=\"https://www.telhi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Telegraph Hill Neighborhood Center\u003c/a>.)[aside postid='arts_13870056']\u003c/p>\n\u003cp>Elizabeth graduated from the School of Nursing at Presbyterian Hospital in New York just four years before the 1906 earthquake. Her work helping city residents recover from the fiery aftermath left such a grim and permanent impression on her that everything she did afterward seemed somehow manageable. In \u003ca href=\"https://books.google.com/books/about/Intimate_Letters_from_France.html?id=NUNDAAAAIAAJ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Intimate Letters from France and Extracts from the Diary of Elizabeth Ashe, 1917-1919\u003c/em>\u003c/a>, one of Elizabeth’s war-time letters, to Alice Griffith from “Somewhere in France,” states:\u003c/p>\n\u003cblockquote>\u003cp>No other women have ever been so near the lines… We visited several demolished villages en route… Christ on his crucifix in many villages is the only thing erect, where women and little children by thousands must work in the fields under shell fire wearing gas masks to protect them… [It] did not make the dreadful impression on me I anticipated, it is not a circumstance to our fire.\u003c/p>\u003c/blockquote>\n\u003cp>During her time in France, Elizabeth tackled the country’s high infant mortality rate by educating new mothers everywhere, from Paris tenements to country farms. She taught them the best ways to care for babies, including prenatal hygiene, healthy feeding and infection avoidance. In the course of doing so, she helped establish a clinic in Paris, advised those working in “orphan asylums” and still somehow found the time to teach French children how to play leapfrog.\u003c/p>\n\u003cp>Remarkably, Elizabeth spent her days off during that time tending to injured soldiers at Neuilly’s American Military Hospital, \u003ca href=\"https://books.google.com/books?id=7zQLAAAAYAAJ&pg=PA112&dq=The+wounded+continue+to+pour+in+night+and+day,+it+is+impossible+to+handle+them+properly.+I+am+duty+in+the+receiving+ward+(a+big+garage+which+holds+about+100+stretchers,+packed+so+closely+together+you+cant+step+between.)&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwiAlsTEv7LoAhWSuJ4KHdHxBMIQ6AEwAHoECAAQAg#v=onepage&q=The%20wounded%20continue%20to%20pour%20in%20night%20and%20day%2C%20it%20is%20impossible%20to%20handle%20them%20properly.%20I%20am%20duty%20in%20the%20receiving%20ward%20(a%20big%20garage%20which%20holds%20about%20100%20stretchers%2C%20packed%20so%20closely%20together%20you%20cant%20step%20between.)&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">writing home\u003c/a> of the hellish conditions:\u003c/p>\n\u003cblockquote>\u003cp>The wounded continue to pour in night and day, it is impossible to handle them properly. I am duty in the receiving ward (a big garage which holds about 100 stretchers, packed so closely together you can’t step between.)\u003c/p>\u003c/blockquote>\n\u003cp>When Elizabeth’s fascinating collection of unedited wartime letters was released, it served two purposes: to raise money for further health education programs in France, and to give readers a bird’s-eye view of the horrors of war. When the \u003cem>San Francisco Chronicle\u003c/em> reviewed it, it declared the book “not only informative, but essentially human. One sees the routine life of the nurse both in base hospitals and nearer the firing line… Brave girl.” [aside postid='pop_110017']\u003c/p>\n\u003cp>One of the most notable things in Elizabeth’s letters was her ability to always find beauty, even in the midst of war and destruction. One, dated July 23, 1917, states: “Just how much I can tell you of yesterday’s attack, I don’t know, but we tumbled out at 7am, clad hastily… The firing lasted about thirty minutes. The shots went all over and around us, but except for a few broken windows, no damage was done.” Just two sentences later, she writes: “The coast is very lovely. With glasses we can see quaint houses and we smell the new mown hay.”\u003c/p>\n\u003cp>On her return to San Francisco in July 1919, Elizabeth went back to work at \u003ca href=\"http://wikimapia.org/7600881/Henry-E-Bothin-Youth-Center-Hill-Farm\" target=\"_blank\" rel=\"noopener noreferrer\">Hill Farm\u003c/a>—also known as the Bothin Convalescent Home for women and children—that she had established in 1903, and then \u003ca href=\"http://pcad.lib.washington.edu/building/20368/\" target=\"_blank\" rel=\"noopener noreferrer\">expanded in 1910\u003c/a> with the help of steel magnate and philanthropist, Henry E. Bothin.\u003c/p>\n\u003cp>Remarkably, just one year later in 1911, alongside Alice Griffith, Elizabeth also opened the Arequipa Sanitarium for tuberculosis patients. \u003ca href=\"http://pcad.lib.washington.edu/building/20368/\" target=\"_blank\" rel=\"noopener noreferrer\">The facility\u003c/a>, designed by San Francisco doctor Philip King Brown and prestigious architectural firm Bakewell and Brown, was established after Elizabeth and Alice managed to raise $20,000 from wealthy donors.\u003c/p>\n\u003cp>For decades, Arequipa had a long waiting list for admission, due in part to its state-of-the-art facilities and low costs for patients. However, as demand for its services dropped over the years due to medical advancements in the fight against TB, Elizabeth found new ways to use the space. In 1948, she gave a building to the San Francisco Girl Scouts for troop camping and, by 1959, the organization had taken over the entire property and added a swimming pool. The center was officially renamed the Henry E. Bothin Youth Center in 1963, and \u003ca href=\"https://camp.gsnorcal.org/summer-camp/camp-locations/bothin\" target=\"_blank\" rel=\"noopener noreferrer\">Camp Bothin\u003c/a>—which offers programs for kids of all ages—continues to operate there to this day.\u003c/p>\n\u003cp>Elizabeth Ashe died in 1954, but her legacy of community service remains scattered across San Francisco and the North Bay, with the continued existence of organizations she worked tirelessly to establish. There can be no doubt that this most generous woman would be thrilled to see the longterm impact she made.\u003c/p>\n\u003cp>In one letter dated Sunday July 22, 1917, Elizabeth—known to her closest friends as Betty—humbly wrote:\u003c/p>\n\u003cblockquote>\u003cp>Did I tell you that Miss Maxwell, in introducing me to a group of nurses, told them that I had humanized her training school, had showed them that all nurses did not have to be made after the same pattern?\u003c/p>\n\u003cp>I felt that I had not lived in vain.\u003c/p>\u003c/blockquote>\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>On August 16, 1917, Elizabeth Ashe found herself in Northern France, close to the front lines of World War I, in the middle of an air raid.\u003c/p>\n\u003cp>“The Tocsin [siren] sounded and the fearsome took to the cellar,” the nurse wrote in a letter three days later. “I figured it is as dangerous as crossing Market Street…”\u003c/p>\n\u003cp>The casual bravery exhibited in that letter was present throughout Elizabeth’s life, and enabled her to transform innumerable other lives for the better. Whether taking care of the most disease-ridden communities in her native San Francisco, or helping impoverished new mothers and soldiers in France, Elizabeth’s life was spent in enthusiastic service of others. So enthusiastic, in fact, she spent three years \u003ca href=\"https://books.google.com/books?id=AuSEUamWbu0C&printsec=frontcover&dq=%E2%80%98A+Day+At+A+Time:+The+Diary+Literature+of+American+Women+From+1764+to+the+Present.%E2%80%99&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwi2_Jvr6bHoAhXEpZ4KHdtDBxAQ6AEwAHoECAAQAg#v=onepage&q=elizabeth%20ashe&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">persuading the Red Cross\u003c/a> to send her to France in the first place. (They had been hesitant to send a woman in her mid-40s to serve in such a dangerous region.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in 1869, Elizabeth Haywood Ashe had bravery woven into her DNA. Her grandfather, North Carolina governor \u003ca href=\"https://en.wikipedia.org/wiki/Samuel_Ashe_(North_Carolina)\" target=\"_blank\" rel=\"noopener noreferrer\">Samuel Ashe\u003c/a> (whom Asheville is named after), served as a lieutenant in the American revolution. Her uncle was Civil War admiral \u003ca href=\"https://en.wikipedia.org/wiki/David_Farragut\" target=\"_blank\" rel=\"noopener noreferrer\">David Farragut\u003c/a>, a Southern Unionist who captured New Orleans in 1862. Her parents, Richard and Caroline, were pioneers who arrived in San Francisco in 1848, just in time for the gold rush.\u003c/p>\n\u003cp>Elizabeth became a community activist in her teens, while teaching Sunday School at what later became Grace Cathedral (then at the intersection of California and Stockton). During her classes, she got to know her neighbors from Telegraph Hill—mostly Irish, Italian, German and Latin American immigrants who frequently lived in overcrowded, unsanitary conditions without heat or plumbing. Elizabeth, born of privilege, found herself deeply concerned about those communities, particularly when it came to the number of unsupervised and sometimes working children she encountered.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When epidemics of diphtheria, tuberculosis, whooping cough and typhoid fever broke out, Elizabeth wasn’t discouraged from staying and working in the area. Instead, she and her friend Alice Griffith established the city’s first \u003ca href=\"https://en.wikipedia.org/wiki/Settlement_movement\" target=\"_blank\" rel=\"noopener noreferrer\">settlement house\u003c/a>—an organization designed to assist struggling families with healthcare, daycare and education. Elizabeth was just 21 at the time. (Today, the house lives on as the \u003ca href=\"https://www.telhi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Telegraph Hill Neighborhood Center\u003c/a>.)\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elizabeth graduated from the School of Nursing at Presbyterian Hospital in New York just four years before the 1906 earthquake. Her work helping city residents recover from the fiery aftermath left such a grim and permanent impression on her that everything she did afterward seemed somehow manageable. In \u003ca href=\"https://books.google.com/books/about/Intimate_Letters_from_France.html?id=NUNDAAAAIAAJ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Intimate Letters from France and Extracts from the Diary of Elizabeth Ashe, 1917-1919\u003c/em>\u003c/a>, one of Elizabeth’s war-time letters, to Alice Griffith from “Somewhere in France,” states:\u003c/p>\n\u003cblockquote>\u003cp>No other women have ever been so near the lines… We visited several demolished villages en route… Christ on his crucifix in many villages is the only thing erect, where women and little children by thousands must work in the fields under shell fire wearing gas masks to protect them… [It] did not make the dreadful impression on me I anticipated, it is not a circumstance to our fire.\u003c/p>\u003c/blockquote>\n\u003cp>During her time in France, Elizabeth tackled the country’s high infant mortality rate by educating new mothers everywhere, from Paris tenements to country farms. She taught them the best ways to care for babies, including prenatal hygiene, healthy feeding and infection avoidance. In the course of doing so, she helped establish a clinic in Paris, advised those working in “orphan asylums” and still somehow found the time to teach French children how to play leapfrog.\u003c/p>\n\u003cp>Remarkably, Elizabeth spent her days off during that time tending to injured soldiers at Neuilly’s American Military Hospital, \u003ca href=\"https://books.google.com/books?id=7zQLAAAAYAAJ&pg=PA112&dq=The+wounded+continue+to+pour+in+night+and+day,+it+is+impossible+to+handle+them+properly.+I+am+duty+in+the+receiving+ward+(a+big+garage+which+holds+about+100+stretchers,+packed+so+closely+together+you+cant+step+between.)&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwiAlsTEv7LoAhWSuJ4KHdHxBMIQ6AEwAHoECAAQAg#v=onepage&q=The%20wounded%20continue%20to%20pour%20in%20night%20and%20day%2C%20it%20is%20impossible%20to%20handle%20them%20properly.%20I%20am%20duty%20in%20the%20receiving%20ward%20(a%20big%20garage%20which%20holds%20about%20100%20stretchers%2C%20packed%20so%20closely%20together%20you%20cant%20step%20between.)&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">writing home\u003c/a> of the hellish conditions:\u003c/p>\n\u003cblockquote>\u003cp>The wounded continue to pour in night and day, it is impossible to handle them properly. I am duty in the receiving ward (a big garage which holds about 100 stretchers, packed so closely together you can’t step between.)\u003c/p>\u003c/blockquote>\n\u003cp>When Elizabeth’s fascinating collection of unedited wartime letters was released, it served two purposes: to raise money for further health education programs in France, and to give readers a bird’s-eye view of the horrors of war. When the \u003cem>San Francisco Chronicle\u003c/em> reviewed it, it declared the book “not only informative, but essentially human. One sees the routine life of the nurse both in base hospitals and nearer the firing line… Brave girl.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the most notable things in Elizabeth’s letters was her ability to always find beauty, even in the midst of war and destruction. One, dated July 23, 1917, states: “Just how much I can tell you of yesterday’s attack, I don’t know, but we tumbled out at 7am, clad hastily… The firing lasted about thirty minutes. The shots went all over and around us, but except for a few broken windows, no damage was done.” Just two sentences later, she writes: “The coast is very lovely. With glasses we can see quaint houses and we smell the new mown hay.”\u003c/p>\n\u003cp>On her return to San Francisco in July 1919, Elizabeth went back to work at \u003ca href=\"http://wikimapia.org/7600881/Henry-E-Bothin-Youth-Center-Hill-Farm\" target=\"_blank\" rel=\"noopener noreferrer\">Hill Farm\u003c/a>—also known as the Bothin Convalescent Home for women and children—that she had established in 1903, and then \u003ca href=\"http://pcad.lib.washington.edu/building/20368/\" target=\"_blank\" rel=\"noopener noreferrer\">expanded in 1910\u003c/a> with the help of steel magnate and philanthropist, Henry E. Bothin.\u003c/p>\n\u003cp>Remarkably, just one year later in 1911, alongside Alice Griffith, Elizabeth also opened the Arequipa Sanitarium for tuberculosis patients. \u003ca href=\"http://pcad.lib.washington.edu/building/20368/\" target=\"_blank\" rel=\"noopener noreferrer\">The facility\u003c/a>, designed by San Francisco doctor Philip King Brown and prestigious architectural firm Bakewell and Brown, was established after Elizabeth and Alice managed to raise $20,000 from wealthy donors.\u003c/p>\n\u003cp>For decades, Arequipa had a long waiting list for admission, due in part to its state-of-the-art facilities and low costs for patients. However, as demand for its services dropped over the years due to medical advancements in the fight against TB, Elizabeth found new ways to use the space. In 1948, she gave a building to the San Francisco Girl Scouts for troop camping and, by 1959, the organization had taken over the entire property and added a swimming pool. The center was officially renamed the Henry E. Bothin Youth Center in 1963, and \u003ca href=\"https://camp.gsnorcal.org/summer-camp/camp-locations/bothin\" target=\"_blank\" rel=\"noopener noreferrer\">Camp Bothin\u003c/a>—which offers programs for kids of all ages—continues to operate there to this day.\u003c/p>\n\u003cp>Elizabeth Ashe died in 1954, but her legacy of community service remains scattered across San Francisco and the North Bay, with the continued existence of organizations she worked tirelessly to establish. There can be no doubt that this most generous woman would be thrilled to see the longterm impact she made.\u003c/p>\n\u003cp>In one letter dated Sunday July 22, 1917, Elizabeth—known to her closest friends as Betty—humbly wrote:\u003c/p>\n\u003cblockquote>\u003cp>Did I tell you that Miss Maxwell, in introducing me to a group of nurses, told them that I had humanized her training school, had showed them that all nurses did not have to be made after the same pattern?\u003c/p>\n\u003cp>I felt that I had not lived in vain.\u003c/p>\u003c/blockquote>\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>Sydney Cain uses her art to connect with her community, as well her ancestors.\u003c/p>\n\u003cp>By using a process of reduction, slowly moving her hands in a circular motion to move dust-sized pieces of elements, such as cobalt and graphite, around the surface of a canvas, she reveals lines, shapes and figures that tell a story of what used to be… and maybe still is in another realm.\u003c/p>\n\u003cp>Sydney, who also goes by \u003ca href=\"https://www.instagram.com/sagestargate/\">Sage Stargate\u003c/a>, is a third generation San Franciscan. She grew up in the Fillmore, and remembers it from before gentrification when it was a largely African American community.\u003c/p>\n\u003cp>https://www.instagram.com/p/BqdvclFBdp3/\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The images that appear in her artwork often harken back to that time, or to even earlier eras in her family’s history, like the Jim Crow South.\u003c/p>\n\u003cp>Sydney, who is one of the Museum of African Diaspora’s \u003ca href=\"https://www.moadsf.org/exhibition/moad-emerging-artists-presents-sydney-cain-refutations/\">Emerging Artists\u003c/a> this year, says her work has revealed images that look like ancestors she’s never met, but older family members see the figures and instantly recognize them. It’s almost like they’re still here– both the people, and the community.\u003c/p>\n\u003cp>Many would call Sydney’s work “art,” but it toes the line of what one might call a spiritual practice.\u003c/p>\n\u003cp>https://www.instagram.com/p/B7WyxGcBfjO/\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The images that appear in her artwork often harken back to that time, or to even earlier eras in her family’s history, like the Jim Crow South.\u003c/p>\n\u003cp>Sydney, who is one of the Museum of African Diaspora’s \u003ca href=\"https://www.moadsf.org/exhibition/moad-emerging-artists-presents-sydney-cain-refutations/\">Emerging Artists\u003c/a> this year, says her work has revealed images that look like ancestors she’s never met, but older family members see the figures and instantly recognize them. It’s almost like they’re still here– both the people, and the community.\u003c/p>\n\u003cp>Many would call Sydney’s work “art,” but it toes the line of what one might call a spiritual practice.\u003c/p>\u003c/p>\u003c/div>",
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"title": "Her Side of the Story: Tales of California Pioneer Women",
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"content": "\u003cp>In an age that delights in ripping apart hackneyed origin stories, there remains the fact that the promise of gold really did launch an exodus from all over the world to a place the \u003ca href=\"https://www.kqed.org/news/92759/when-california-was-an-island\" target=\"_blank\" rel=\"noopener noreferrer\">Spanish\u003c/a> named California.\u003c/p>\n\u003cp>An estimated 300,000 people from the rest of the United States and abroad proverbially dropped their plows in the field, and left half-written sermons fluttering on church pulpits to join ships and wagon trains headed to a land where life-changing fortunes could be made.\u003c/p>\n\u003cp>Most of these bright-eyed fortune-seekers were men, but women came, too. They dragged with them trunks, sewing machines, laundry tubs, even wedding gowns half-way across the world in their zeal to start a new life in unfamiliar territory. A new exhibition tells \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/hotel-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Her Side of the Story: Tales of California Pioneer Women\u003c/em>\u003c/a> at History San Jose.\u003c/p>\n\u003cp>The California Gold Rush (1848–1855) began on January 24, 1848, when gold was found by James W. Marshall at Sutter’s Mill in Coloma. The exhibit, produced in collaboration with the \u003ca href=\"https://www.californiapioneers.org\" target=\"_blank\" rel=\"noopener noreferrer\">Society of California Pioneers\u003c/a> in San Francisco, features 30 first-person accounts from women who came to California prior to 1854. Also: 40 portraits of unidentified women, whose stories were not recorded at the time, taken by photographers we’ll never know either.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13876072\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY.jpg\" alt=\"\" width=\"1800\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-1020x1020.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">As preparations were made to commemorate California’s Golden Jubilee in 1900, the Association of Pioneer Women of California collected reminiscences of women, many of whom arrived here as children alongside their mothers 50 years prior. These stories, more than 800 of them, form the basis for the exhibition at History San Jose.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What strikes me most reading them is the matter-of-fact way these women wrote about experiences most of us today would find traumatic. For instance, watching loved ones die on the way to California, or almost die.\u003c/p>\n\u003cblockquote>\u003cp>“Mother was so ill from seasickness and exposure that she had to be carried off the steamer. After leaving Gorgona she was strapped on the back of a mule, but the mule refused to move. After some coaxing, he trotted off, passed all others on the way, reaching Panama far in advance.” – Kathleen Cole, originally of Ireland\u003c/p>\u003c/blockquote>\n\u003cp>Rosa Reynolds Boyd came by steamer in 1853. The ship she was on got lost in heavy fog, and hit rocks off the coast of Marin County.\u003c/p>\n\u003cp>“My mother was the first to be lowered to the life boat. We spent two days and one night on the beach,” Boyd wrote.\u003c/p>\n\u003cfigure id=\"attachment_13876067\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST.jpg\" alt=\"Rosa Reynolds Boyd survived her journey to California, but just barely.\" width=\"1800\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-1020x1020.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Rosa Reynolds Boyd survived her journey to California, but just barely. \u003ccite>(Courtesy of The Society of California Pioneers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The party made it to shore, but just about everything other than the clothes on their backs sank with the steamer.\u003c/p>\n\u003cp>“The first step my mother made in S.F. was upon a bright shining silver quarter dollar, which she deemed an omen of good fortune. But not so. That very night, the Hotel we were in was burnt to the ground.”\u003c/p>\n\u003cp>White men have hogged the headlines for generations. If you think of Gold Rush era women at all, it’s typically as exotified prostitutes, or dutiful wives. Many did come bound to serve others, dying as constricted as they were in the places they started in.\u003c/p>\n\u003cp>But others took advantage of the opportunities presented by fast-burgeoning settlements in desperate need of talent, charm and business acumen. Women were saloon keepers, chefs, seamstresses, journalists and even \u003ca href=\"https://www.kqed.org/news/11700225/the-ghost-of-a-legend-how-a-san-francisco-civil-rights-icon-was-made-a-monster\" target=\"_blank\" rel=\"noopener noreferrer\">entrepreneurs\u003c/a> who made fortunes, when there were fortunes to be made.\u003c/p>\n\u003cfigure id=\"attachment_13876074\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876074\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS41904_35-2-qut.jpg\" alt='This unidentified woman is one of 40 Gold Rush pioneers featured in \"Her Side of the Story: Tales of California Pioneer Women\" at the Arbuckle Gallery in History Park San Jose through June 28th, 2020.' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-1020x1020.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">This unidentified woman is one of 40 Gold Rush pioneers featured in “Her Side of the Story: Tales of California Pioneer Women” at the Arbuckle Gallery in History Park San Jose through June 28th, 2020. \u003ccite>(Courtesy of the Society of California Pioneers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They came from \u003ca href=\"https://www.kqed.org/news/11626850/for-chinas-gold-rush-prospectors-bone-scraping-was-the-last-way-home\" target=\"_blank\" rel=\"noopener noreferrer\">China\u003c/a>, Mexico, Chile, France, Italy and Ireland, as well as the Eastern Seaboard and the Midwest. My imagination yearns for the stories set down in languages other than English, or never set down at all.\u003c/p>\n\u003cp>We have today a wealth of newspapers, books, TV shows and movies to tell us the stories of the men who came to California, but those seeking enlightenment about women must sift through fragmentary evidence like untitled daguerreotypes and divorce records.\u003c/p>\n\u003cp>Artists like Bay Area composer \u003ca href=\"https://www.kqed.org/arts/13815647/girls-of-the-golden-west-is-nothing-like-your-high-school-history-book\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a> have only just begun to mine the legacy, to reimagine our past from a perspective more sympathetic to and curious about women. His opera owes much to Louise Amelia Clappe, whose 1851-52 letters were published as \u003cem>The Shirley Papers\u003c/em>. Perhaps exploring these first-person accounts, you’ll be inspired to add to this genre, so rich with unrealized potential.\u003c/p>\n\u003cp>History San Jose’s exhibitions coordinator Dan Charm says \u003cem>Her Side of the Story\u003c/em> “represents a part of history that has been under-told.” To him, that’s the very best kind of history to tell now.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Her Side of the Story: Tales of California Pioneer Women \u003c/strong> runs March 5 – June 28, 2020 at History San Jose. For more information, click \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/hotel-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an age that delights in ripping apart hackneyed origin stories, there remains the fact that the promise of gold really did launch an exodus from all over the world to a place the \u003ca href=\"https://www.kqed.org/news/92759/when-california-was-an-island\" target=\"_blank\" rel=\"noopener noreferrer\">Spanish\u003c/a> named California.\u003c/p>\n\u003cp>An estimated 300,000 people from the rest of the United States and abroad proverbially dropped their plows in the field, and left half-written sermons fluttering on church pulpits to join ships and wagon trains headed to a land where life-changing fortunes could be made.\u003c/p>\n\u003cp>Most of these bright-eyed fortune-seekers were men, but women came, too. They dragged with them trunks, sewing machines, laundry tubs, even wedding gowns half-way across the world in their zeal to start a new life in unfamiliar territory. A new exhibition tells \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/hotel-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Her Side of the Story: Tales of California Pioneer Women\u003c/em>\u003c/a> at History San Jose.\u003c/p>\n\u003cp>The California Gold Rush (1848–1855) began on January 24, 1848, when gold was found by James W. Marshall at Sutter’s Mill in Coloma. The exhibit, produced in collaboration with the \u003ca href=\"https://www.californiapioneers.org\" target=\"_blank\" rel=\"noopener noreferrer\">Society of California Pioneers\u003c/a> in San Francisco, features 30 first-person accounts from women who came to California prior to 1854. Also: 40 portraits of unidentified women, whose stories were not recorded at the time, taken by photographers we’ll never know either.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13876072\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY.jpg\" alt=\"\" width=\"1800\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-1020x1020.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">As preparations were made to commemorate California’s Golden Jubilee in 1900, the Association of Pioneer Women of California collected reminiscences of women, many of whom arrived here as children alongside their mothers 50 years prior. These stories, more than 800 of them, form the basis for the exhibition at History San Jose.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What strikes me most reading them is the matter-of-fact way these women wrote about experiences most of us today would find traumatic. For instance, watching loved ones die on the way to California, or almost die.\u003c/p>\n\u003cblockquote>\u003cp>“Mother was so ill from seasickness and exposure that she had to be carried off the steamer. After leaving Gorgona she was strapped on the back of a mule, but the mule refused to move. After some coaxing, he trotted off, passed all others on the way, reaching Panama far in advance.” – Kathleen Cole, originally of Ireland\u003c/p>\u003c/blockquote>\n\u003cp>Rosa Reynolds Boyd came by steamer in 1853. The ship she was on got lost in heavy fog, and hit rocks off the coast of Marin County.\u003c/p>\n\u003cp>“My mother was the first to be lowered to the life boat. We spent two days and one night on the beach,” Boyd wrote.\u003c/p>\n\u003cfigure id=\"attachment_13876067\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST.jpg\" alt=\"Rosa Reynolds Boyd survived her journey to California, but just barely.\" width=\"1800\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-1020x1020.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Rosa Reynolds Boyd survived her journey to California, but just barely. \u003ccite>(Courtesy of The Society of California Pioneers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The party made it to shore, but just about everything other than the clothes on their backs sank with the steamer.\u003c/p>\n\u003cp>“The first step my mother made in S.F. was upon a bright shining silver quarter dollar, which she deemed an omen of good fortune. But not so. That very night, the Hotel we were in was burnt to the ground.”\u003c/p>\n\u003cp>White men have hogged the headlines for generations. If you think of Gold Rush era women at all, it’s typically as exotified prostitutes, or dutiful wives. Many did come bound to serve others, dying as constricted as they were in the places they started in.\u003c/p>\n\u003cp>But others took advantage of the opportunities presented by fast-burgeoning settlements in desperate need of talent, charm and business acumen. Women were saloon keepers, chefs, seamstresses, journalists and even \u003ca href=\"https://www.kqed.org/news/11700225/the-ghost-of-a-legend-how-a-san-francisco-civil-rights-icon-was-made-a-monster\" target=\"_blank\" rel=\"noopener noreferrer\">entrepreneurs\u003c/a> who made fortunes, when there were fortunes to be made.\u003c/p>\n\u003cfigure id=\"attachment_13876074\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876074\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS41904_35-2-qut.jpg\" alt='This unidentified woman is one of 40 Gold Rush pioneers featured in \"Her Side of the Story: Tales of California Pioneer Women\" at the Arbuckle Gallery in History Park San Jose through June 28th, 2020.' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-1020x1020.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">This unidentified woman is one of 40 Gold Rush pioneers featured in “Her Side of the Story: Tales of California Pioneer Women” at the Arbuckle Gallery in History Park San Jose through June 28th, 2020. \u003ccite>(Courtesy of the Society of California Pioneers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They came from \u003ca href=\"https://www.kqed.org/news/11626850/for-chinas-gold-rush-prospectors-bone-scraping-was-the-last-way-home\" target=\"_blank\" rel=\"noopener noreferrer\">China\u003c/a>, Mexico, Chile, France, Italy and Ireland, as well as the Eastern Seaboard and the Midwest. My imagination yearns for the stories set down in languages other than English, or never set down at all.\u003c/p>\n\u003cp>We have today a wealth of newspapers, books, TV shows and movies to tell us the stories of the men who came to California, but those seeking enlightenment about women must sift through fragmentary evidence like untitled daguerreotypes and divorce records.\u003c/p>\n\u003cp>Artists like Bay Area composer \u003ca href=\"https://www.kqed.org/arts/13815647/girls-of-the-golden-west-is-nothing-like-your-high-school-history-book\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a> have only just begun to mine the legacy, to reimagine our past from a perspective more sympathetic to and curious about women. His opera owes much to Louise Amelia Clappe, whose 1851-52 letters were published as \u003cem>The Shirley Papers\u003c/em>. Perhaps exploring these first-person accounts, you’ll be inspired to add to this genre, so rich with unrealized potential.\u003c/p>\n\u003cp>History San Jose’s exhibitions coordinator Dan Charm says \u003cem>Her Side of the Story\u003c/em> “represents a part of history that has been under-told.” To him, that’s the very best kind of history to tell now.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Her Side of the Story: Tales of California Pioneer Women \u003c/strong> runs March 5 – June 28, 2020 at History San Jose. For more information, click \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/hotel-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In pop culture lore, the history of modern American tattooing started in the 1920s with Sailor Jerry, a man who worked hard to bring some respectability to the often-bawdy art form he’d fallen in love with in the Navy. It’s too often forgotten that old school tattoos were just as beloved by women.\u003c/p>\n\u003cp>Back in the 19th century, permanent body art had a female fan base that crossed social boundaries. Upper class women enjoyed discreet tattoos as far back as the 1880s, while working class \u003ca href=\"https://en.wikipedia.org/wiki/Tattooed_lady\" target=\"_blank\" rel=\"noopener noreferrer\">tattooed ladies\u003c/a> (including the likes of \u003ca href=\"https://www.thehumanmarvels.com/nora-hildebrandt-the-first-tattooed-lady/\" target=\"_blank\" rel=\"noopener noreferrer\">Nora Hildebrandt\u003c/a>, \u003ca href=\"https://vintagenewsdaily.com/the-original-tattooed-lady-portraits-of-irene-woodward-aka-la-belle-irene-in-the-late-19th-and-early-20-centuries/\" target=\"_blank\" rel=\"noopener noreferrer\">La Belle Irene\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Betty_Broadbent\" target=\"_blank\" rel=\"noopener noreferrer\">Betty Broadbent\u003c/a>) were most commonly seen in circus sideshows.\u003c/p>\n\u003cp>Throughout this spring and summer, the Camron-Stanford house at Lake Merritt is using photos, historical testimonies and even a mannequin painted by contemporary female tattoo artists to uncover and explore the rich history of tattooed women in California. This includes the Native American girls for whom tattoos were a rite of passage, up to present day women, who are \u003ca href=\"https://www.reuters.com/article/us-tattoos-women/tattooed-women-outnumber-men-in-a-new-poll-idUSTRE8241SF20120305\" target=\"_blank\" rel=\"noopener noreferrer\">statistically more likely\u003c/a> to be tattooed than men.\u003c/p>\n\u003cp>Curated by \u003ca href=\"https://www.linkedin.com/in/amyecohen/\" target=\"_blank\" rel=\"noopener noreferrer\">Amy Cohen\u003c/a>, the \u003ci>Tattooed and Tenacious: Inked Women in California History\u003c/i> collection comes to Oakland after popular runs at the \u003ca href=\"https://static1.squarespace.com/static/55d50499e4b0b8db603593d1/t/561163ece4b02a15fa427a47/1443980268348/2015_06+Tattooed+and+Tenacious+Inked+Women+in+California%27s+History.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Hayward Area Historical Society\u003c/a> in 2015 and at \u003ca href=\"http://historysanjose.org/\" target=\"_blank\" rel=\"noopener noreferrer\">History San Jose\u003c/a> in 2016. \u003ci>–Rae Alexandra\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In pop culture lore, the history of modern American tattooing started in the 1920s with Sailor Jerry, a man who worked hard to bring some respectability to the often-bawdy art form he’d fallen in love with in the Navy. It’s too often forgotten that old school tattoos were just as beloved by women.\u003c/p>\n\u003cp>Back in the 19th century, permanent body art had a female fan base that crossed social boundaries. Upper class women enjoyed discreet tattoos as far back as the 1880s, while working class \u003ca href=\"https://en.wikipedia.org/wiki/Tattooed_lady\" target=\"_blank\" rel=\"noopener noreferrer\">tattooed ladies\u003c/a> (including the likes of \u003ca href=\"https://www.thehumanmarvels.com/nora-hildebrandt-the-first-tattooed-lady/\" target=\"_blank\" rel=\"noopener noreferrer\">Nora Hildebrandt\u003c/a>, \u003ca href=\"https://vintagenewsdaily.com/the-original-tattooed-lady-portraits-of-irene-woodward-aka-la-belle-irene-in-the-late-19th-and-early-20-centuries/\" target=\"_blank\" rel=\"noopener noreferrer\">La Belle Irene\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Betty_Broadbent\" target=\"_blank\" rel=\"noopener noreferrer\">Betty Broadbent\u003c/a>) were most commonly seen in circus sideshows.\u003c/p>\n\u003cp>Throughout this spring and summer, the Camron-Stanford house at Lake Merritt is using photos, historical testimonies and even a mannequin painted by contemporary female tattoo artists to uncover and explore the rich history of tattooed women in California. This includes the Native American girls for whom tattoos were a rite of passage, up to present day women, who are \u003ca href=\"https://www.reuters.com/article/us-tattoos-women/tattooed-women-outnumber-men-in-a-new-poll-idUSTRE8241SF20120305\" target=\"_blank\" rel=\"noopener noreferrer\">statistically more likely\u003c/a> to be tattooed than men.\u003c/p>\n\u003cp>Curated by \u003ca href=\"https://www.linkedin.com/in/amyecohen/\" target=\"_blank\" rel=\"noopener noreferrer\">Amy Cohen\u003c/a>, the \u003ci>Tattooed and Tenacious: Inked Women in California History\u003c/i> collection comes to Oakland after popular runs at the \u003ca href=\"https://static1.squarespace.com/static/55d50499e4b0b8db603593d1/t/561163ece4b02a15fa427a47/1443980268348/2015_06+Tattooed+and+Tenacious+Inked+Women+in+California%27s+History.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Hayward Area Historical Society\u003c/a> in 2015 and at \u003ca href=\"http://historysanjose.org/\" target=\"_blank\" rel=\"noopener noreferrer\">History San Jose\u003c/a> in 2016. \u003ci>–Rae Alexandra\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-queen-of-the-harlem-of-the-west-brought-glamour-and-stars-to-the-fillmore",
"title": "The Queen of the 'Harlem of the West' Brought Glamour and Stars to the Fillmore",
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"content": "\u003cp>She was considered the Queen of the Fillmore, back when the neighborhood was still nicknamed the “Harlem of the West.” She was one of the \u003ca href=\"http://beyondchron.org/heard-fillmore-icon-leola-king-passes/\" target=\"_blank\" rel=\"noopener noreferrer\">first women of color\u003c/a> to ever own and run a Bay Area nightclub. And when the San Francisco Redevelopment Agency came for her crown, Leola King fought back, over and over again.\u003c/p>\n\u003cp>King arrived in San Francisco from Los Angeles in 1946, at the age of 27. She would call the Fillmore home for the next 64 years. Her most famous venture, the Blue Mirror Cocktail Lounge—famous for hosting jazz greats like Louis Armstrong and Dinah Washington—came only after King had brought people from all over the city to the Fillmore via her barbecue pit.\u003c/p>\n\u003cp>Oklahoma King’s was named for her birth state, lovingly constructed at 1601 Geary out of a log cabin, and featured a smoke pit that was visible to outside foot traffic. The \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">meat on King’s menu\u003c/a>, including smoked buffalo, deer and quail, was so popular that she often worked around the clock, sometimes opening at 10am and not closing until 4am the next day.\u003c/p>\n\u003cp>“I was busy all day, all night, lines outside,” she told the \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Oral History Archives Project\u003c/a> in 2007. “On Cathedral Hill, coming down the hill, I had a tall, about a 50-foot smoke stack that put the aroma in the air that was just terrific, and people would drive around trying to find the place where this beautiful smell was coming from.”\u003c/p>\n\u003cp>At the end of 1947, when the City Planning Commission submitted a \u003ca href=\"https://smartgrowth.org/how-urban-renewal-destroyed-the-fillmore-in-order-to-save-it/\" target=\"_blank\" rel=\"noopener noreferrer\">$52 million proposal\u003c/a> for rebuilding a 36-block zone enclosed by Van Ness, Webster, McAllister and Geary, King began to be regularly approached by the San Francisco Redevelopment Agency. By her own estimation, King told them the restaurant wasn’t for sale “three or four times.” One morning when she arrived to open up, she was greeted by the sight of a bulldozer—and an empty space where Oklahoma King’s used to be.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They just come in and bulldoze it to the ground,” she recalled. “Took all my equipment, stuff that I’d paid for, and all of my foods and everything. I don’t know what happened to anything. When I go there, the lot is clear; there’s nothing on it. So that made me have to go to the hospital. I just was so upset.” King was later \u003ca href=\"https://www.harlemofthewestsf.com/fillmore-people/bios-interviews/leola-king/\" target=\"_blank\" rel=\"noopener noreferrer\">reimbursed\u003c/a> what she’d paid for the land, but not for the structure, equipment or business—in all, a fraction of what Oklahoma King’s was actually worth. [aside postid='pop_110017']\u003c/p>\n\u003cp>After the initial shock had subsided, King’s unbreakable tenacity drove her to open the Blue Mirror in 1953. “It was fantastic, a beautiful club,” \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">she said\u003c/a>, “and it was hot, hot, hot.” The club, at 935 Fillmore Street, was smaller than the other popular neighborhood venues at the time—like \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Sullivan’s Fillmore Ballroom\u003c/a>—but attracted the same level of talent. Lena Horne, Ray Charles, Duke Ellington, Count Basie and Cab Calloway were just a few musicians that passed through, and she counted Josephine Baker, Nat “King” Cole, Elizabeth Taylor and boxing legend Sugar Ray Robinson as friends.\u003c/p>\n\u003cp>Bobbie Webb, a saxophonist who performed there with the likes of B.B. King and T-Bone Walker, \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">said in 2007\u003c/a> that it wasn’t just the luxurious decor and excellent music that attracted people to the Blue Mirror—it was King herself. “She didn’t only have a personality, she was a beautiful lady,” he reminisced. “All she had to do was stand there.”\u003c/p>\n\u003cp>After almost a decade of running one of the hottest clubs in town, \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">King later claimed\u003c/a> she was warned by neighborhood police that the Redevelopment Agency was using unscrupulous means to acquire buildings. According to her, one day a man and a child arrived at the club, asking if the youngster could use the bathroom. After the bouncer allowed them in, the man bought an alcoholic drink and handed it to the child. “Well, we didn’t even know the kid was in the place,” King recalled. “So that’s how they took my license. They came in and padlocked my door and completely put me out of business.” [aside postid='pop_108474']\u003c/p>\n\u003cp>Against the odds, King bounced back yet again, opening the Bird Cage in 1964. The tavern, decked out in stained glass and bright colors, was open between the hours of 10am and 10pm at 1505 Fillmore Street. Like the Blue Mirror, the venue found popularity quickly, thanks in no small part to its lunch counter, famous for King’s fried chicken and fish.\u003c/p>\n\u003cp>Though King selected the location in the hope that it was deep enough in the neighborhood to remain untouched by redevelopment, after a decade of success, once again the agency bought her venue’s building and, in 1974, evicted all tenants. King refused to go quietly this time, having to be forcibly removed by the sheriff. She spent the next quarter century \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">fighting\u003c/a> the Redevelopment Agency over relocation terms.\u003c/p>\n\u003cp>Leola King eventually declared bankruptcy in the late ’90s, lost her mansion at 711 Scott St., and never quite managed to complete the opening of a new bar named Goldie’s. But her grace and poise in the face of relentless losses, her indomitable spirit, and the joy she brought to the neighborhood are the things people remember most about her.\u003c/p>\n\u003cp>As Lance Burton, founder of \u003ca href=\"https://planetfillmore.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Planet Fillmore Communications\u003c/a>, who grew up in the Fillmore and remembers King in her heyday \u003ca href=\"https://sfbayview.com/2015/02/legendary-queen-of-fillmore-leola-king-leaves-proud-legacy-of-struggle-against-redevelopment/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote after her death\u003c/a> in 2015: “Mrs. King was like a big movie star to many of us, a star who brought some very bright moments to our community—maybe the most golden period of years ever to have been seen in San Francisco by black folks before or since… Mrs. King gave our people a chance to dress up and shine in a Sunday evening of glory.”\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/arts/program/rebel-girls-from-bay-area-history\" 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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"title": "The Queen of the 'Harlem of the West' Brought Glamour and Stars to the Fillmore | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>She was considered the Queen of the Fillmore, back when the neighborhood was still nicknamed the “Harlem of the West.” She was one of the \u003ca href=\"http://beyondchron.org/heard-fillmore-icon-leola-king-passes/\" target=\"_blank\" rel=\"noopener noreferrer\">first women of color\u003c/a> to ever own and run a Bay Area nightclub. And when the San Francisco Redevelopment Agency came for her crown, Leola King fought back, over and over again.\u003c/p>\n\u003cp>King arrived in San Francisco from Los Angeles in 1946, at the age of 27. She would call the Fillmore home for the next 64 years. Her most famous venture, the Blue Mirror Cocktail Lounge—famous for hosting jazz greats like Louis Armstrong and Dinah Washington—came only after King had brought people from all over the city to the Fillmore via her barbecue pit.\u003c/p>\n\u003cp>Oklahoma King’s was named for her birth state, lovingly constructed at 1601 Geary out of a log cabin, and featured a smoke pit that was visible to outside foot traffic. The \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">meat on King’s menu\u003c/a>, including smoked buffalo, deer and quail, was so popular that she often worked around the clock, sometimes opening at 10am and not closing until 4am the next day.\u003c/p>\n\u003cp>“I was busy all day, all night, lines outside,” she told the \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Oral History Archives Project\u003c/a> in 2007. “On Cathedral Hill, coming down the hill, I had a tall, about a 50-foot smoke stack that put the aroma in the air that was just terrific, and people would drive around trying to find the place where this beautiful smell was coming from.”\u003c/p>\n\u003cp>At the end of 1947, when the City Planning Commission submitted a \u003ca href=\"https://smartgrowth.org/how-urban-renewal-destroyed-the-fillmore-in-order-to-save-it/\" target=\"_blank\" rel=\"noopener noreferrer\">$52 million proposal\u003c/a> for rebuilding a 36-block zone enclosed by Van Ness, Webster, McAllister and Geary, King began to be regularly approached by the San Francisco Redevelopment Agency. By her own estimation, King told them the restaurant wasn’t for sale “three or four times.” One morning when she arrived to open up, she was greeted by the sight of a bulldozer—and an empty space where Oklahoma King’s used to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They just come in and bulldoze it to the ground,” she recalled. “Took all my equipment, stuff that I’d paid for, and all of my foods and everything. I don’t know what happened to anything. When I go there, the lot is clear; there’s nothing on it. So that made me have to go to the hospital. I just was so upset.” King was later \u003ca href=\"https://www.harlemofthewestsf.com/fillmore-people/bios-interviews/leola-king/\" target=\"_blank\" rel=\"noopener noreferrer\">reimbursed\u003c/a> what she’d paid for the land, but not for the structure, equipment or business—in all, a fraction of what Oklahoma King’s was actually worth. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the initial shock had subsided, King’s unbreakable tenacity drove her to open the Blue Mirror in 1953. “It was fantastic, a beautiful club,” \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">she said\u003c/a>, “and it was hot, hot, hot.” The club, at 935 Fillmore Street, was smaller than the other popular neighborhood venues at the time—like \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Sullivan’s Fillmore Ballroom\u003c/a>—but attracted the same level of talent. Lena Horne, Ray Charles, Duke Ellington, Count Basie and Cab Calloway were just a few musicians that passed through, and she counted Josephine Baker, Nat “King” Cole, Elizabeth Taylor and boxing legend Sugar Ray Robinson as friends.\u003c/p>\n\u003cp>Bobbie Webb, a saxophonist who performed there with the likes of B.B. King and T-Bone Walker, \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">said in 2007\u003c/a> that it wasn’t just the luxurious decor and excellent music that attracted people to the Blue Mirror—it was King herself. “She didn’t only have a personality, she was a beautiful lady,” he reminisced. “All she had to do was stand there.”\u003c/p>\n\u003cp>After almost a decade of running one of the hottest clubs in town, \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">King later claimed\u003c/a> she was warned by neighborhood police that the Redevelopment Agency was using unscrupulous means to acquire buildings. According to her, one day a man and a child arrived at the club, asking if the youngster could use the bathroom. After the bouncer allowed them in, the man bought an alcoholic drink and handed it to the child. “Well, we didn’t even know the kid was in the place,” King recalled. “So that’s how they took my license. They came in and padlocked my door and completely put me out of business.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Against the odds, King bounced back yet again, opening the Bird Cage in 1964. The tavern, decked out in stained glass and bright colors, was open between the hours of 10am and 10pm at 1505 Fillmore Street. Like the Blue Mirror, the venue found popularity quickly, thanks in no small part to its lunch counter, famous for King’s fried chicken and fish.\u003c/p>\n\u003cp>Though King selected the location in the hope that it was deep enough in the neighborhood to remain untouched by redevelopment, after a decade of success, once again the agency bought her venue’s building and, in 1974, evicted all tenants. King refused to go quietly this time, having to be forcibly removed by the sheriff. She spent the next quarter century \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">fighting\u003c/a> the Redevelopment Agency over relocation terms.\u003c/p>\n\u003cp>Leola King eventually declared bankruptcy in the late ’90s, lost her mansion at 711 Scott St., and never quite managed to complete the opening of a new bar named Goldie’s. But her grace and poise in the face of relentless losses, her indomitable spirit, and the joy she brought to the neighborhood are the things people remember most about her.\u003c/p>\n\u003cp>As Lance Burton, founder of \u003ca href=\"https://planetfillmore.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Planet Fillmore Communications\u003c/a>, who grew up in the Fillmore and remembers King in her heyday \u003ca href=\"https://sfbayview.com/2015/02/legendary-queen-of-fillmore-leola-king-leaves-proud-legacy-of-struggle-against-redevelopment/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote after her death\u003c/a> in 2015: “Mrs. King was like a big movie star to many of us, a star who brought some very bright moments to our community—maybe the most golden period of years ever to have been seen in San Francisco by black folks before or since… Mrs. King gave our people a chance to dress up and shine in a Sunday evening of glory.”\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/arts/program/rebel-girls-from-bay-area-history\" 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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"slug": "meet-the-civil-war-reenactor-upholding-harriet-tubmans-legacy",
"title": "Meet the Civil War Reenactor Upholding Harriet Tubman's Legacy",
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"headTitle": "Meet the Civil War Reenactor Upholding Harriet Tubman’s Legacy | KQED",
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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\">I\u003c/span>’m one of many lifelong students of Harriet Tubman University. I mean, she doesn’t have an actual college named in her honor, but why the hell not?\u003c/p>\n\u003cp>Tubman is one of the most important figures in the history of this country. She was enslaved, illiterate, and suffered from trauma—specifically brain damage, at the hands of her slave master. Despite that, she lived 90 years, full of achievements. She freed herself. She freed others. As a spy for the Union army, she was the first woman in U.S. history to lead a military expedition. She was buried with military honors.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The concept behind Tubman University is all about finding freedom for oneself, and then assisting others. It’s a philosophy many ascribe to. Some even rock \u003ca href=\"https://www.phillymag.com/shoppist/2016/01/05/collegiate-sweatshirts-honoring-black-leaders/\">sweatshirts that bear the name\u003c/a>; evidence that I’m far from the only student in this school of thought.\u003c/p>\n\u003cp>At the head of this class is Nancy Whittle. She’s played the role of Harriet Tubman in Civil War reenactments throughout California for the past 30 years. I found out about her through \u003ca href=\"http://www.brandontauszik.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brandon Tauszik\u003c/a>, a friend and photographer, who showed me some images from \u003ca href=\"https://www.facebook.com/events/236169397547523/\">his upcoming exhibit\u003c/a>.\u003c/p>\n\u003cp>The photo of Whittle caught my eye. That stern face, the outfit from the antebellum era, a woman holding a walking stick that looks like the one Moses used. I thought: Who \u003cem>is\u003c/em> she?\u003c/p>\n\u003cp>The answer is that Nancy Whittle is a medical social worker, who lives in Fresno, California. And, sometimes, she’s Harriet Tubman.\u003c/p>\n\u003cp>She’s one of the few African Americans who participate in Civil War reenactments; sometimes flanked by reenactors playing the roles of \u003ca href=\"https://www.whitehousehistory.org/elizabeth-keckley\" target=\"_blank\" rel=\"noopener noreferrer\">Elizabeth Keckley\u003c/a> (seamstress, author and assistant to First Lady Mary Todd Lincoln) and\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.womenshistory.org/education-resources/biographies/sojourner-truth\" target=\"_blank\" rel=\"noopener noreferrer\"> Sojourner Truth\u003c/a> (famed abolitionist, orator and activist). Elsewhere on the reenactment field, men often play the roles of African American soldiers and slaves.\u003c/span>\u003c/p>\n\u003cp>But these reenactments, which have been going on for decades, seem to have slightly changed as of late. And while Whittle isn’t one to place blame, she does note that it started happening sometime around the election of America’s current president.\u003c/p>\n\u003cfigure id=\"attachment_13875293\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/YQa93eEA-800x572.jpg\" alt=\"Nancy Whittle in her home in Fresno\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nancy Whittle in her home in Fresno \u003ccite>(Brandon Tauszik)\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\">W\u003c/span>hittle never planned on getting this deep into Civil War reenactments. She went to school to be a journalist, and always enjoyed history and museums. But then Rose Caglia, former president of the Fresno Historical Society, asked if she wanted to be someone in the Civil War.\u003c/p>\n\u003cp>She started out playing a slave, and fittingly, the next year she was Harriet Tubman.\u003c/p>\n\u003cp>Suddenly she found herself part of a huge community. “It’s grown so big that they have people from Ireland coming, from France, from Spain,” says Whittle of the reenactments, during a phone call. “I mean, American history… it’s almost like an addiction, actually.”\u003c/p>\n\u003cp>She’s done reenactments in churches and at grade schools, in parks and at Stanford University. A quick look at upcoming events for the \u003ca href=\"https://ncwa1863.org/event-calendar/\">National Civil War Association\u003c/a> and the \u003ca href=\"https://www.acwa.org/events-1\">American Civil War Association\u003c/a> shows that there are reenactments scheduled throughout the year, and all over California.\u003c/p>\n\u003cp>Whittle, who works with the aforementioned groups as well as the the newer \u003ca href=\"http://www.bsmcu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Buffalo Soldier Mounted Calvary Unit\u003c/a>, says people take the reenactments seriously. Some ride horseback and play the role of well-known generals. Others have smaller roles, but still know not to break character. “You can have up to 2,000 people participating—soldiers, women, kids, all of that,” says Whittle.\u003c/p>\n\u003cp>With that comes the financial investment: the uniforms, the guns and the coordination of the events. “It costs a lot of money to be in it… making sure your character comes alive, it’ll cost,” says Whittle, who says she sometimes receives stipends for reenactments, but for the most part does the work as a volunteer.\u003c/p>\n\u003cfigure id=\"attachment_13875292\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875292\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/fcuZn98w-800x572.jpg\" alt=\"Civil War Reenactment\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Civil War reenactment. \u003ccite>(Brandon Tauszik)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whittle says her role is to mostly represent Tubman and tell her story. Others involved tell similar accounts of African Americans involved in the Civil War, including \u003ca href=\"https://prologue.blogs.archives.gov/2011/02/11/confederate-dirty-laundry-spies-and-slaves/\" target=\"_blank\" rel=\"noopener noreferrer\">Mrs. Dabney\u003c/a>, one of the first African American spies.\u003c/p>\n\u003cp>Children have had birthday parties on the reenactment field. And as volunteers get older, people die. (“One of the most popular and favored Lincolns died in the past two years,” says Whittle.)\u003c/p>\n\u003cp>Whittle says she enjoys it; not just the acting, but the sense of family. “The Confederate side, behind the scenes, because the soldiers like to cook—they’ll have a bakeoff and invite me,” says Whittle.\u003c/p>\n\u003cp>But as of late, Whittle says, “We noticed a change in the last—oh, I’d say, the last four years. Yeah, four years,” adding that “I think the political climate has a lot to do with it.”\u003c/p>\n\u003cp>She says there’s a different tone to some of the reenactments. “There are folks who say things that aren’t politically correct,” says Whittle, mentioning that it’s the 30- to 45–year-old group that gets “a little weird.”\u003c/p>\n\u003cp>She says that she’s even seen people selling confederate bumperstickers at the events. She’s had to fight to carry a gun from the 1800s, which is historically accurate for Tubman’s character. She’s also been cussed out after asking someone to not smoke at an event.\u003c/p>\n\u003cp>When asked if she checks them on their behavior, Whittle is stoic. “No,” she says, “I just use historical facts and stay in character.”\u003c/p>\n\u003cfigure id=\"attachment_13875294\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875294\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/h4VMGe-w-800x572.jpg\" alt=\"Union Soldiers, ready for war.\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Soldiers, ready for war. \u003ccite>(Brandon Tauszik)\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\">W\u003c/span>hittle says Harriet Tubman isn’t some Walt Disney character. I agree. She’s more than that. She’s more than an image \u003ca href=\"https://thehill.com/homenews/news/483183-banks-black-history-month-debit-card-featuring-harriet-tubman-draws-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">on the cover of debit card\u003c/a> striking the ‘Wakanda Forever’ pose, more than a face rumored to be on the new \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/05/13/406452142/harriet-tubman-wins-unofficial-contest-to-be-on-20-bill\" target=\"_blank\" rel=\"noopener noreferrer\">$20 bill\u003c/a>, and more than a character in \u003ca href=\"https://www.npr.org/2019/10/31/773403263/in-earnest-contrived-biopic-harriet-tubman-is-an-action-hero\" target=\"_blank\" rel=\"noopener noreferrer\">a Hollywood movie\u003c/a>.\u003c/p>\n\u003cp>Tubman was a force; a warrior who survived oppression and abuse. And, to this day, there are lessons to be absorbed from her tale.\u003c/p>\n\u003cp>“When I share about what Harriet Tubman went through, not only helping those slaves escape, but the whippings and the humiliation that she went through, and how she stuttered. It always amazes me how in schools, I have kids—young girls—who come up to me and share about the abuse they’re going through at home,” says Whittle.\u003c/p>\n\u003cp>Inspired by Whittle’s act, people share stories of neglect from their parents and how they got into gangs, Whittle says. “Even now her life affects people who have faced dire circumstances in their life, and they want to come out about it, but they need to know that there was somebody before them that did that. And that’s the goal: to empower people to think ‘just because I’m here now doesn’t mean I can’t go for my dreams.’”\u003c/p>\n\u003cp>With that in mind, Whittle says she tells young students to think about how much more they can do because they can read and write. “And you should see the little shoulders go back, and heads get lifted,” says Whittle. “That’s what it’s all about: empowering people who feel as though they’re second-class citizens. It doesn’t matter what their ethnicity is—I have so many stories, so many letters from school-aged children, teenagers, about how they felt empowered.”\u003c/p>\n\u003cp>When asked if she feels as if she’s channeling Tubman’s spirit, Whittle recalls her mom, who was from North Carolina, and the child of enslaved parents. Whittle says she learned the songs Harriet sang from her mom, “And I never stopped and asked how she learned that,” says Whittle.\u003c/p>\n\u003cp>“When I’m singing her songs, I feel like I’m not Nancy anymore—I’m really Harriet Tubman.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Photographer Brandon Tauszik’s exhibition ‘Pale Blue Dress’ opens Thursday, March 5, at the Book & Job Gallery in San Francisco. \u003ca href=\"https://www.facebook.com/events/236169397547523/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"headline": "Meet the Civil War Reenactor Upholding Harriet Tubman's Legacy",
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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\">I\u003c/span>’m one of many lifelong students of Harriet Tubman University. I mean, she doesn’t have an actual college named in her honor, but why the hell not?\u003c/p>\n\u003cp>Tubman is one of the most important figures in the history of this country. She was enslaved, illiterate, and suffered from trauma—specifically brain damage, at the hands of her slave master. Despite that, she lived 90 years, full of achievements. She freed herself. She freed others. As a spy for the Union army, she was the first woman in U.S. history to lead a military expedition. She was buried with military honors.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The concept behind Tubman University is all about finding freedom for oneself, and then assisting others. It’s a philosophy many ascribe to. Some even rock \u003ca href=\"https://www.phillymag.com/shoppist/2016/01/05/collegiate-sweatshirts-honoring-black-leaders/\">sweatshirts that bear the name\u003c/a>; evidence that I’m far from the only student in this school of thought.\u003c/p>\n\u003cp>At the head of this class is Nancy Whittle. She’s played the role of Harriet Tubman in Civil War reenactments throughout California for the past 30 years. I found out about her through \u003ca href=\"http://www.brandontauszik.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brandon Tauszik\u003c/a>, a friend and photographer, who showed me some images from \u003ca href=\"https://www.facebook.com/events/236169397547523/\">his upcoming exhibit\u003c/a>.\u003c/p>\n\u003cp>The photo of Whittle caught my eye. That stern face, the outfit from the antebellum era, a woman holding a walking stick that looks like the one Moses used. I thought: Who \u003cem>is\u003c/em> she?\u003c/p>\n\u003cp>The answer is that Nancy Whittle is a medical social worker, who lives in Fresno, California. And, sometimes, she’s Harriet Tubman.\u003c/p>\n\u003cp>She’s one of the few African Americans who participate in Civil War reenactments; sometimes flanked by reenactors playing the roles of \u003ca href=\"https://www.whitehousehistory.org/elizabeth-keckley\" target=\"_blank\" rel=\"noopener noreferrer\">Elizabeth Keckley\u003c/a> (seamstress, author and assistant to First Lady Mary Todd Lincoln) and\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.womenshistory.org/education-resources/biographies/sojourner-truth\" target=\"_blank\" rel=\"noopener noreferrer\"> Sojourner Truth\u003c/a> (famed abolitionist, orator and activist). Elsewhere on the reenactment field, men often play the roles of African American soldiers and slaves.\u003c/span>\u003c/p>\n\u003cp>But these reenactments, which have been going on for decades, seem to have slightly changed as of late. And while Whittle isn’t one to place blame, she does note that it started happening sometime around the election of America’s current president.\u003c/p>\n\u003cfigure id=\"attachment_13875293\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/YQa93eEA-800x572.jpg\" alt=\"Nancy Whittle in her home in Fresno\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/YQa93eEA.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nancy Whittle in her home in Fresno \u003ccite>(Brandon Tauszik)\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\">W\u003c/span>hittle never planned on getting this deep into Civil War reenactments. She went to school to be a journalist, and always enjoyed history and museums. But then Rose Caglia, former president of the Fresno Historical Society, asked if she wanted to be someone in the Civil War.\u003c/p>\n\u003cp>She started out playing a slave, and fittingly, the next year she was Harriet Tubman.\u003c/p>\n\u003cp>Suddenly she found herself part of a huge community. “It’s grown so big that they have people from Ireland coming, from France, from Spain,” says Whittle of the reenactments, during a phone call. “I mean, American history… it’s almost like an addiction, actually.”\u003c/p>\n\u003cp>She’s done reenactments in churches and at grade schools, in parks and at Stanford University. A quick look at upcoming events for the \u003ca href=\"https://ncwa1863.org/event-calendar/\">National Civil War Association\u003c/a> and the \u003ca href=\"https://www.acwa.org/events-1\">American Civil War Association\u003c/a> shows that there are reenactments scheduled throughout the year, and all over California.\u003c/p>\n\u003cp>Whittle, who works with the aforementioned groups as well as the the newer \u003ca href=\"http://www.bsmcu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Buffalo Soldier Mounted Calvary Unit\u003c/a>, says people take the reenactments seriously. Some ride horseback and play the role of well-known generals. Others have smaller roles, but still know not to break character. “You can have up to 2,000 people participating—soldiers, women, kids, all of that,” says Whittle.\u003c/p>\n\u003cp>With that comes the financial investment: the uniforms, the guns and the coordination of the events. “It costs a lot of money to be in it… making sure your character comes alive, it’ll cost,” says Whittle, who says she sometimes receives stipends for reenactments, but for the most part does the work as a volunteer.\u003c/p>\n\u003cfigure id=\"attachment_13875292\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875292\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/fcuZn98w-800x572.jpg\" alt=\"Civil War Reenactment\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/fcuZn98w.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Civil War reenactment. \u003ccite>(Brandon Tauszik)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whittle says her role is to mostly represent Tubman and tell her story. Others involved tell similar accounts of African Americans involved in the Civil War, including \u003ca href=\"https://prologue.blogs.archives.gov/2011/02/11/confederate-dirty-laundry-spies-and-slaves/\" target=\"_blank\" rel=\"noopener noreferrer\">Mrs. Dabney\u003c/a>, one of the first African American spies.\u003c/p>\n\u003cp>Children have had birthday parties on the reenactment field. And as volunteers get older, people die. (“One of the most popular and favored Lincolns died in the past two years,” says Whittle.)\u003c/p>\n\u003cp>Whittle says she enjoys it; not just the acting, but the sense of family. “The Confederate side, behind the scenes, because the soldiers like to cook—they’ll have a bakeoff and invite me,” says Whittle.\u003c/p>\n\u003cp>But as of late, Whittle says, “We noticed a change in the last—oh, I’d say, the last four years. Yeah, four years,” adding that “I think the political climate has a lot to do with it.”\u003c/p>\n\u003cp>She says there’s a different tone to some of the reenactments. “There are folks who say things that aren’t politically correct,” says Whittle, mentioning that it’s the 30- to 45–year-old group that gets “a little weird.”\u003c/p>\n\u003cp>She says that she’s even seen people selling confederate bumperstickers at the events. She’s had to fight to carry a gun from the 1800s, which is historically accurate for Tubman’s character. She’s also been cussed out after asking someone to not smoke at an event.\u003c/p>\n\u003cp>When asked if she checks them on their behavior, Whittle is stoic. “No,” she says, “I just use historical facts and stay in character.”\u003c/p>\n\u003cfigure id=\"attachment_13875294\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875294\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/h4VMGe-w-800x572.jpg\" alt=\"Union Soldiers, ready for war.\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/h4VMGe-w.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Soldiers, ready for war. \u003ccite>(Brandon Tauszik)\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\">W\u003c/span>hittle says Harriet Tubman isn’t some Walt Disney character. I agree. She’s more than that. She’s more than an image \u003ca href=\"https://thehill.com/homenews/news/483183-banks-black-history-month-debit-card-featuring-harriet-tubman-draws-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">on the cover of debit card\u003c/a> striking the ‘Wakanda Forever’ pose, more than a face rumored to be on the new \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/05/13/406452142/harriet-tubman-wins-unofficial-contest-to-be-on-20-bill\" target=\"_blank\" rel=\"noopener noreferrer\">$20 bill\u003c/a>, and more than a character in \u003ca href=\"https://www.npr.org/2019/10/31/773403263/in-earnest-contrived-biopic-harriet-tubman-is-an-action-hero\" target=\"_blank\" rel=\"noopener noreferrer\">a Hollywood movie\u003c/a>.\u003c/p>\n\u003cp>Tubman was a force; a warrior who survived oppression and abuse. And, to this day, there are lessons to be absorbed from her tale.\u003c/p>\n\u003cp>“When I share about what Harriet Tubman went through, not only helping those slaves escape, but the whippings and the humiliation that she went through, and how she stuttered. It always amazes me how in schools, I have kids—young girls—who come up to me and share about the abuse they’re going through at home,” says Whittle.\u003c/p>\n\u003cp>Inspired by Whittle’s act, people share stories of neglect from their parents and how they got into gangs, Whittle says. “Even now her life affects people who have faced dire circumstances in their life, and they want to come out about it, but they need to know that there was somebody before them that did that. And that’s the goal: to empower people to think ‘just because I’m here now doesn’t mean I can’t go for my dreams.’”\u003c/p>\n\u003cp>With that in mind, Whittle says she tells young students to think about how much more they can do because they can read and write. “And you should see the little shoulders go back, and heads get lifted,” says Whittle. “That’s what it’s all about: empowering people who feel as though they’re second-class citizens. It doesn’t matter what their ethnicity is—I have so many stories, so many letters from school-aged children, teenagers, about how they felt empowered.”\u003c/p>\n\u003cp>When asked if she feels as if she’s channeling Tubman’s spirit, Whittle recalls her mom, who was from North Carolina, and the child of enslaved parents. Whittle says she learned the songs Harriet sang from her mom, “And I never stopped and asked how she learned that,” says Whittle.\u003c/p>\n\u003cp>“When I’m singing her songs, I feel like I’m not Nancy anymore—I’m really Harriet Tubman.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Photographer Brandon Tauszik’s exhibition ‘Pale Blue Dress’ opens Thursday, March 5, at the Book & Job Gallery in San Francisco. \u003ca href=\"https://www.facebook.com/events/236169397547523/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[aside postID='news_11690787,arts_13867337' label='More on Oakland History']\u003c/p>\n\u003cp>Dorothy Lazard is head librarian in the Oakland Public Library’s History Center. She is the gatekeeper to a long list of books, periodicals, photos and other documents that tell the story of this city. Many of these items would be difficult to find anywhere else, such as “Blacks in Oakland 1852-1987,” written by Donald E. Hausler. This important piece of literature documents of a century’s worth of African American life in this major American city; and I wouldn’t have found the book without the help of Lazard.\u003c/p>\n\u003cp>I also appreciate that \u003ca href=\"https://www.kqed.org/arts/13839115/on-fifty-years-of-the-oakland-as\" target=\"_blank\" rel=\"noopener noreferrer\">Lazard\u003c/a> can speak about Oakland history from personal experience. She can tell you firsthand about climbing local fruit trees in the 1970s, skipping school to attend one of the Oakland A’s championship parades and going to star-studded local film festivals.\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Dorothy Lazard, head librarian in the Oakland Public Library']‘So much of our history as African-Americans has been lost to history, not written down or recorded, and we’re happily in a period of time where we can reclaim history and share it broadly.’[/pullquote]\u003c/p>\n\u003cp>At a time when the city is in the midst of a changing population and rapid cultural shifts, Lazard plays the important role of a public servant who can supplement historical documentation with knowledge, wisdom and personal stories. Today on \u003cem>Rightnowish\u003c/em>, she shares just a few of her jewels.\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>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cstrong>Slow Burn\u003c/strong>\u003cem>\u003cstrong> premiered Sunday February 16th on EPIX.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Slow Burn\u003c/em> isn’t the first hit podcast to be adapted into a television series, and it won’t be the last. In this, the age of streams and verticals, of IPs and platform-agnosticism, we are about to be deluged with content that began life nestled in millions of earbuds.\u003c/p>\n\u003cp>That’s perfectly fine, of course—provided the act of adapting a series from one medium to another truly reckons with that prospect. What makes a great podcast great is wholly separate and distinct from what makes a television series great.\u003c/p>\n\u003cp>Podcasting is about intimacy—it’s a friendly voice inside your head, inviting you to imagine, to visualize, to create a story along with it. 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"content": "\u003cp>A new documentary, \u003cem>Black Patriots: Heroes of the Revolution,\u003c/em> introduces us to heroes of the American Revolution who aren’t typically found in history books. They are a writer, a double agent, a martyr and a soldier—and they are all black.\u003c/p>\n\u003cfigure id=\"attachment_13875022\" class=\"wp-caption alignright\" style=\"max-width: 301px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-16-at-11.04.35-PM.png\" alt=\"Kareem Abdul-Jabbar is the executive producer of 'Black Patriots.'\" width=\"301\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-16-at-11.04.35-PM.png 301w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-16-at-11.04.35-PM-160x213.png 160w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003cfigcaption class=\"wp-caption-text\">Kareem Abdul-Jabbar is the executive producer of ‘Black Patriots.’ \u003ccite>(Jai Lennard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kareem Abdul-Jabbar is the executive producer. He is a Hall of Fame basketball player, writer, activist, and in 2016 the recipient of the Presidential Medal of Freedom.\u003c/p>\n\u003cp>Abdul-Jabbar says he was born and raised in New York City, in “the last part of Manhattan that George Washington controlled before he had to leave and escape and go to Valley Forge,” he says. “You know, I read about that incident in my history books, and I was surprised to find out that it happened in in my neighborhood. So after that, you know. My experiences as a child, we often would find like musket balls and arrowheads in the parks. Right there in northern Manhattan. And you know, I felt a real connection to the history of that area.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why we don’t know these stories\u003c/strong>\u003c/p>\n\u003cp>Well, we don’t know the stories already because people who write history books, or who have written most of the history books have focused on what European Americans thought, and what their objectives were, and what they did to make those objectives become real. And anybody who was not European was not seen as being worth depicting, because their stake in it seemed to be non-existent. This nation was founded by white people, for white people. At the time, blacks were not allowed citizenship. Women were not allowed to vote. Native Americans were not allowed citizenship. That’s the way it was back in those days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>On the story that had the most impact on him\u003c/strong>\u003c/p>\n\u003cp>Well, Peter Salem is absolutely a hero doing a heroic thing at a very crucial time. Peter Salem frustrated the final attempt by the British to take the field [at the Battle of Bunker Hill] by shooting Major Pitcairn, who was an officer in the British army. He shot him before he could gather the troops. The British professional soldiers thought that they could run our side off of the field because, you know, they weren’t professional soldiers. But we changed their mind over the period of the Revolutionary War. And in the end, the British had to concede.\u003c/p>\n\u003cp>\u003ca href=\"https://nmaahc.si.edu/blog/peter-salem-and-battle-bunker-hill\" target=\"_blank\" rel=\"noopener noreferrer\">There’s a painting of the Battle of Bunker Hill\u003c/a> and Peter Salem, I think, is in it. He’s down in a corner hiding behind the shoulder of one of the white American officers. And you almost don’t see him. I think in some in some paintings he’s been cropped off. But there’s a black soldier there.\u003c/p>\n\u003cp>\u003cstrong>On black Americans during the Revolution\u003c/strong>\u003c/p>\n\u003cp>Both sides of the war really tried to recruit black slaves into their army, and they promised freedom to any black slave that would join either army. The ones that joined the revolutionary cause were lied to. They were not granted their freedom after they did serve in the army. But the blacks that joined the British army were able to effect their own freedom. And when the British retired from North America, they took those guys with them who had citizenship and went to places like Nova Scotia or the Caribbean, or even back to England.\u003c/p>\n\u003cp>\u003cstrong>On why it’s important now to look back at this moment\u003c/strong>\u003c/p>\n\u003cp>Some of the things that we see today remind us of things that happened before, and not in a very positive way. When I saw the children that were trying to apply for asylum in America being separated from their parents at the Texas border, it reminded me of the way that slave children were ripped from their parents so that their parents could be sent to various plantations and worked to death. That that was a common thing back then. And the same ability to ignore human suffering and do something like that—which was exhibited by slave masters—was exhibited by some of the officials dealing with the people applying for asylum. And, you know, there was 150 year gap, but it was the same images, and something that we should not be proud of.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Tinbete Ermyas and Robert Baldwin III, and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Black+Patriots%27+Were+Heroes+Of+The+Revolution+%E2%80%94+But+Not+The+History+Books&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new documentary, \u003cem>Black Patriots: Heroes of the Revolution,\u003c/em> introduces us to heroes of the American Revolution who aren’t typically found in history books. They are a writer, a double agent, a martyr and a soldier—and they are all black.\u003c/p>\n\u003cfigure id=\"attachment_13875022\" class=\"wp-caption alignright\" style=\"max-width: 301px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-16-at-11.04.35-PM.png\" alt=\"Kareem Abdul-Jabbar is the executive producer of 'Black Patriots.'\" width=\"301\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-16-at-11.04.35-PM.png 301w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-16-at-11.04.35-PM-160x213.png 160w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003cfigcaption class=\"wp-caption-text\">Kareem Abdul-Jabbar is the executive producer of ‘Black Patriots.’ \u003ccite>(Jai Lennard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kareem Abdul-Jabbar is the executive producer. He is a Hall of Fame basketball player, writer, activist, and in 2016 the recipient of the Presidential Medal of Freedom.\u003c/p>\n\u003cp>Abdul-Jabbar says he was born and raised in New York City, in “the last part of Manhattan that George Washington controlled before he had to leave and escape and go to Valley Forge,” he says. “You know, I read about that incident in my history books, and I was surprised to find out that it happened in in my neighborhood. So after that, you know. My experiences as a child, we often would find like musket balls and arrowheads in the parks. Right there in northern Manhattan. And you know, I felt a real connection to the history of that area.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why we don’t know these stories\u003c/strong>\u003c/p>\n\u003cp>Well, we don’t know the stories already because people who write history books, or who have written most of the history books have focused on what European Americans thought, and what their objectives were, and what they did to make those objectives become real. And anybody who was not European was not seen as being worth depicting, because their stake in it seemed to be non-existent. This nation was founded by white people, for white people. At the time, blacks were not allowed citizenship. Women were not allowed to vote. Native Americans were not allowed citizenship. That’s the way it was back in those days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>On the story that had the most impact on him\u003c/strong>\u003c/p>\n\u003cp>Well, Peter Salem is absolutely a hero doing a heroic thing at a very crucial time. Peter Salem frustrated the final attempt by the British to take the field [at the Battle of Bunker Hill] by shooting Major Pitcairn, who was an officer in the British army. He shot him before he could gather the troops. The British professional soldiers thought that they could run our side off of the field because, you know, they weren’t professional soldiers. But we changed their mind over the period of the Revolutionary War. And in the end, the British had to concede.\u003c/p>\n\u003cp>\u003ca href=\"https://nmaahc.si.edu/blog/peter-salem-and-battle-bunker-hill\" target=\"_blank\" rel=\"noopener noreferrer\">There’s a painting of the Battle of Bunker Hill\u003c/a> and Peter Salem, I think, is in it. He’s down in a corner hiding behind the shoulder of one of the white American officers. And you almost don’t see him. I think in some in some paintings he’s been cropped off. But there’s a black soldier there.\u003c/p>\n\u003cp>\u003cstrong>On black Americans during the Revolution\u003c/strong>\u003c/p>\n\u003cp>Both sides of the war really tried to recruit black slaves into their army, and they promised freedom to any black slave that would join either army. The ones that joined the revolutionary cause were lied to. They were not granted their freedom after they did serve in the army. But the blacks that joined the British army were able to effect their own freedom. And when the British retired from North America, they took those guys with them who had citizenship and went to places like Nova Scotia or the Caribbean, or even back to England.\u003c/p>\n\u003cp>\u003cstrong>On why it’s important now to look back at this moment\u003c/strong>\u003c/p>\n\u003cp>Some of the things that we see today remind us of things that happened before, and not in a very positive way. When I saw the children that were trying to apply for asylum in America being separated from their parents at the Texas border, it reminded me of the way that slave children were ripped from their parents so that their parents could be sent to various plantations and worked to death. That that was a common thing back then. And the same ability to ignore human suffering and do something like that—which was exhibited by slave masters—was exhibited by some of the officials dealing with the people applying for asylum. And, you know, there was 150 year gap, but it was the same images, and something that we should not be proud of.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Tinbete Ermyas and Robert Baldwin III, and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Black+Patriots%27+Were+Heroes+Of+The+Revolution+%E2%80%94+But+Not+The+History+Books&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13874888\" class=\"wp-caption alignnone\" style=\"max-width: 792px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874888\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1.jpg\" alt=\"Fredrika and Huey P. Newton on their wedding day.\" width=\"792\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1.jpg 792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1-768x993.jpg 768w\" sizes=\"(max-width: 792px) 100vw, 792px\">\u003cfigcaption class=\"wp-caption-text\">Fredrika and Huey P. Newton on their wedding day. \u003ccite>(Courtesy of the De Young Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fredrika Newton met her late husband, Huey P. Newton, co-founder of the Black Panther Party for Self Defense, when she was a college student. From that chance meeting, came a relationship for the history books.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This week Fredrika shares what it’s like to love one of America’s most notable activists and what it’s like to love Huey, the man behind the symbol. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fredrika carries Huey’s legacy as the president of the \u003c/span>\u003ca href=\"https://hueypnewtonfoundation.org/\">\u003cspan style=\"font-weight: 400\">Huey P. Newton foundation\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which is currently in the process of creating a Black Panther Museum. She’s also working on building a permanent public monument in Oakland dedicated to the legacy of Huey P. Newton. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the three decades since Huey’s death, Fredrika has gained lots of wisdom about healing and growth. She also tells us how she’s just learning to love again.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here’s to love, revolution and evolution.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13874736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874736\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/DSC8029-800x535.jpg\" alt=\"Fredrika Newton\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fredrika Newton \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci data-stringify-type=\"italic\">Portions of this interview have been edited for length and clarity. \u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On The Night They Met\u003c/b>\u003cbr>\nI met him at my mother’s house. My mother was a real estate broker for the Black Panther Party. It was packed, full of young students, activists, some Panthers. All these people were asking him a lot of questions about these kinds of deep, intellectual, academic, esoteric questions. It came time for me to ask him a question, I just asked him, “So what was it like in prison?” He put down his fork, and he stopped. And he thought, and he looked at me in the eyes, and he said it was very lonely. And it was something in that connection. His vulnerability and his thoughtfulness and his quietness, that just kind of captivated me. The rest is history.\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On Their Song\u003c/b>\u003cbr>\nHuey loved Isaac Hayes. “I Stand Accused.” Are you kidding me? That album. And back then that the speakers were like this big, and he had four of them. They were huge.\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On Maintaining a Healthy Relationship While Combating Oppression \u003c/b>\u003cbr>\nIt’s like being in a foxhole together. Everything is intense. Everything is immediate. I think that a lot of relationships were sacrificed. It gave new meaning to stay in the day. You didn’t know if you’d have another day. So relationships were intense.\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On Her Definition of Love\u003c/b>\u003cbr>\nI know that love is not just a feeling and that it’s an action in terms of your community. I think that what we did in the Party, was just such a definition of love. It’s just an ultimate example of undying love for their community.\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>To learn more, \u003ca href=\"https://deyoung.famsf.org/calendar/conversation-fredrika-newton-lynnee-denise-cultural-resonance-dr-huey-p-newton\">join Fredrika Newton at the De Young Museum Saturday, February 15th\u003c/a>. She will be in conversation about Huey, their activism, their life together and his legacy. It’s part of the “Soul of a Nation” show on now at the museum.\u003c/p>\n\u003cp>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13874888\" class=\"wp-caption alignnone\" style=\"max-width: 792px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874888\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1.jpg\" alt=\"Fredrika and Huey P. Newton on their wedding day.\" width=\"792\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1.jpg 792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1-768x993.jpg 768w\" sizes=\"(max-width: 792px) 100vw, 792px\">\u003cfigcaption class=\"wp-caption-text\">Fredrika and Huey P. Newton on their wedding day. \u003ccite>(Courtesy of the De Young Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fredrika Newton met her late husband, Huey P. Newton, co-founder of the Black Panther Party for Self Defense, when she was a college student. From that chance meeting, came a relationship for the history books.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This week Fredrika shares what it’s like to love one of America’s most notable activists and what it’s like to love Huey, the man behind the symbol. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fredrika carries Huey’s legacy as the president of the \u003c/span>\u003ca href=\"https://hueypnewtonfoundation.org/\">\u003cspan style=\"font-weight: 400\">Huey P. Newton foundation\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which is currently in the process of creating a Black Panther Museum. She’s also working on building a permanent public monument in Oakland dedicated to the legacy of Huey P. Newton. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the three decades since Huey’s death, Fredrika has gained lots of wisdom about healing and growth. She also tells us how she’s just learning to love again.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here’s to love, revolution and evolution.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13874736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874736\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/DSC8029-800x535.jpg\" alt=\"Fredrika Newton\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fredrika Newton \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci data-stringify-type=\"italic\">Portions of this interview have been edited for length and clarity. \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On The Night They Met\u003c/b>\u003cbr>\nI met him at my mother’s house. My mother was a real estate broker for the Black Panther Party. It was packed, full of young students, activists, some Panthers. All these people were asking him a lot of questions about these kinds of deep, intellectual, academic, esoteric questions. It came time for me to ask him a question, I just asked him, “So what was it like in prison?” He put down his fork, and he stopped. And he thought, and he looked at me in the eyes, and he said it was very lonely. And it was something in that connection. His vulnerability and his thoughtfulness and his quietness, that just kind of captivated me. The rest is history.\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On Their Song\u003c/b>\u003cbr>\nHuey loved Isaac Hayes. “I Stand Accused.” Are you kidding me? That album. And back then that the speakers were like this big, and he had four of them. They were huge.\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On Maintaining a Healthy Relationship While Combating Oppression \u003c/b>\u003cbr>\nIt’s like being in a foxhole together. Everything is intense. Everything is immediate. I think that a lot of relationships were sacrificed. It gave new meaning to stay in the day. You didn’t know if you’d have another day. So relationships were intense.\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On Her Definition of Love\u003c/b>\u003cbr>\nI know that love is not just a feeling and that it’s an action in terms of your community. I think that what we did in the Party, was just such a definition of love. It’s just an ultimate example of undying love for their community.\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>To learn more, \u003ca href=\"https://deyoung.famsf.org/calendar/conversation-fredrika-newton-lynnee-denise-cultural-resonance-dr-huey-p-newton\">join Fredrika Newton at the De Young Museum Saturday, February 15th\u003c/a>. She will be in conversation about Huey, their activism, their life together and his legacy. It’s part of the “Soul of a Nation” show on now at the museum.\u003c/p>\n\u003cp>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘Little Legends’ Celebrates Big Lives of Black History | KQED",
"content": "\u003cp>The book we’re talking about right now almost didn’t exist.\u003c/p>\n\u003cp>\u003cem>Little Legends\u003c/em> celebrates exceptional men in black history; it’s by the author-illustrator Vashti Harrison. She says she thought long and hard about taking on this subject matter, because she relates more to women’s stories.\u003c/p>\n\u003cp>“My first book \u003cem>Little Leaders: Bold Women in Black History\u003c/em> … came from a really personal place,” Harrison says. “I was thinking about the stories that I needed to see when I was a little kid. From the moment it got announced people were asking me, ‘Are you going to write one about black men as well?'”\u003c/p>\n\u003cp>Eventually she gave in, since demand was so high for a followup—and the result was \u003cem>Little Legends\u003c/em>. On every other page, Harrison’s detailed illustrations bring each profile to life. And there’s one thing they all have in common: She’s drawn every one with their eyes closed.\u003c/p>\n\u003cp>“I really wanted to create this sweet, simple character,” she says. “I could have drawn each of these famous people to look like themselves, but I wanted to create a child character and kind of make it look like they were almost dressing up as these famous people. They’ve got their eyes closed, with this sweet smile. And I wanted it to feel like they’re kind of imagining themselves in the worlds of these wonderful people. But I also wanted to create a beautiful book … something that featured characters of color, people of color in a book that looks like it belongs on the shelf next to Winnie the Pooh and Madeline and Eloise.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On choosing which men to profile\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was not easy. There was, I think, originally a list of about 100 people, obviously so many incredible people who could have gone in. But one thing that was really important for me in the first book, that I carried over into this one, was showcasing a diverse list of fields of study. Sure, there are doctors and lawyers and activists, but also engineers and cyclists and artists, because there’s a question that a lot of adults ask kids—and I don’t really like this question so much. When I was little, I didn’t love it. But it’s what do you want to be when you grow up? … I mean, I don’t think you should have to know too early. Great if you do. But also cool if you don’t. But I wanted to be able to fill kids up with the knowledge of all these different paths and fields of study. So when they’re ready to answer, they’ll know about all these cool folks that came before them.\u003c/p>\n\u003cp>\u003cstrong>On choosing men who may not be as well-known\u003c/strong>\u003c/p>\n\u003cp>Originally, you know, when I was thinking about my first book, I was thinking about Black History Month. And why is it that we actually celebrate Black History Month when Carter G. Woodson founded Negro History Week in 1926? His goal was to celebrate the stories that have been long neglected throughout history. So I felt like, here’s an opportunity to showcase some names that you wouldn’t maybe come across in the mainstream. So when you go to the bookstore, there are lots of books featuring Martin Luther King Jr. and Barack Obama. I wanted to be able to showcase some names that you may not see everywhere else, so like Bass Reeves and John Robinson. But obviously there are some big names because … I hoped that, you know, people would share this book. And just in case it was someone’s first introduction to black history, there are a few big names.\u003c/p>\n\u003cfigure id=\"attachment_13874846\" class=\"wp-caption alignnone\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.38.38-AM.png\" alt=\"Bass Reeves (1838-1910)\" width=\"638\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.38.38-AM.png 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.38.38-AM-160x174.png 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">Bass Reeves (1838-1910)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the artist Aaron Douglas\u003c/strong>\u003c/p>\n\u003cp>I mean, I definitely have a soft spot for the artists. So one of my favorites is Aaron Douglas for sure. You know, his work was just really just so beautiful. He was a master of color, and he was making artwork for and about black people in a time before anyone considered black to be beautiful. And he just made his work so unique. He combined Art Deco and Cubism and Egyptian hieroglyphics to create this bold style that became the look for the Harlem Renaissance. His work was everywhere on posters, on book covers, in magazines. And I just, I love everything he’s created.\u003c/p>\n\u003cfigure id=\"attachment_13874847\" class=\"wp-caption aligncenter\" style=\"max-width: 645px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874847\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.40.41-AM.png\" alt=\"Aaron Douglas (1899-1979)\" width=\"645\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.40.41-AM.png 645w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.40.41-AM-160x171.png 160w\" sizes=\"(max-width: 645px) 100vw, 645px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Douglas (1899-1979)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how these men responded to the racism around them\u003c/strong>\u003c/p>\n\u003cp>What I really wanted kids to connect with was this passion and joy that a lot of these people found in the things that they were doing. Someone like Major Taylor, who faced incredible racism and prejudice in the cycling industry. He still went after his love and enjoyed it and found beauty in it. And I really wanted to be able to share that with kids.\u003c/p>\n\u003cfigure id=\"attachment_13874848\" class=\"wp-caption aligncenter\" style=\"max-width: 644px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.42.10-AM.png\" alt='Marshall \"Major\" Taylor (1878-1932)' width=\"644\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.42.10-AM.png 644w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.42.10-AM-160x172.png 160w\" sizes=\"(max-width: 644px) 100vw, 644px\">\u003cfigcaption class=\"wp-caption-text\">Marshall “Major” Taylor (1878-1932)\u003c/figcaption>\u003c/figure>\n\u003cp>I mean, it’s a harsh reality that a lot of parents of color, children of color experience often way too early. But what I really want them to know is that through hard work, through grace, through kindness and through passion, these people found and created lives that were meaningful and made work that was meaningful for other people. It was tough tackling some of these subjects. It’s dark. Our history is dark sometimes. And I found it was really important to just put it all out there. You know, it was reality. And so I really just want these young readers to know that that didn’t define them. These hardships didn’t define them, but it was their love and their kindness and their goodness that made a difference in the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview was produced for radio by Reena Advani and Victoria Whitley-Berry, and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Little+Legends%27+Celebrates+Big+Lives+Of+Black+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The book we’re talking about right now almost didn’t exist.\u003c/p>\n\u003cp>\u003cem>Little Legends\u003c/em> celebrates exceptional men in black history; it’s by the author-illustrator Vashti Harrison. She says she thought long and hard about taking on this subject matter, because she relates more to women’s stories.\u003c/p>\n\u003cp>“My first book \u003cem>Little Leaders: Bold Women in Black History\u003c/em> … came from a really personal place,” Harrison says. “I was thinking about the stories that I needed to see when I was a little kid. From the moment it got announced people were asking me, ‘Are you going to write one about black men as well?'”\u003c/p>\n\u003cp>Eventually she gave in, since demand was so high for a followup—and the result was \u003cem>Little Legends\u003c/em>. On every other page, Harrison’s detailed illustrations bring each profile to life. And there’s one thing they all have in common: She’s drawn every one with their eyes closed.\u003c/p>\n\u003cp>“I really wanted to create this sweet, simple character,” she says. “I could have drawn each of these famous people to look like themselves, but I wanted to create a child character and kind of make it look like they were almost dressing up as these famous people. They’ve got their eyes closed, with this sweet smile. And I wanted it to feel like they’re kind of imagining themselves in the worlds of these wonderful people. But I also wanted to create a beautiful book … something that featured characters of color, people of color in a book that looks like it belongs on the shelf next to Winnie the Pooh and Madeline and Eloise.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On choosing which men to profile\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was not easy. There was, I think, originally a list of about 100 people, obviously so many incredible people who could have gone in. But one thing that was really important for me in the first book, that I carried over into this one, was showcasing a diverse list of fields of study. Sure, there are doctors and lawyers and activists, but also engineers and cyclists and artists, because there’s a question that a lot of adults ask kids—and I don’t really like this question so much. When I was little, I didn’t love it. But it’s what do you want to be when you grow up? … I mean, I don’t think you should have to know too early. Great if you do. But also cool if you don’t. But I wanted to be able to fill kids up with the knowledge of all these different paths and fields of study. So when they’re ready to answer, they’ll know about all these cool folks that came before them.\u003c/p>\n\u003cp>\u003cstrong>On choosing men who may not be as well-known\u003c/strong>\u003c/p>\n\u003cp>Originally, you know, when I was thinking about my first book, I was thinking about Black History Month. And why is it that we actually celebrate Black History Month when Carter G. Woodson founded Negro History Week in 1926? His goal was to celebrate the stories that have been long neglected throughout history. So I felt like, here’s an opportunity to showcase some names that you wouldn’t maybe come across in the mainstream. So when you go to the bookstore, there are lots of books featuring Martin Luther King Jr. and Barack Obama. I wanted to be able to showcase some names that you may not see everywhere else, so like Bass Reeves and John Robinson. But obviously there are some big names because … I hoped that, you know, people would share this book. And just in case it was someone’s first introduction to black history, there are a few big names.\u003c/p>\n\u003cfigure id=\"attachment_13874846\" class=\"wp-caption alignnone\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.38.38-AM.png\" alt=\"Bass Reeves (1838-1910)\" width=\"638\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.38.38-AM.png 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.38.38-AM-160x174.png 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">Bass Reeves (1838-1910)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the artist Aaron Douglas\u003c/strong>\u003c/p>\n\u003cp>I mean, I definitely have a soft spot for the artists. So one of my favorites is Aaron Douglas for sure. You know, his work was just really just so beautiful. He was a master of color, and he was making artwork for and about black people in a time before anyone considered black to be beautiful. And he just made his work so unique. He combined Art Deco and Cubism and Egyptian hieroglyphics to create this bold style that became the look for the Harlem Renaissance. His work was everywhere on posters, on book covers, in magazines. And I just, I love everything he’s created.\u003c/p>\n\u003cfigure id=\"attachment_13874847\" class=\"wp-caption aligncenter\" style=\"max-width: 645px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874847\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.40.41-AM.png\" alt=\"Aaron Douglas (1899-1979)\" width=\"645\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.40.41-AM.png 645w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.40.41-AM-160x171.png 160w\" sizes=\"(max-width: 645px) 100vw, 645px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Douglas (1899-1979)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how these men responded to the racism around them\u003c/strong>\u003c/p>\n\u003cp>What I really wanted kids to connect with was this passion and joy that a lot of these people found in the things that they were doing. Someone like Major Taylor, who faced incredible racism and prejudice in the cycling industry. He still went after his love and enjoyed it and found beauty in it. And I really wanted to be able to share that with kids.\u003c/p>\n\u003cfigure id=\"attachment_13874848\" class=\"wp-caption aligncenter\" style=\"max-width: 644px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.42.10-AM.png\" alt='Marshall \"Major\" Taylor (1878-1932)' width=\"644\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.42.10-AM.png 644w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-12-at-11.42.10-AM-160x172.png 160w\" sizes=\"(max-width: 644px) 100vw, 644px\">\u003cfigcaption class=\"wp-caption-text\">Marshall “Major” Taylor (1878-1932)\u003c/figcaption>\u003c/figure>\n\u003cp>I mean, it’s a harsh reality that a lot of parents of color, children of color experience often way too early. But what I really want them to know is that through hard work, through grace, through kindness and through passion, these people found and created lives that were meaningful and made work that was meaningful for other people. It was tough tackling some of these subjects. It’s dark. Our history is dark sometimes. And I found it was really important to just put it all out there. You know, it was reality. And so I really just want these young readers to know that that didn’t define them. These hardships didn’t define them, but it was their love and their kindness and their goodness that made a difference in the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview was produced for radio by Reena Advani and Victoria Whitley-Berry, and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Little+Legends%27+Celebrates+Big+Lives+Of+Black+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ask a musician: every instrument has a story behind it. Who played it, where, why and how. One father and son team in Israel has built a collection of 87 violins (and counting) that survived the Holocaust. Now they’re in the San Francisco Bay Area through mid-March, sharing those violins and their stories.\u003c/p>\n\u003cp>Most of the violins have been restored: revarnished, restrung, the bridge, chin rest and other parts replaced. But some have been left untouched, so you can see they’ve been to hell and back, literally. Violins are light enough to carry, even on a death march; valuable enough to bury in the backyard, or sell, if you’re starving.\u003c/p>\n\u003cp>Many musicians in the concentration camps could lengthen their lives by playing in orchestras there, because many Nazis liked to listen to classical music and forced their prisoners to entertain them. A surprising number of violins survived the Holocaust, even though their owners didn’t.\u003c/p>\n\u003cp>Tel Aviv luthier Amnon Weinstein, himself a son of Holocaust survivors from Lithuania, began collecting these violins after another Holocaust survivor brought him one to restore. When Weinstein opened up the man’s violin, he found ashes inside from the concentration camp the man had once played in.\u003c/p>\n\u003cp>Initially appalled, Weinsten began to lovingly restore them as vehicles for the transmission of history. His collection expanded on that of his father’s, who held on to instruments other Holocaust survivors were desperate to discard as they sloughed off all things German to start life anew in Israel.\u003c/p>\n\u003cfigure id=\"attachment_13874165\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874165\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut.jpg\" alt=\"Amnon Weinstein repairing a violin in his Tel Aviv workshop.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amnon Weinstein repairing a violin in his Tel Aviv workshop. \u003ccite>(Courtesy of Amnon Weinstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weinstein’s son Avshalom inherited his father’s love of violin-making, as well as his passion for keeping the memory of the Holocaust alive as the world’s collective memory of it fades with passing of the last generation of survivors. “There was music everywhere. Every camp had at least one orchestra,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now they have 87 violins, a viola and a cello. That may seem like a lot, but consider that almost every Jewish household in Europe owned one or more violin before World War II. Each violin has a story, though not all the violins come with family members who know of it. Sometimes, the story is one of resilience and survival against the odds. Sometimes, the story is one of inevitable tragedy.\u003c/p>\n\u003cp>When the Weinsteins don’t know who the violin belonged to, they name it after a survivor they do know. One restored violin is named, for instance after Amnon’s wife’s grandfather, one of the three brothers who formed the Bielski brigade in Belarus who inspired the movie \u003ca href=\"https://www.youtube.com/watch?v=yw6Rwum7zcU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Defiance\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Father and son began touring in 2008, combining stories they know of with performances by local musicians. Both Weinsteins feel these violins must be played, not just put on display.\u003c/p>\n\u003cp>So it was this past week at \u003ca href=\"https://www.numulosgatos.org/exhibitions-2/voh\" target=\"_blank\" rel=\"noopener noreferrer\">New Museum Los Gatos\u003c/a>, that violinist \u003ca href=\"https://hannahtarley.weebly.com\" target=\"_blank\" rel=\"noopener noreferrer\">Hannah Tarley\u003c/a>, whose ancestors hailed from Belarus, picked up one of these surviving violins to play a Yiddish song from the 19th century called \u003cem>Oyfn Pripetshik\u003c/em>. It’s considered one of the most poignant musical memories of pre-holocaust Europe.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/752423227″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true” width=”100%” height=”300″ iframe=”true” /]\u003c/p>\n\u003cp>As Tarley played before an audience full of members of \u003ca href=\"https://www.shirhadash.org\" target=\"_blank\" rel=\"noopener noreferrer\">Congregation Shir Hadash\u003c/a> in Los Gatos, many of them began to hum along, haunting proof of the way music has the capacity to survive the loss of so much cultural memory.\u003c/p>\n\u003cp>The lyrics of the fourth stanza reference the long history of persecution of Jews in Europe, but today, they eerily seem to prophesy worse horrors to come:\u003c/p>\n\u003cp>\u003cem>Ir vet, kinder, elter vern,\u003c/em>\u003cbr>\n\u003cem>Vet ir aleyn farshteyn,\u003c/em>\u003cbr>\n\u003cem>Vifl in di oysyes lign trern,\u003c/em>\u003cbr>\n\u003cem>Un vi fil geveyn.\u003c/em>\u003c/p>\n\u003cp>\u003cem>When you grow older, children,\u003c/em>\u003cbr>\n\u003cem>You will understand by yourselves,\u003c/em>\u003cbr>\n\u003cem>How many tears lie in these letters,\u003c/em>\u003cbr>\n\u003cem>And how much lament.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://violinsofhopesfba.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Violins of Hope San Francisco Bay Area Project\u003c/a> has something — a concert, an exhibition, a classroom visit — planned for eight Bay Area counties. The two-month residency, involving more than 40 local arts, educational, community and religious institutions, is the brainchild of Patricia Kristof Moy, the executive director of \u003ca href=\"https://musicatkohl.org/violins-of-hope-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Music at Kohl Mansion\u003c/a> in Burlingame.\u003c/p>\n\u003cfigure id=\"attachment_13874157\" class=\"wp-caption aligncenter\" style=\"max-width: 1045px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874157\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB.jpeg\" alt=\"Detail of an affordably priced German model circa 1870s, designed for an unknown Klezmer musician, hence the inlaid mother of pearl Star of David.\" width=\"1045\" height=\"695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB.jpeg 1045w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-1020x678.jpeg 1020w\" sizes=\"(max-width: 1045px) 100vw, 1045px\">\u003cfigcaption class=\"wp-caption-text\">Detail of an affordably priced German model circa 1870s, designed for an unknown Klezmer musician, hence the inlaid mother of pearl Star of David. \u003ccite>(Courtesy of Amnon Weinstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp id=\"yui_3_17_2_1_1580435548622_162\">Moy, also the descendent of Holocaust survivors, saw the Weinsteins in Cleveland several years ago and committed herself to lining up the funding and organizational support to bring them to the Bay Area.\u003c/p>\n\u003cp>“We really had no idea when we started planning this five years ago that our world would be in the state of turmoil that it’s in,” she said. “This extraordinary project is more timely than we ever knew. It’s the violins of hope. It’s not the violins of despair. To hope is to be human.”\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>\u003cem>\u003cstrong>Violins of Hope San Francisco Bay Area Project \u003c/strong>runs through March 15, 2020, featuring more than 70 events region-wide including concerts, lectures, exhibits, films, community forums, ecumenical services, interfaith dialogues and educational workshops. For more information click \u003cstrong>\u003ca href=\"http://violinsofhopesfba.org/events\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask a musician: every instrument has a story behind it. Who played it, where, why and how. One father and son team in Israel has built a collection of 87 violins (and counting) that survived the Holocaust. Now they’re in the San Francisco Bay Area through mid-March, sharing those violins and their stories.\u003c/p>\n\u003cp>Most of the violins have been restored: revarnished, restrung, the bridge, chin rest and other parts replaced. But some have been left untouched, so you can see they’ve been to hell and back, literally. Violins are light enough to carry, even on a death march; valuable enough to bury in the backyard, or sell, if you’re starving.\u003c/p>\n\u003cp>Many musicians in the concentration camps could lengthen their lives by playing in orchestras there, because many Nazis liked to listen to classical music and forced their prisoners to entertain them. A surprising number of violins survived the Holocaust, even though their owners didn’t.\u003c/p>\n\u003cp>Tel Aviv luthier Amnon Weinstein, himself a son of Holocaust survivors from Lithuania, began collecting these violins after another Holocaust survivor brought him one to restore. When Weinstein opened up the man’s violin, he found ashes inside from the concentration camp the man had once played in.\u003c/p>\n\u003cp>Initially appalled, Weinsten began to lovingly restore them as vehicles for the transmission of history. His collection expanded on that of his father’s, who held on to instruments other Holocaust survivors were desperate to discard as they sloughed off all things German to start life anew in Israel.\u003c/p>\n\u003cfigure id=\"attachment_13874165\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874165\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut.jpg\" alt=\"Amnon Weinstein repairing a violin in his Tel Aviv workshop.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amnon Weinstein repairing a violin in his Tel Aviv workshop. \u003ccite>(Courtesy of Amnon Weinstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weinstein’s son Avshalom inherited his father’s love of violin-making, as well as his passion for keeping the memory of the Holocaust alive as the world’s collective memory of it fades with passing of the last generation of survivors. “There was music everywhere. Every camp had at least one orchestra,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now they have 87 violins, a viola and a cello. That may seem like a lot, but consider that almost every Jewish household in Europe owned one or more violin before World War II. Each violin has a story, though not all the violins come with family members who know of it. Sometimes, the story is one of resilience and survival against the odds. Sometimes, the story is one of inevitable tragedy.\u003c/p>\n\u003cp>When the Weinsteins don’t know who the violin belonged to, they name it after a survivor they do know. One restored violin is named, for instance after Amnon’s wife’s grandfather, one of the three brothers who formed the Bielski brigade in Belarus who inspired the movie \u003ca href=\"https://www.youtube.com/watch?v=yw6Rwum7zcU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Defiance\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Father and son began touring in 2008, combining stories they know of with performances by local musicians. Both Weinsteins feel these violins must be played, not just put on display.\u003c/p>\n\u003cp>So it was this past week at \u003ca href=\"https://www.numulosgatos.org/exhibitions-2/voh\" target=\"_blank\" rel=\"noopener noreferrer\">New Museum Los Gatos\u003c/a>, that violinist \u003ca href=\"https://hannahtarley.weebly.com\" target=\"_blank\" rel=\"noopener noreferrer\">Hannah Tarley\u003c/a>, whose ancestors hailed from Belarus, picked up one of these surviving violins to play a Yiddish song from the 19th century called \u003cem>Oyfn Pripetshik\u003c/em>. It’s considered one of the most poignant musical memories of pre-holocaust Europe.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”300″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/752423227″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true”'\n title='”https://api.soundcloud.com/tracks/752423227″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As Tarley played before an audience full of members of \u003ca href=\"https://www.shirhadash.org\" target=\"_blank\" rel=\"noopener noreferrer\">Congregation Shir Hadash\u003c/a> in Los Gatos, many of them began to hum along, haunting proof of the way music has the capacity to survive the loss of so much cultural memory.\u003c/p>\n\u003cp>The lyrics of the fourth stanza reference the long history of persecution of Jews in Europe, but today, they eerily seem to prophesy worse horrors to come:\u003c/p>\n\u003cp>\u003cem>Ir vet, kinder, elter vern,\u003c/em>\u003cbr>\n\u003cem>Vet ir aleyn farshteyn,\u003c/em>\u003cbr>\n\u003cem>Vifl in di oysyes lign trern,\u003c/em>\u003cbr>\n\u003cem>Un vi fil geveyn.\u003c/em>\u003c/p>\n\u003cp>\u003cem>When you grow older, children,\u003c/em>\u003cbr>\n\u003cem>You will understand by yourselves,\u003c/em>\u003cbr>\n\u003cem>How many tears lie in these letters,\u003c/em>\u003cbr>\n\u003cem>And how much lament.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://violinsofhopesfba.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Violins of Hope San Francisco Bay Area Project\u003c/a> has something — a concert, an exhibition, a classroom visit — planned for eight Bay Area counties. The two-month residency, involving more than 40 local arts, educational, community and religious institutions, is the brainchild of Patricia Kristof Moy, the executive director of \u003ca href=\"https://musicatkohl.org/violins-of-hope-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Music at Kohl Mansion\u003c/a> in Burlingame.\u003c/p>\n\u003cfigure id=\"attachment_13874157\" class=\"wp-caption aligncenter\" style=\"max-width: 1045px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874157\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB.jpeg\" alt=\"Detail of an affordably priced German model circa 1870s, designed for an unknown Klezmer musician, hence the inlaid mother of pearl Star of David.\" width=\"1045\" height=\"695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB.jpeg 1045w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-1020x678.jpeg 1020w\" sizes=\"(max-width: 1045px) 100vw, 1045px\">\u003cfigcaption class=\"wp-caption-text\">Detail of an affordably priced German model circa 1870s, designed for an unknown Klezmer musician, hence the inlaid mother of pearl Star of David. \u003ccite>(Courtesy of Amnon Weinstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp id=\"yui_3_17_2_1_1580435548622_162\">Moy, also the descendent of Holocaust survivors, saw the Weinsteins in Cleveland several years ago and committed herself to lining up the funding and organizational support to bring them to the Bay Area.\u003c/p>\n\u003cp>“We really had no idea when we started planning this five years ago that our world would be in the state of turmoil that it’s in,” she said. “This extraordinary project is more timely than we ever knew. It’s the violins of hope. It’s not the violins of despair. To hope is to be human.”\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>\u003cem>\u003cstrong>Violins of Hope San Francisco Bay Area Project \u003c/strong>runs through March 15, 2020, featuring more than 70 events region-wide including concerts, lectures, exhibits, films, community forums, ecumenical services, interfaith dialogues and educational workshops. For more information click \u003cstrong>\u003ca href=\"http://violinsofhopesfba.org/events\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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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": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"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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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"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": {
"id": "snap-judgment",
"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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},
"soldout": {
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