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"content": "\u003cp>On Wednesday, Feb. 17, \u003ca href=\"https://sfneon.org/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Neon\u003c/a> presents the second part of their virtual Chinatown neon sign tour in partnership with the Chinese Historical Society of America. Through the examination of the architecture and design of the neighborhood’s many still-existing neon signs, the tour tells stories of a culture, its traditions and its history. \u003c/p>\n\u003cp>This tour falls not just around the Lunar New Year, but in a moment that has called increased attention to anti-Asian and anti-Chinese racism across the country, and particularly in the Bay Area. The past several weeks have seen a sharp spike in hate crimes against elderly Asian individuals in the East Bay.[aside postID='arts_13892437']\u003c/p>\n\u003cp>One such attack, the Jan. 28 assault of Vicha Ratanapakdee in San Francisco, was captured on video. The 84-year-old Ratanapakdee was seen being shoved to the ground in the disturbing viral clip during his morning walk, and died days later. In response to the attacks, Alameda County District Attorney Nancy O’Malley announced the creation of a special response unit on Tuesday that will investigate crimes against Asian Americans, particularly those against the elderly.\u003c/p>\n\u003cp>Community organizers and leaders have called for non-Asian members of the Bay Area community to come support Oakland and San Francisco Chinatown business and organizations around this Lunar New Year in a show of solidarity against anti-Asian hate and racism. For those hesitant to go in-person due to COVID concerns, the San Francisco Neon Chinatown tour provides a way to show that support from home. \u003c/p>\n\u003cfigure id=\"attachment_13892622\" class=\"wp-caption aligncenter\" style=\"max-width: 472px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/li-po-artco-from-found-sf.jpg\" alt=\"Nighttime in Chinatown, circa 1955.\" width=\"472\" height=\"695\" class=\"size-full wp-image-13892622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/li-po-artco-from-found-sf.jpg 472w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/li-po-artco-from-found-sf-160x236.jpg 160w\" sizes=\"(max-width: 472px) 100vw, 472px\">\u003cfigcaption class=\"wp-caption-text\">Nighttime in Chinatown, circa 1955. \u003ccite>(via Found SF / San Francisco Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Part II of San Francisco Neon’s Chinatown neon sign tour occurs virtually on Wednesday, Feb. 17. Tickets are free with a suggested $10 donation; \u003ca href=\"https://sfneon.org/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday, Feb. 17, \u003ca href=\"https://sfneon.org/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Neon\u003c/a> presents the second part of their virtual Chinatown neon sign tour in partnership with the Chinese Historical Society of America. Through the examination of the architecture and design of the neighborhood’s many still-existing neon signs, the tour tells stories of a culture, its traditions and its history. \u003c/p>\n\u003cp>This tour falls not just around the Lunar New Year, but in a moment that has called increased attention to anti-Asian and anti-Chinese racism across the country, and particularly in the Bay Area. The past several weeks have seen a sharp spike in hate crimes against elderly Asian individuals in the East Bay.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One such attack, the Jan. 28 assault of Vicha Ratanapakdee in San Francisco, was captured on video. The 84-year-old Ratanapakdee was seen being shoved to the ground in the disturbing viral clip during his morning walk, and died days later. In response to the attacks, Alameda County District Attorney Nancy O’Malley announced the creation of a special response unit on Tuesday that will investigate crimes against Asian Americans, particularly those against the elderly.\u003c/p>\n\u003cp>Community organizers and leaders have called for non-Asian members of the Bay Area community to come support Oakland and San Francisco Chinatown business and organizations around this Lunar New Year in a show of solidarity against anti-Asian hate and racism. For those hesitant to go in-person due to COVID concerns, the San Francisco Neon Chinatown tour provides a way to show that support from home. \u003c/p>\n\u003cfigure id=\"attachment_13892622\" class=\"wp-caption aligncenter\" style=\"max-width: 472px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/li-po-artco-from-found-sf.jpg\" alt=\"Nighttime in Chinatown, circa 1955.\" width=\"472\" height=\"695\" class=\"size-full wp-image-13892622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/li-po-artco-from-found-sf.jpg 472w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/li-po-artco-from-found-sf-160x236.jpg 160w\" sizes=\"(max-width: 472px) 100vw, 472px\">\u003cfigcaption class=\"wp-caption-text\">Nighttime in Chinatown, circa 1955. \u003ccite>(via Found SF / San Francisco Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Part II of San Francisco Neon’s Chinatown neon sign tour occurs virtually on Wednesday, Feb. 17. Tickets are free with a suggested $10 donation; \u003ca href=\"https://sfneon.org/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Watch: That Time the Mayor Burned a Cage of Opium Outside SF City Hall",
"headTitle": "Watch: That Time the Mayor Burned a Cage of Opium Outside SF City Hall | KQED",
"content": "\u003cp>Picture, if you will, Mayor London Breed one day emerging from San Francisco City Hall to set fire to half a million dollars’ worth of narcotics piled inside a massive cage constructed out of drug paraphernalia. And imagine if the main thing in that burning structure was opium, which gets you high if you set it on fire and inhale the smoke it produces.\u003c/p>\n\u003cp>\u003cem>Yeah.\u003c/em>\u003c/p>\n\u003cp>In 1914, this is exactly what San Francisco’s mayor James Rolph did, in front of a gathered crowd of 5,000 people. Rolph’s stated goal was to send a very public message to local drug smugglers and dealers. (That message, to be clear, was supposed to be about zero tolerance, not the dangers of secondhand smoke.)\u003c/p>\n\u003cp>According to an article from the \u003ca href=\"https://books.google.com/books?id=XaxMAAAAYAAJ&pg=PA392&lpg=PA392&dq=%22Ten+thousand+packages+of+morphia,+opium,+and+cocaine%22&source=bl&ots=jYG95RRkUe&sig=ACfU3U1PE87JyT1fwGUYOdIjLFIJ5APIVA&hl=en&sa=X&ved=2ahUKEwjL4viNnYfgAhXDct8KHbn3A7AQ6AEwAHoECAAQAQ#v=onepage&q=%22Ten%20thousand%20packages%20of%20morphia%2C%20opium%2C%20and%20cocaine%22&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">March 1914 issue of \u003cem>Technical World Magazine\u003c/em>\u003c/a>, “All the condemned articles were piled upon the stone ruins of the old City Hall. With the tins of drugs were mixed excelsior and other highly inflammable material, while the pipes were hung side by side on scaffolding erected for the purpose.” The photo accompanying the story called the resulting bonfire “The Funeral Pyre of Dreams.”\u003c/p>\n\u003cfigure id=\"attachment_13890860\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890860\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-800x497.png\" alt=\"The photo that 'Technical World Magazine' used in its March 1914 report on the opium bonfire shows a plume of black smoke rising up, outside San Francisco's City Hall.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-768x477.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM.png 1007w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The photo that ‘Technical World Magazine’ used in its report on the opium bonfire outside San Francisco’s City Hall. \u003ccite>(Technical World Magazine, March 1914, P.392.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This drug blaze was the result of an 18-month crackdown by California’s State Board of Pharmacy. During that time, 1,200 people were successfully prosecuted on narcotics-related charges, a multitude of pipes and syringes were seized, and $20,000 (in 1914 money) of opium, morphine and cocaine (around “10,000 packages”) was confiscated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At around 2pm, Mayor Rolph set all of it alight, including, according to \u003cem>Technical World Magazine\u003c/em>, “several hundred pipes, centuries old, beautifully carved and ornamented with gold and jewels.” (Thankfully, Rolph did make a last minute call to rescue “several pipes, known to be more than two hundred years old” to be sent to “the Golden Gate Museum.”) The \u003cem>Chronicle\u003c/em> later \u003ca href=\"https://www.newstimes.com/sfhistory/article/San-Francisco-opium-burning-1914-13031409.php\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a>, “It was only a matter of moments ere the entire monument of potential degeneracy and vice was sending its smoke up to heaven.”\u003c/p>\n\u003cp>Thankfully someone had the good sense to capture it on film:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5ForrNJLv0A\u003c/p>\n\u003cp>At the time of the burning, the State Board of Pharmacy had been holding public drug-related burnings for five years. A year earlier, one bonfire set to destroy 1,300 pipes ($25,000 worth) came dangerously close to igniting several buildings on the corner of Washington Street and Ross Alley. After that close call, the wide open space outside City Hall must have seemed like a much safer option. [aside postid='arts_13886018']\u003c/p>\n\u003cp>These kinds of dramatic clampdowns came after decades of San Francisco mostly turning a blind eye to the opium boom. What started with the arrival of \u003ca href=\"https://www.foundsf.org/index.php?title=Chinatown%27s_Opium_Dens\" target=\"_blank\" rel=\"noopener noreferrer\">52 boxes of opium in 1861\u003c/a> had created around 300 opium dens by the end of the 1880s. While the city served as the \u003ca href=\"https://immigrants.harpweek.com/chineseamericans/Items/Item061L.htm\" target=\"_blank\" rel=\"noopener noreferrer\">primary American gateway\u003c/a> for drug imports from China, law enforcement was slow to do anything about it. Commissioner Jesse B. Cook, a former chief of SFPD and a sergeant of the “Chinatown Squad” before the 1906 earthquake, wrote in 1931 about his experience with opium in the city at the turn of the century.\u003c/p>\n\u003cp>“At that time nearly every store in Chinatown had an opium layout in the rear for their customers,” \u003ca href=\"http://www.sfmuseum.org/hist9/cook.html\" target=\"_blank\" rel=\"noopener noreferrer\">he reported\u003c/a>. “In those days the Chinese were allowed to smoke opium, provided they did not do so in the presence of a white man. If a white man was present it meant the arrest of all who were in the room at the time.”\u003c/p>\n\u003cp>Cook said that some dens could accommodate as many as 100 opium smokers. “The opium smoke was sometimes so thick in those dens that the gas jets looked like small matches burning. Opium has a peculiar, sweet smell, not at all distasteful, and many times when coming home from Chinatown after going through dens, people in the cars sitting near me, would be sniffing, smelling the opium in my clothes and wondering what it was. When I got home it would be necessary to undress in an outer room and air my clothes to get the opium fumes out of them.” [aside postid='arts_13884403']\u003c/p>\n\u003cp>At the end of the 19th century, messages about opium were fairly mixed, with some advocates viewing the narcotic as positively medicinal. One journal article titled “\u003ca href=\"https://jamanetwork.com/journals/jama/article-abstract/468857\" target=\"_blank\" rel=\"noopener noreferrer\">Opium Smoking\u003c/a>” from March 5, 1892 quoted one enthusiast as saying: “Opium smoking is not only innocuous, but positively beneficial to the system. It is a complete preservative against drunkenness.”\u003c/p>\n\u003cp>After the 1906 earthquake decimated much of Chinatown, many of the city’s opium dens disappeared literally overnight. And by 1914, public attitudes to narcotics entered a major shift on a national level. In 1908, Hamilton Wright had become United States Opium Commissioner and launched a passionate and concerted campaign to stamp out opium. In March 1911, \u003ca href=\"https://www.nytimes.com/1911/03/12/archives/-uncle-sam-is-the-worst-drug-fiend-in-the-world-dr-hamilton-wright-.html\" target=\"_blank\" rel=\"noopener noreferrer\">he told the \u003cem>New York Times\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Of all the nations of the world, the United States consumes most habit-forming drugs per capita … China now guards [opium] with much greater care than we do; Japan preserves her people from it far more intelligently than we do ours, who can buy it, in almost any form, in every tenth one of our drug stores. Our physicians use it recklessly in remedies and thus become responsible for making numberless ‘dope fiends’ … The habit has this Nation in its grip to an astonishing extent. Our prisons and our hospitals are full of victims of it.\u003c/p>\u003c/blockquote>\n\u003cp>Heeding Wright’s warnings, America tip-toed into the war on drugs via the Harrison Narcotics Tax Act of 1914. The legislation imposed “a special tax on all persons who produce, import, manufacture, compound, deal in, dispense, sell, distribute, or give away opium or coca leaves, their salts, derivatives, or preparations, and for other purposes.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The act quickly reduced the amount of opium in circulation—without anyone having to publicly set it on fire.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Picture, if you will, Mayor London Breed one day emerging from San Francisco City Hall to set fire to half a million dollars’ worth of narcotics piled inside a massive cage constructed out of drug paraphernalia. And imagine if the main thing in that burning structure was opium, which gets you high if you set it on fire and inhale the smoke it produces.\u003c/p>\n\u003cp>\u003cem>Yeah.\u003c/em>\u003c/p>\n\u003cp>In 1914, this is exactly what San Francisco’s mayor James Rolph did, in front of a gathered crowd of 5,000 people. Rolph’s stated goal was to send a very public message to local drug smugglers and dealers. (That message, to be clear, was supposed to be about zero tolerance, not the dangers of secondhand smoke.)\u003c/p>\n\u003cp>According to an article from the \u003ca href=\"https://books.google.com/books?id=XaxMAAAAYAAJ&pg=PA392&lpg=PA392&dq=%22Ten+thousand+packages+of+morphia,+opium,+and+cocaine%22&source=bl&ots=jYG95RRkUe&sig=ACfU3U1PE87JyT1fwGUYOdIjLFIJ5APIVA&hl=en&sa=X&ved=2ahUKEwjL4viNnYfgAhXDct8KHbn3A7AQ6AEwAHoECAAQAQ#v=onepage&q=%22Ten%20thousand%20packages%20of%20morphia%2C%20opium%2C%20and%20cocaine%22&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">March 1914 issue of \u003cem>Technical World Magazine\u003c/em>\u003c/a>, “All the condemned articles were piled upon the stone ruins of the old City Hall. With the tins of drugs were mixed excelsior and other highly inflammable material, while the pipes were hung side by side on scaffolding erected for the purpose.” The photo accompanying the story called the resulting bonfire “The Funeral Pyre of Dreams.”\u003c/p>\n\u003cfigure id=\"attachment_13890860\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890860\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-800x497.png\" alt=\"The photo that 'Technical World Magazine' used in its March 1914 report on the opium bonfire shows a plume of black smoke rising up, outside San Francisco's City Hall.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-768x477.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM.png 1007w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The photo that ‘Technical World Magazine’ used in its report on the opium bonfire outside San Francisco’s City Hall. \u003ccite>(Technical World Magazine, March 1914, P.392.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This drug blaze was the result of an 18-month crackdown by California’s State Board of Pharmacy. During that time, 1,200 people were successfully prosecuted on narcotics-related charges, a multitude of pipes and syringes were seized, and $20,000 (in 1914 money) of opium, morphine and cocaine (around “10,000 packages”) was confiscated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At around 2pm, Mayor Rolph set all of it alight, including, according to \u003cem>Technical World Magazine\u003c/em>, “several hundred pipes, centuries old, beautifully carved and ornamented with gold and jewels.” (Thankfully, Rolph did make a last minute call to rescue “several pipes, known to be more than two hundred years old” to be sent to “the Golden Gate Museum.”) The \u003cem>Chronicle\u003c/em> later \u003ca href=\"https://www.newstimes.com/sfhistory/article/San-Francisco-opium-burning-1914-13031409.php\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a>, “It was only a matter of moments ere the entire monument of potential degeneracy and vice was sending its smoke up to heaven.”\u003c/p>\n\u003cp>Thankfully someone had the good sense to capture it on film:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5ForrNJLv0A'\n title='//www.youtube.com/embed/5ForrNJLv0A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the time of the burning, the State Board of Pharmacy had been holding public drug-related burnings for five years. A year earlier, one bonfire set to destroy 1,300 pipes ($25,000 worth) came dangerously close to igniting several buildings on the corner of Washington Street and Ross Alley. After that close call, the wide open space outside City Hall must have seemed like a much safer option. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These kinds of dramatic clampdowns came after decades of San Francisco mostly turning a blind eye to the opium boom. What started with the arrival of \u003ca href=\"https://www.foundsf.org/index.php?title=Chinatown%27s_Opium_Dens\" target=\"_blank\" rel=\"noopener noreferrer\">52 boxes of opium in 1861\u003c/a> had created around 300 opium dens by the end of the 1880s. While the city served as the \u003ca href=\"https://immigrants.harpweek.com/chineseamericans/Items/Item061L.htm\" target=\"_blank\" rel=\"noopener noreferrer\">primary American gateway\u003c/a> for drug imports from China, law enforcement was slow to do anything about it. Commissioner Jesse B. Cook, a former chief of SFPD and a sergeant of the “Chinatown Squad” before the 1906 earthquake, wrote in 1931 about his experience with opium in the city at the turn of the century.\u003c/p>\n\u003cp>“At that time nearly every store in Chinatown had an opium layout in the rear for their customers,” \u003ca href=\"http://www.sfmuseum.org/hist9/cook.html\" target=\"_blank\" rel=\"noopener noreferrer\">he reported\u003c/a>. “In those days the Chinese were allowed to smoke opium, provided they did not do so in the presence of a white man. If a white man was present it meant the arrest of all who were in the room at the time.”\u003c/p>\n\u003cp>Cook said that some dens could accommodate as many as 100 opium smokers. “The opium smoke was sometimes so thick in those dens that the gas jets looked like small matches burning. Opium has a peculiar, sweet smell, not at all distasteful, and many times when coming home from Chinatown after going through dens, people in the cars sitting near me, would be sniffing, smelling the opium in my clothes and wondering what it was. When I got home it would be necessary to undress in an outer room and air my clothes to get the opium fumes out of them.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the end of the 19th century, messages about opium were fairly mixed, with some advocates viewing the narcotic as positively medicinal. One journal article titled “\u003ca href=\"https://jamanetwork.com/journals/jama/article-abstract/468857\" target=\"_blank\" rel=\"noopener noreferrer\">Opium Smoking\u003c/a>” from March 5, 1892 quoted one enthusiast as saying: “Opium smoking is not only innocuous, but positively beneficial to the system. It is a complete preservative against drunkenness.”\u003c/p>\n\u003cp>After the 1906 earthquake decimated much of Chinatown, many of the city’s opium dens disappeared literally overnight. And by 1914, public attitudes to narcotics entered a major shift on a national level. In 1908, Hamilton Wright had become United States Opium Commissioner and launched a passionate and concerted campaign to stamp out opium. In March 1911, \u003ca href=\"https://www.nytimes.com/1911/03/12/archives/-uncle-sam-is-the-worst-drug-fiend-in-the-world-dr-hamilton-wright-.html\" target=\"_blank\" rel=\"noopener noreferrer\">he told the \u003cem>New York Times\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Of all the nations of the world, the United States consumes most habit-forming drugs per capita … China now guards [opium] with much greater care than we do; Japan preserves her people from it far more intelligently than we do ours, who can buy it, in almost any form, in every tenth one of our drug stores. Our physicians use it recklessly in remedies and thus become responsible for making numberless ‘dope fiends’ … The habit has this Nation in its grip to an astonishing extent. Our prisons and our hospitals are full of victims of it.\u003c/p>\u003c/blockquote>\n\u003cp>Heeding Wright’s warnings, America tip-toed into the war on drugs via the Harrison Narcotics Tax Act of 1914. The legislation imposed “a special tax on all persons who produce, import, manufacture, compound, deal in, dispense, sell, distribute, or give away opium or coca leaves, their salts, derivatives, or preparations, and for other purposes.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The act quickly reduced the amount of opium in circulation—without anyone having to publicly set it on fire.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In solidarity with the Black Lives Matter movement, San Francisco’s \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a> has organized a day of painting in Portsmouth Square.\u003c/p>\n\u003cp>On Saturday, June 20, 11am–2pm, artists and volunteers, led by artist Vida Kuang, will paint messages in support of racial justice in the historic gathering place, continuing the square’s legacy as a site of actions, protests and resistance to white supremacy.\u003c/p>\n\u003cp>Members of the public are invited to join in the project, which will render messages in both English and Chinese. The CCC will provide painting supplies, gloves, hand-sanitizer and instructions. Volunteers are asked to bring “mess-friendly clothing” and open minds.\u003c/p>\n\u003cp>The event is timed to coincide with \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth\u003c/a> celebrations honoring Black freedom and resistance.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/1661384060682427/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In solidarity with the Black Lives Matter movement, San Francisco’s \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a> has organized a day of painting in Portsmouth Square.\u003c/p>\n\u003cp>On Saturday, June 20, 11am–2pm, artists and volunteers, led by artist Vida Kuang, will paint messages in support of racial justice in the historic gathering place, continuing the square’s legacy as a site of actions, protests and resistance to white supremacy.\u003c/p>\n\u003cp>Members of the public are invited to join in the project, which will render messages in both English and Chinese. The CCC will provide painting supplies, gloves, hand-sanitizer and instructions. Volunteers are asked to bring “mess-friendly clothing” and open minds.\u003c/p>\n\u003cp>The event is timed to coincide with \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth\u003c/a> celebrations honoring Black freedom and resistance.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/1661384060682427/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 1894, when Tien Fuh Wu was rescued from a Chinatown gambling den, she was covered in so many burns, cuts and bruises that it brought tears to the eyes of the police officers who’d come to retrieve her. The two missionaries leading the rescue worked out of the Occidental Board’s Presbyterian Mission House, five blocks away on Sacramento Street, and Wu would go on to spend most of her life there—first as a defiant child, and later as the tenacious rescuer of thousands of young women and girls just like her.\u003c/p>\n\u003cp>Wu had found herself in San Francisco two years earlier, after her father had sold her to pay off his gambling debts. Somewhere between the age of six and ten, Wu—under the pretense of going to visit her grandmother—was escorted to a boat. Her father locked her inside a cabin onboard with only a toothbrush and washcloth, told her to eat her supper, and left without saying goodbye. (She never saw her family again, despite attempting to locate them decades later.)\u003c/p>\n\u003cp>From her native province of Zehjiang, China, Wu was first taken a hundred miles north to Shanghai, then onto San Francisco via steamship. There, she was forced to work in a brothel, the Peking, as a “\u003ca href=\"https://en.wikipedia.org/wiki/Mui_tsai\" target=\"_blank\" rel=\"noopener noreferrer\">mui tsai\u003c/a>.” The phrase literally means “little sister,” while her role was that of a domestic slave. When her owner at the brothel fell into debt, Wu was sold to the gambling den on Jackson Street. There, she was subjected to rigorous household chores, and physically abused by her new owner.\u003c/p>\n\u003cp>When the children sold into the Chinatown mui tsai system reached their teens, they typically transferred from a life of domestic slavery into one of forced sex work. At the turn of the century in San Francisco, this kind of trafficking was rampant, and largely ignored by city authorities. The only real challenge to the system came in the form of missionaries, keen to free the imprisoned women from what they saw as a life of sin and convert them to Christianity.\u003c/p>\n\u003cfigure id=\"attachment_13880756\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screenshot_20200517-183606-800x768.jpg\" alt=\"920 Sacramento Street, where Tien Fuh Wu worked with Donaldina Cameron to rescue hundreds of women sold or tricked into a life of slavery and/or sexual abuse.\" width=\"800\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606-800x768.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606-768x737.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606-1020x979.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606.jpg 1431w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">920 Sacramento Street, where Tien Fuh Wu worked with Donaldina Cameron to rescue hundreds of women sold or tricked into a life of slavery and/or sexual abuse. \u003ccite>(Matty Messner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fifteen months after Wu was rescued, 23-year-old Donaldina Cameron arrived at the Mission Home at 920 Sacramento Street to teach the girls how to sew. By the time she was 25, she had become Superintendent. Initially the willful child and the strict teacher butted heads, but over time, they grew to form a relationship that more closely resembled that of mother and daughter. As all of the girls in the home tended to do, Wu affectionately called Cameron “Lo Mo,” meaning “Old Mother.” In turn, Cameron referred to her young friend as “Blessed Tien.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Due to her need for a Chinese translator, Cameron employed girls from the Mission House to act as her aides. When Wu was in her teens, Cameron’s favorite aide, Leung Yuen Qui, contracted tuberculosis. Wu not only volunteered to nurse the gravely ill woman, but was witness to her death and the emotional devastation it caused Cameron. It was this that prompted Wu to step up to take Qui’s place.\u003c/p>\n\u003cp>“I offered to help her in the work,” Wu said later, “because I felt very sorry for her, realizing how terribly crushed she was over her co-worker’s death.” It was the beginning of a working relationship that would last both of their lifetimes and save the lives of thousands of trafficked girls and women.\u003c/p>\n\u003cp>Earning $5 a month, Wu translated for Cameron during court cases and helped supervise the Mission House. (According to Julia Flynn Siler’s account of the period, \u003ca href=\"https://www.penguinrandomhouse.com/books/249432/the-white-devils-daughters-by-julia-flynn-siler/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The White Devil’s Daughters\u003c/em>\u003c/a>, one staff member described Wu as a “a stern taskmaster… but she was very kind and fair… so the girls trusted her.”) Most important of all, she accompanied Cameron on dangerous rescues, some of which took many months and intense investigation to orchestrate.\u003c/p>\n\u003cp>Wu’s role was of vital importance, not just for the sake of her ability to translate, but also because she put the rescued girls at ease. Brothel and slave owners commonly spread fear of “White Devils” to stop the women in their possession from seeking help. Many of those girls believed they would be in even greater danger if taken into the charge of white people. Wu—sometimes pointing to her own scars as evidence of her understanding—was the only one who could truly reassure them they were safe.\u003c/p>\n\u003cp>In 1908, a booklet titled \u003ca href=\"https://www.worldcat.org/title/dragon-stories-the-bowl-of-powfah-the-hundredth-maiden-naratives-sic-of-the-rescues-and-romances-of-chinese-slave-girls/oclc/82591864?referer=di&ht=edition\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dragon Stories\u003c/em>\u003c/a> was released by Oakland’s Pacific Presbyterian Publishing Company, in an effort to draw attention to the good work being done by the Chinatown missionaries. In it, a character believed to be at least partially based on Tien Fuh Wu was written about as a brave and determined hero, “excited” and “eager for the fray.” In the stories, she was presented as forcing her way into brothels, warmly reassuring young girls, and fearlessly getting them out of harm’s way.\u003c/p>\n\u003cp>Wu’s bravery cannot be overstated. Though everyone working at the Mission House received threats of violence for the work they were doing, Wu was targeted more than most because she herself was Chinese and therefore viewed as a traitor by the brothel owners in her midst. She was sent so many threats for doing rescue and interpretation work that, after each major rescue, Cameron would routinely stop her 4′ 11″ cohort from going out alone for weeks at a time.\u003c/p>\n\u003cp>One infamous and racist letter called Wu a prostitute, a “stinking sow,” and threatened, “If God has eyes, he will certainly punish you. You have overreached yourself and in so doing, negroes, dogs and thunder will come after you.”\u003c/p>\n\u003cp>Based on the history of the Mission House, if God’s eyes were indeed watching over it, they offered nothing but protection. Though the building had to be reconstructed, not only did the organization survive the 1906 earthquake, everyone living and working there also survived the flu epidemic of 1918 and 1919. This despite most of the women in the home being struck down with the illness. Wu and the home’s Assistant Superintendent, Ethel Higgins, are credited with nursing everyone back to health.\u003c/p>\n\u003cp>Today, the Mission House continues to provide invaluable services to the Chinatown community. It offers over a thousand low-income and immigrant Asian families assistance in the form of counseling, domestic violence intervention, food distribution, after-school and summer programs, adult classes and more. Though it was renamed \u003ca href=\"https://cameronhouse.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Donaldina Cameron House\u003c/a> in 1942, the original Mission House sign remains in brickwork over the main entrance.\u003c/p>\n\u003cfigure id=\"attachment_13880757\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screenshot_20200518-170757-800x1002.jpg\" alt=\"Today, 920 Sacramento Street is named Donaldina Cameron House, but the original Presbyterian Mission House sign remains in the stonework over the main entrance.\" width=\"800\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757-1020x1278.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757.jpg 1127w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Today, 920 Sacramento Street is named Donaldina Cameron House, but the original Presbyterian Mission House sign remains in the stonework over the main entrance. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the 1930s, as Cameron readied herself for retirement, Wu took on even more responsibility, making public appearances to raise funds and awareness, while also dealing with the immigration woes of the women in their care. She also acted as a travel guardian for women who had testified against slave dealers. (They called her “Auntie Wu.”) As if that weren’t enough, she even vetted potential grooms for the girls, investigating both their morality and financial security to be sure that the women would be safe in their new homes. Wu herself turned down a multitude of suitors. “Men are very useful,” she once said, “when it comes to moving furniture.”\u003c/p>\n\u003cp>When Wu eventually retired in 1951, her beloved “Lo Mo” had long since settled on California Avenue in Palo Alto. Cameron offered Wu the cottage next door, and the two lived side-by-side until Cameron’s death in 1968. Wu is said to have been at her mentor’s side, reading from a Bible until the very end. When Wu passed away seven years later, she was buried next to her friend in Cameron’s family plot at the Evergreen Cemetery in Los Angeles.\u003c/p>\n\u003cp>Her \u003ca href=\"http://www.amerasiajournal.org/blog/wp-content/uploads/2010/10/wu.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">small headstone\u003c/a> belies the huge importance of the life she lived. It reads only: “Tien Fuh Wu 1886-1975.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1894, when Tien Fuh Wu was rescued from a Chinatown gambling den, she was covered in so many burns, cuts and bruises that it brought tears to the eyes of the police officers who’d come to retrieve her. The two missionaries leading the rescue worked out of the Occidental Board’s Presbyterian Mission House, five blocks away on Sacramento Street, and Wu would go on to spend most of her life there—first as a defiant child, and later as the tenacious rescuer of thousands of young women and girls just like her.\u003c/p>\n\u003cp>Wu had found herself in San Francisco two years earlier, after her father had sold her to pay off his gambling debts. Somewhere between the age of six and ten, Wu—under the pretense of going to visit her grandmother—was escorted to a boat. Her father locked her inside a cabin onboard with only a toothbrush and washcloth, told her to eat her supper, and left without saying goodbye. (She never saw her family again, despite attempting to locate them decades later.)\u003c/p>\n\u003cp>From her native province of Zehjiang, China, Wu was first taken a hundred miles north to Shanghai, then onto San Francisco via steamship. There, she was forced to work in a brothel, the Peking, as a “\u003ca href=\"https://en.wikipedia.org/wiki/Mui_tsai\" target=\"_blank\" rel=\"noopener noreferrer\">mui tsai\u003c/a>.” The phrase literally means “little sister,” while her role was that of a domestic slave. When her owner at the brothel fell into debt, Wu was sold to the gambling den on Jackson Street. There, she was subjected to rigorous household chores, and physically abused by her new owner.\u003c/p>\n\u003cp>When the children sold into the Chinatown mui tsai system reached their teens, they typically transferred from a life of domestic slavery into one of forced sex work. At the turn of the century in San Francisco, this kind of trafficking was rampant, and largely ignored by city authorities. The only real challenge to the system came in the form of missionaries, keen to free the imprisoned women from what they saw as a life of sin and convert them to Christianity.\u003c/p>\n\u003cfigure id=\"attachment_13880756\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screenshot_20200517-183606-800x768.jpg\" alt=\"920 Sacramento Street, where Tien Fuh Wu worked with Donaldina Cameron to rescue hundreds of women sold or tricked into a life of slavery and/or sexual abuse.\" width=\"800\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606-800x768.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606-768x737.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606-1020x979.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200517-183606.jpg 1431w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">920 Sacramento Street, where Tien Fuh Wu worked with Donaldina Cameron to rescue hundreds of women sold or tricked into a life of slavery and/or sexual abuse. \u003ccite>(Matty Messner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fifteen months after Wu was rescued, 23-year-old Donaldina Cameron arrived at the Mission Home at 920 Sacramento Street to teach the girls how to sew. By the time she was 25, she had become Superintendent. Initially the willful child and the strict teacher butted heads, but over time, they grew to form a relationship that more closely resembled that of mother and daughter. As all of the girls in the home tended to do, Wu affectionately called Cameron “Lo Mo,” meaning “Old Mother.” In turn, Cameron referred to her young friend as “Blessed Tien.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Due to her need for a Chinese translator, Cameron employed girls from the Mission House to act as her aides. When Wu was in her teens, Cameron’s favorite aide, Leung Yuen Qui, contracted tuberculosis. Wu not only volunteered to nurse the gravely ill woman, but was witness to her death and the emotional devastation it caused Cameron. It was this that prompted Wu to step up to take Qui’s place.\u003c/p>\n\u003cp>“I offered to help her in the work,” Wu said later, “because I felt very sorry for her, realizing how terribly crushed she was over her co-worker’s death.” It was the beginning of a working relationship that would last both of their lifetimes and save the lives of thousands of trafficked girls and women.\u003c/p>\n\u003cp>Earning $5 a month, Wu translated for Cameron during court cases and helped supervise the Mission House. (According to Julia Flynn Siler’s account of the period, \u003ca href=\"https://www.penguinrandomhouse.com/books/249432/the-white-devils-daughters-by-julia-flynn-siler/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The White Devil’s Daughters\u003c/em>\u003c/a>, one staff member described Wu as a “a stern taskmaster… but she was very kind and fair… so the girls trusted her.”) Most important of all, she accompanied Cameron on dangerous rescues, some of which took many months and intense investigation to orchestrate.\u003c/p>\n\u003cp>Wu’s role was of vital importance, not just for the sake of her ability to translate, but also because she put the rescued girls at ease. Brothel and slave owners commonly spread fear of “White Devils” to stop the women in their possession from seeking help. Many of those girls believed they would be in even greater danger if taken into the charge of white people. Wu—sometimes pointing to her own scars as evidence of her understanding—was the only one who could truly reassure them they were safe.\u003c/p>\n\u003cp>In 1908, a booklet titled \u003ca href=\"https://www.worldcat.org/title/dragon-stories-the-bowl-of-powfah-the-hundredth-maiden-naratives-sic-of-the-rescues-and-romances-of-chinese-slave-girls/oclc/82591864?referer=di&ht=edition\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dragon Stories\u003c/em>\u003c/a> was released by Oakland’s Pacific Presbyterian Publishing Company, in an effort to draw attention to the good work being done by the Chinatown missionaries. In it, a character believed to be at least partially based on Tien Fuh Wu was written about as a brave and determined hero, “excited” and “eager for the fray.” In the stories, she was presented as forcing her way into brothels, warmly reassuring young girls, and fearlessly getting them out of harm’s way.\u003c/p>\n\u003cp>Wu’s bravery cannot be overstated. Though everyone working at the Mission House received threats of violence for the work they were doing, Wu was targeted more than most because she herself was Chinese and therefore viewed as a traitor by the brothel owners in her midst. She was sent so many threats for doing rescue and interpretation work that, after each major rescue, Cameron would routinely stop her 4′ 11″ cohort from going out alone for weeks at a time.\u003c/p>\n\u003cp>One infamous and racist letter called Wu a prostitute, a “stinking sow,” and threatened, “If God has eyes, he will certainly punish you. You have overreached yourself and in so doing, negroes, dogs and thunder will come after you.”\u003c/p>\n\u003cp>Based on the history of the Mission House, if God’s eyes were indeed watching over it, they offered nothing but protection. Though the building had to be reconstructed, not only did the organization survive the 1906 earthquake, everyone living and working there also survived the flu epidemic of 1918 and 1919. This despite most of the women in the home being struck down with the illness. Wu and the home’s Assistant Superintendent, Ethel Higgins, are credited with nursing everyone back to health.\u003c/p>\n\u003cp>Today, the Mission House continues to provide invaluable services to the Chinatown community. It offers over a thousand low-income and immigrant Asian families assistance in the form of counseling, domestic violence intervention, food distribution, after-school and summer programs, adult classes and more. Though it was renamed \u003ca href=\"https://cameronhouse.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Donaldina Cameron House\u003c/a> in 1942, the original Mission House sign remains in brickwork over the main entrance.\u003c/p>\n\u003cfigure id=\"attachment_13880757\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screenshot_20200518-170757-800x1002.jpg\" alt=\"Today, 920 Sacramento Street is named Donaldina Cameron House, but the original Presbyterian Mission House sign remains in the stonework over the main entrance.\" width=\"800\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757-1020x1278.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screenshot_20200518-170757.jpg 1127w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Today, 920 Sacramento Street is named Donaldina Cameron House, but the original Presbyterian Mission House sign remains in the stonework over the main entrance. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the 1930s, as Cameron readied herself for retirement, Wu took on even more responsibility, making public appearances to raise funds and awareness, while also dealing with the immigration woes of the women in their care. She also acted as a travel guardian for women who had testified against slave dealers. (They called her “Auntie Wu.”) As if that weren’t enough, she even vetted potential grooms for the girls, investigating both their morality and financial security to be sure that the women would be safe in their new homes. Wu herself turned down a multitude of suitors. “Men are very useful,” she once said, “when it comes to moving furniture.”\u003c/p>\n\u003cp>When Wu eventually retired in 1951, her beloved “Lo Mo” had long since settled on California Avenue in Palo Alto. Cameron offered Wu the cottage next door, and the two lived side-by-side until Cameron’s death in 1968. Wu is said to have been at her mentor’s side, reading from a Bible until the very end. When Wu passed away seven years later, she was buried next to her friend in Cameron’s family plot at the Evergreen Cemetery in Los Angeles.\u003c/p>\n\u003cp>Her \u003ca href=\"http://www.amerasiajournal.org/blog/wp-content/uploads/2010/10/wu.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">small headstone\u003c/a> belies the huge importance of the life she lived. It reads only: “Tien Fuh Wu 1886-1975.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The global response to COVID-19 has made clear that the fear of contracting disease has an ugly cousin: xenophobia. As the coronavirus has spread from China to other countries, anti-Asian discrimination has followed closely behind, manifesting in \u003ca href=\"https://www.npr.org/2020/02/11/804750392/coronavirus-affects-bottom-line-for-businesses-in-u-s-chinatowns\">plummeting sales at Chinese restaurants\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/26/809741251/san-francisco-chinatown-affected-by-coronavirus-fears-despite-no-confirmed-cases\">near-deserted Chinatown districts\u003c/a> and \u003ca href=\"https://www.cnn.com/2020/02/20/us/coronavirus-racist-attacks-against-asian-americans/index.html\">racist bullying\u003c/a> against people perceived to be Chinese.\u003c/p>\n\u003cp>We asked our listeners whether they had experienced this kind of coronavirus-related racism and xenophobia firsthand. And judging by the volume of emails, comments and tweets we got in response, the harassment has been intense for Asian Americans across the country — regardless of ethnicity, location or age.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/811363404/811927113\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>A common theme across our responses: Public transit has been \u003cem>really\u003c/em> hostile. Roger Chiang, who works in San Francisco, recalled a white woman glaring at him on the train to work, covering her nose and mouth. When he told her in a joking tone that he didn’t have the coronavirus, she replied that she “wasn’t racist — she just didn’t want to get sick.”\u003c/p>\n\u003cp>Allison Park from Brooklyn told us that when visiting D.C., she saw a man making faces at her on the Metro train. She tried to move away from him, but he wouldn’t stop. After a while, she said, he confronted her outright, saying: “Get out of here. Go back to China. I don’t want none of your swine flu here.” A week later, on a Muni train in San Francisco, another man yelled the same thing to her — “Go back to China” — and even threatened to shoot her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even a single cough or sneeze can trigger harassment. Amy Jiravisitcul from Boston said a man on a bus muttered about “diseased Chinese people” when she sneezed into her sleeve. When she confronted him, he told her: “Cover your fucking mouth.” When South San Franciscan Diane Tran sneezed into her elbow in a hallway in a hospital, where she was getting a flu shot, she said a middle-aged white woman yelled a racist slur at her.\u003c/p>\n\u003cp>Children have been targeted, too — by other children and adults alike. Devin Cabanilla, from Seattle, told us that a Costco food sample vendor told his Korean wife and mixed-race son to “get away” from the samples, questioning whether they had come from China. \u003ca href=\"https://www.insider.com/wuhan-coronavirus-kid-turned-away-food-samples-at-costco-2020-1\">Company executives later apologized\u003c/a> to his family, but he’s still shaken. “It just reminds me that when people look at us, they don’t see us as American,” he said.\u003c/p>\n\u003cp>Thirteen-year-old Sara Aalgaard told us that since the outbreak, many middle-school classmates of hers have been targeting the small population of Asian Americans at her school in Middletown, Conn. “People call us ‘corona,’ ” she said, or ask if they eat dogs. Rebecca Wen from North Brunswick, N.J., told us that her 9-year-old son reported that his 11-year-old classmate said: “You’re Chinese, so you must have the coronavirus.”\u003c/p>\n\u003cp>The anti-Asian harassment isn’t limited to the U.S., either. International outlets have reported harassment in majority-white countries like Australia, where parents in Melbourne\u003ca href=\"https://www.theguardian.com/commentisfree/2020/feb/28/sensationalist-media-is-exacerbating-racist-coronavirus-fears-we-need-to-combat-it\"> refused to let Asian doctors treat their children\u003c/a>, and Canada, where around 10,000 Toronto-area people signed a petition \u003ca href=\"https://www.aljazeera.com/news/2020/02/chinese-canadians-denounce-rising-xenophobia-tied-coronavirus-200202191216923.html\">calling for the local school district to track and isolate Chinese-Canadian students\u003c/a> who may have traveled to China for the Lunar New Year.\u003c/p>\n\u003cp>In Germany, Thea Suh said that when she sat down on her train to work, the person sitting next to turned away from her and covered his face. A few days later, a woman told her to move her “corona-riddled body” elsewhere. Not once did someone step in to help, she said. “I have also not seen or heard any German politician or major influencer coming to our defenses,” she said. “And I feel like as a part of the so-called \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/04/19/524571669/model-minority-myth-again-used-as-a-racial-wedge-between-asians-and-blacks\">model minority\u003c/a>, we are being left alone.”\u003c/p>\n\u003cp>That’s another common theme from the responses we got: Witnesses and bystanders were slow to intervene. Allison Park remembers that when the man on the D.C. Metro told her to go back to China, the train was nearly two-thirds full, but no one said anything. At best, she got some sympathetic looks. Amy Jiravisitcul said that the other passengers ignored the yelling, which made her wonder whether they thought she was just making a scene.\u003c/p>\n\u003cp>And when the harassment has passed, unease still lingers. Jane Hong from New York told us that when she and a fellow Korean American were walking from lunch, she heard a man screaming “yuck” in their direction. Now, she notices whenever people on the street look at her for more than a passing glance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t know if ‘paranoid’ is the word,” Hong said. “Now it’s in my head. I wonder if they are thinking, ‘I have to stay away from her, I don’t want to walk near her.’ Now that the seed has been planted in my head, it’s hard to not have that thought cross my mind.”\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv class=\"hr\">\u003cem>For more on xenophobia and coronavirus, \u003c/em>\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">listen to this week’s episode of the Code Switch podcast\u003c/a>\u003cem>. We hear from some of these folks, as well as Erika Lee, a historian at the University of Minnesota who studies history, immigration and epidemics.\u003c/em>\u003c/div>\n\n",
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"description": "The global response to COVID-19 has made clear that the fear of contracting disease has an ugly cousin: xenophobia. As the coronavirus has spread from China to other countries, anti-Asian discrimination has followed closely behind, manifesting in plummeting sales at Chinese restaurants, near-deserted Chinatown districts and racist bullying against people perceived to be Chinese. We asked our listeners whether they had experienced this kind of coronavirus-related racism and xenophobia firsthand. And judging by the volume of emails, comments and tweets we got in response, the harassment has been intense for Asian Americans across the country — regardless of ethnicity, location or age. A common theme",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The global response to COVID-19 has made clear that the fear of contracting disease has an ugly cousin: xenophobia. As the coronavirus has spread from China to other countries, anti-Asian discrimination has followed closely behind, manifesting in \u003ca href=\"https://www.npr.org/2020/02/11/804750392/coronavirus-affects-bottom-line-for-businesses-in-u-s-chinatowns\">plummeting sales at Chinese restaurants\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/26/809741251/san-francisco-chinatown-affected-by-coronavirus-fears-despite-no-confirmed-cases\">near-deserted Chinatown districts\u003c/a> and \u003ca href=\"https://www.cnn.com/2020/02/20/us/coronavirus-racist-attacks-against-asian-americans/index.html\">racist bullying\u003c/a> against people perceived to be Chinese.\u003c/p>\n\u003cp>We asked our listeners whether they had experienced this kind of coronavirus-related racism and xenophobia firsthand. And judging by the volume of emails, comments and tweets we got in response, the harassment has been intense for Asian Americans across the country — regardless of ethnicity, location or age.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/811363404/811927113\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>A common theme across our responses: Public transit has been \u003cem>really\u003c/em> hostile. Roger Chiang, who works in San Francisco, recalled a white woman glaring at him on the train to work, covering her nose and mouth. When he told her in a joking tone that he didn’t have the coronavirus, she replied that she “wasn’t racist — she just didn’t want to get sick.”\u003c/p>\n\u003cp>Allison Park from Brooklyn told us that when visiting D.C., she saw a man making faces at her on the Metro train. She tried to move away from him, but he wouldn’t stop. After a while, she said, he confronted her outright, saying: “Get out of here. Go back to China. I don’t want none of your swine flu here.” A week later, on a Muni train in San Francisco, another man yelled the same thing to her — “Go back to China” — and even threatened to shoot her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even a single cough or sneeze can trigger harassment. Amy Jiravisitcul from Boston said a man on a bus muttered about “diseased Chinese people” when she sneezed into her sleeve. When she confronted him, he told her: “Cover your fucking mouth.” When South San Franciscan Diane Tran sneezed into her elbow in a hallway in a hospital, where she was getting a flu shot, she said a middle-aged white woman yelled a racist slur at her.\u003c/p>\n\u003cp>Children have been targeted, too — by other children and adults alike. Devin Cabanilla, from Seattle, told us that a Costco food sample vendor told his Korean wife and mixed-race son to “get away” from the samples, questioning whether they had come from China. \u003ca href=\"https://www.insider.com/wuhan-coronavirus-kid-turned-away-food-samples-at-costco-2020-1\">Company executives later apologized\u003c/a> to his family, but he’s still shaken. “It just reminds me that when people look at us, they don’t see us as American,” he said.\u003c/p>\n\u003cp>Thirteen-year-old Sara Aalgaard told us that since the outbreak, many middle-school classmates of hers have been targeting the small population of Asian Americans at her school in Middletown, Conn. “People call us ‘corona,’ ” she said, or ask if they eat dogs. Rebecca Wen from North Brunswick, N.J., told us that her 9-year-old son reported that his 11-year-old classmate said: “You’re Chinese, so you must have the coronavirus.”\u003c/p>\n\u003cp>The anti-Asian harassment isn’t limited to the U.S., either. International outlets have reported harassment in majority-white countries like Australia, where parents in Melbourne\u003ca href=\"https://www.theguardian.com/commentisfree/2020/feb/28/sensationalist-media-is-exacerbating-racist-coronavirus-fears-we-need-to-combat-it\"> refused to let Asian doctors treat their children\u003c/a>, and Canada, where around 10,000 Toronto-area people signed a petition \u003ca href=\"https://www.aljazeera.com/news/2020/02/chinese-canadians-denounce-rising-xenophobia-tied-coronavirus-200202191216923.html\">calling for the local school district to track and isolate Chinese-Canadian students\u003c/a> who may have traveled to China for the Lunar New Year.\u003c/p>\n\u003cp>In Germany, Thea Suh said that when she sat down on her train to work, the person sitting next to turned away from her and covered his face. A few days later, a woman told her to move her “corona-riddled body” elsewhere. Not once did someone step in to help, she said. “I have also not seen or heard any German politician or major influencer coming to our defenses,” she said. “And I feel like as a part of the so-called \u003ca href=\"https://www.npr.org/sections/codeswitch/2017/04/19/524571669/model-minority-myth-again-used-as-a-racial-wedge-between-asians-and-blacks\">model minority\u003c/a>, we are being left alone.”\u003c/p>\n\u003cp>That’s another common theme from the responses we got: Witnesses and bystanders were slow to intervene. Allison Park remembers that when the man on the D.C. Metro told her to go back to China, the train was nearly two-thirds full, but no one said anything. At best, she got some sympathetic looks. Amy Jiravisitcul said that the other passengers ignored the yelling, which made her wonder whether they thought she was just making a scene.\u003c/p>\n\u003cp>And when the harassment has passed, unease still lingers. Jane Hong from New York told us that when she and a fellow Korean American were walking from lunch, she heard a man screaming “yuck” in their direction. Now, she notices whenever people on the street look at her for more than a passing glance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t know if ‘paranoid’ is the word,” Hong said. “Now it’s in my head. I wonder if they are thinking, ‘I have to stay away from her, I don’t want to walk near her.’ Now that the seed has been planted in my head, it’s hard to not have that thought cross my mind.”\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv class=\"hr\">\u003cem>For more on xenophobia and coronavirus, \u003c/em>\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">listen to this week’s episode of the Code Switch podcast\u003c/a>\u003cem>. We hear from some of these folks, as well as Erika Lee, a historian at the University of Minnesota who studies history, immigration and epidemics.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Tuesday, Aug. 27, a rally filled Oakland’s Chinatown neighborhood to protest the Trump administration’s ‘\u003ca href=\"https://www.npr.org/2019/08/12/748328652/trump-administration-rule-would-penalize-immigrants-for-using-benefits\" target=\"_blank\" rel=\"noopener noreferrer\">public charge rule\u003c/a>,’ set to go into effect Oct. 15. And Thi Bui and a group of illustrators from the group Art Hack were there to document it.\u003c/p>\n\u003cp>[aside postID='arts_13851435' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/02/ThiBui.Strike.MAIN_.rev_-1020x615.jpg']\u003c/p>\n\u003cp>Under the rule, any immigrant receiving public benefits such as Medicaid, housing assistance or food stamps for over 12 months within a 36-month period would be considered a “public charge,” and thus would be \u003ca href=\"https://www.npr.org/2019/08/12/748328652/trump-administration-rule-would-penalize-immigrants-for-using-benefits\" target=\"_blank\" rel=\"noopener noreferrer\">less eligible to receive a green card\u003c/a>.\u003c/p>\n\u003cp>It’s a personal issue for Bui, the Caldecott Award-winning illustrator and the creator of the graphic memoir \u003cem>The Best We Could Do\u003c/em>, a \u003ca href=\"https://www.kqed.org/arts/13807203/a-vietnam-story-told-through-the-eyes-of-refugee-parents\" target=\"_blank\" rel=\"noopener noreferrer\">memoir about her family leaving Vietnam\u003c/a> and coming to America in the late 1970s.\u003c/p>\n\u003cp>“My family, like many, used public benefits when we first arrived in the United States,” Bui says. “It’s hard to imagine how we would have survived, much less gone on to thrive and help others in our careers, without that crucial help in the beginning.”\u003c/p>\n\u003cp>In Oakland on Tuesday, as attendees protested the effects the rule would have on working class immigrant families, the illustrators and cartoonists of Art Hack chronicled the day: real people, in their own words, in illustrations and comics.\u003c/p>\n\u003cp>See their drawings below.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200.jpg\" alt=\"\" width=\"1200\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-1020x632.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://mallorymoser.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mallory Moser\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865183\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200.jpg\" alt=\"\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-1020x1020.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://aisforactivist.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Innosanto Nagara\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865184\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200.jpg\" alt=\"\" width=\"1200\" height=\"1601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-1020x1361.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-899x1200.jpg 899w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"https://www.thibui.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thi Bui\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865185\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-900x1200.jpg 900w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://meganleppla.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Megan Leppla\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865186\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200.jpg\" alt=\"\" width=\"1200\" height=\"1559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-800x1039.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-768x998.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-1020x1325.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-924x1200.jpg 924w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://gchow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gerry Chow\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13865215\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong-800x1148.jpg\" alt=\"\" width=\"800\" height=\"1148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong-768x1102.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"https://francoisluong.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">François Luong\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "See drawings and comics of people protesting the public charge rule, in their own words, courtesy the Bay Area group Art Hack.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday, Aug. 27, a rally filled Oakland’s Chinatown neighborhood to protest the Trump administration’s ‘\u003ca href=\"https://www.npr.org/2019/08/12/748328652/trump-administration-rule-would-penalize-immigrants-for-using-benefits\" target=\"_blank\" rel=\"noopener noreferrer\">public charge rule\u003c/a>,’ set to go into effect Oct. 15. And Thi Bui and a group of illustrators from the group Art Hack were there to document it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Under the rule, any immigrant receiving public benefits such as Medicaid, housing assistance or food stamps for over 12 months within a 36-month period would be considered a “public charge,” and thus would be \u003ca href=\"https://www.npr.org/2019/08/12/748328652/trump-administration-rule-would-penalize-immigrants-for-using-benefits\" target=\"_blank\" rel=\"noopener noreferrer\">less eligible to receive a green card\u003c/a>.\u003c/p>\n\u003cp>It’s a personal issue for Bui, the Caldecott Award-winning illustrator and the creator of the graphic memoir \u003cem>The Best We Could Do\u003c/em>, a \u003ca href=\"https://www.kqed.org/arts/13807203/a-vietnam-story-told-through-the-eyes-of-refugee-parents\" target=\"_blank\" rel=\"noopener noreferrer\">memoir about her family leaving Vietnam\u003c/a> and coming to America in the late 1970s.\u003c/p>\n\u003cp>“My family, like many, used public benefits when we first arrived in the United States,” Bui says. “It’s hard to imagine how we would have survived, much less gone on to thrive and help others in our careers, without that crucial help in the beginning.”\u003c/p>\n\u003cp>In Oakland on Tuesday, as attendees protested the effects the rule would have on working class immigrant families, the illustrators and cartoonists of Art Hack chronicled the day: real people, in their own words, in illustrations and comics.\u003c/p>\n\u003cp>See their drawings below.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200.jpg\" alt=\"\" width=\"1200\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-1020x632.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://mallorymoser.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mallory Moser\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865183\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200.jpg\" alt=\"\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-1020x1020.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://aisforactivist.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Innosanto Nagara\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865184\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200.jpg\" alt=\"\" width=\"1200\" height=\"1601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-1020x1361.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-899x1200.jpg 899w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"https://www.thibui.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thi Bui\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865185\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-900x1200.jpg 900w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://meganleppla.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Megan Leppla\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865186\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200.jpg\" alt=\"\" width=\"1200\" height=\"1559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-800x1039.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-768x998.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-1020x1325.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-924x1200.jpg 924w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://gchow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gerry Chow\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13865215\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong-800x1148.jpg\" alt=\"\" width=\"800\" height=\"1148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong-160x230.jpg 160w, 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"title": "'Guided by Ghosts' Tells of Chinatowns Born of Racism, Then Lost to History",
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"content": "\u003cp>The last Chinatown of Santa Cruz disappeared after the great San Lorenzo River flood of 1955, known as the “\u003ca href=\"https://history.santacruzpl.org/omeka/files/original/b0c92c90026c6f75f8e4cf74f1230666.pdf\" target=\"_blank\" rel=\"noopener\">Christmas Flood\u003c/a>” because it hit on December 22 of that year. Despite the fact there were four Chinatowns in Santa Cruz, they all disappeared into history, destroyed by flood and fire, their inhabitants scattered to other places more welcoming.\u003c/p>\n\u003cp>An exhibition called \u003ca href=\"https://santacruzmah.org/exhibitions/guided-by-ghosts\" target=\"_blank\" rel=\"noopener\">\u003cem>Guided by Ghosts\u003c/em>\u003c/a> brings that story back to life on the walls of the Santa Cruz Museum of Art and History. Chinese-American artist \u003ca href=\"https://tessahulls.com/home.html\" target=\"_blank\" rel=\"noopener\">Tessa Hulls\u003c/a>\u003ci> \u003c/i>weaves multiple strands of history together with photographs, newspaper clippings, and water colors. It looks like a graphic novel. (As it happens, Hulls, who’s home base is in Seattle, has gone off the grid to finish a graphic novel focused on related material.)\u003c/p>\n\u003cp>At MAH, Hulls has put up a giant, wall-to-wall timeline with a color-coded key: maroon for “Tessa’s Story,” aqua green for the “Monterey Bay Region,” and yellow for “National/International,” starting with the first Spanish Galleon to cross the Pacific from the Philippines in 1565.\u003c/p>\n\u003cfigure id=\"attachment_13857075\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-800x578.jpeg\" alt=\"'Guided by Ghosts' by Chinese-American artist Tessa Hulls weaves multiple strands of history together into a graphic novel-style timeline, popping with photographs, newspaper clippings, and water colors.\" width=\"800\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-800x578.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-160x116.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-768x555.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-1020x737.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM.jpeg 1029w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Guided by Ghosts’ by Chinese-American artist Tessa Hulls weaves multiple strands of history together into a graphic novel-style timeline, popping with photographs, newspaper clippings, and water colors. \u003ccite>(Photo: Courtesy of the Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The timeline pops with quotes from people like George Ow, a kind of unofficial mayor for this community of ghosts. Hulls quotes him saying, “In Chinese folklore, if something is not settled during a lifetime, you have hungry ghosts, like angry spirits. By acknowledging these spirits, we’re kind of like feeding them.”\u003c/p>\n\u003cp>Ow, who grew up in that last Chinatown by the river, said the spirits would approve of Hulls joining the short list of those who’ve honored the history of Chinese-Americans in the Santa Cruz area. Ow’s uncle, George Lee, published a seminal collection of photographs, \u003ca href=\"http://tph.ucpress.edu/content/27/2/156.article-info\" target=\"_blank\" rel=\"noopener\">\u003cem>Chinatown Dreams\u003c/em>\u003c/a>. Historian \u003ca href=\"http://www.sandylydon.com\" target=\"_blank\" rel=\"noopener\">Sandy Lyden\u003c/a> wrote \u003ca href=\"http://www.capitolabook.com/chinese.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Chinese Gold: The Chinese in the Monterey Bay Region\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Guided by Ghosts\u003c/em> ends with a replica of the artist’s studio in Port Townsend, Washington. An empty desk and chair beckons visitors, and a deck of cards asks about our own family histories. It’s a common motif at the Museum of Art & History, which often concludes its exhibitions with some kind of participatory element.\u003c/p>\n\u003cfigure id=\"attachment_13857076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857076\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-800x534.jpg\" alt=\"'Lost Chinatowns' a dance theatre work by UC Santa Cruz Assistant Professor Cynthia Ling Lee, draws from poetry, court transcripts, and racist newspaper editorials. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Lost Chinatowns’ a dance theatre work by UC Santa Cruz Assistant Professor Cynthia Ling Lee, draws from poetry, court transcripts, and racist newspaper editorials. \u003ccite>(Photo: Courtesy of Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hulls may not have grown up in Santa Cruz, but the story still feels like hers. The journey her grandmother took to flee China, and the journey her mother took to get to the United States, are of a piece with her timeline, literally, as well as metaphorically.\u003c/p>\n\u003cp>When UC Santa Cruz Theatre Arts Assistant Professor \u003ca href=\"http://theater.ucsc.edu/faculty/cynthia-ling-lee\" target=\"_blank\" rel=\"noopener\">Cynthia Ling Lee\u003c/a> arrived in the area three years ago, she was surprised to discover how little Chinese influence remains. Lee couldn’t even find an Asian grocery store. “You have to drive all the way to San Jose. There’s this whole history of racism that drove out all the Chinese people. So, evidently, that’s why!” she said.\u003c/p>\n\u003cp>[aside postID='arts_12200341,news_11626850,forum_2010101869250' label='Related Coverage']Lee choreographed \u003ca href=\"http://www.cynthialinglee.com/lost-chinatowns/\" target=\"_blank\" rel=\"noopener\">\u003ci>Lost Chinatowns\u003c/i>\u003c/a>, a dance piece she performed at the museum in conjunction with \u003cem>Guided by Ghosts\u003c/em>. An ensemble version of the work has been performed in San Francisco as well. “While anti-Chinese racism now is not the same as it was in the early 1900s, we are in an era of, like, virulent, radicalized xenophobia, so it’s all super relevant.”\u003c/p>\n\u003cp>It’s a story Ow sees echoing through the centuries: “The labor is needed, but the people aren’t necessarily welcomed. From the Native Americans, to the Chinese, to the Japanese, to the Filipinos, to the people from the Dustbowl, and Mexico, and the countries south of Mexico. It’s the same old story. It’s still going on,” Ow said.\u003c/p>\n\u003cp>Today, Ow’s a real estate developer. Take a moment with that. Because of the \u003ca href=\"https://en.wikipedia.org/wiki/Chinese_Exclusion_Act\" target=\"_blank\" rel=\"noopener\">Chinese Exclusion Act\u003c/a> of 1882, it wasn’t until 1943 Chinese-Americans were allowed to own land in California. That makes Ow a living embodiment of the idea the personal is political.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Guided by Ghosts \u003c/strong>continues through June 23, 2019 at the Santa Cruz Museum of Art and History. For more information, click \u003ca href=\"https://santacruzmah.org/exhibitions/guided-by-ghosts\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last Chinatown of Santa Cruz disappeared after the great San Lorenzo River flood of 1955, known as the “\u003ca href=\"https://history.santacruzpl.org/omeka/files/original/b0c92c90026c6f75f8e4cf74f1230666.pdf\" target=\"_blank\" rel=\"noopener\">Christmas Flood\u003c/a>” because it hit on December 22 of that year. Despite the fact there were four Chinatowns in Santa Cruz, they all disappeared into history, destroyed by flood and fire, their inhabitants scattered to other places more welcoming.\u003c/p>\n\u003cp>An exhibition called \u003ca href=\"https://santacruzmah.org/exhibitions/guided-by-ghosts\" target=\"_blank\" rel=\"noopener\">\u003cem>Guided by Ghosts\u003c/em>\u003c/a> brings that story back to life on the walls of the Santa Cruz Museum of Art and History. Chinese-American artist \u003ca href=\"https://tessahulls.com/home.html\" target=\"_blank\" rel=\"noopener\">Tessa Hulls\u003c/a>\u003ci> \u003c/i>weaves multiple strands of history together with photographs, newspaper clippings, and water colors. It looks like a graphic novel. (As it happens, Hulls, who’s home base is in Seattle, has gone off the grid to finish a graphic novel focused on related material.)\u003c/p>\n\u003cp>At MAH, Hulls has put up a giant, wall-to-wall timeline with a color-coded key: maroon for “Tessa’s Story,” aqua green for the “Monterey Bay Region,” and yellow for “National/International,” starting with the first Spanish Galleon to cross the Pacific from the Philippines in 1565.\u003c/p>\n\u003cfigure id=\"attachment_13857075\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-800x578.jpeg\" alt=\"'Guided by Ghosts' by Chinese-American artist Tessa Hulls weaves multiple strands of history together into a graphic novel-style timeline, popping with photographs, newspaper clippings, and water colors.\" width=\"800\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-800x578.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-160x116.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-768x555.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-1020x737.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM.jpeg 1029w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Guided by Ghosts’ by Chinese-American artist Tessa Hulls weaves multiple strands of history together into a graphic novel-style timeline, popping with photographs, newspaper clippings, and water colors. \u003ccite>(Photo: Courtesy of the Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The timeline pops with quotes from people like George Ow, a kind of unofficial mayor for this community of ghosts. Hulls quotes him saying, “In Chinese folklore, if something is not settled during a lifetime, you have hungry ghosts, like angry spirits. By acknowledging these spirits, we’re kind of like feeding them.”\u003c/p>\n\u003cp>Ow, who grew up in that last Chinatown by the river, said the spirits would approve of Hulls joining the short list of those who’ve honored the history of Chinese-Americans in the Santa Cruz area. Ow’s uncle, George Lee, published a seminal collection of photographs, \u003ca href=\"http://tph.ucpress.edu/content/27/2/156.article-info\" target=\"_blank\" rel=\"noopener\">\u003cem>Chinatown Dreams\u003c/em>\u003c/a>. Historian \u003ca href=\"http://www.sandylydon.com\" target=\"_blank\" rel=\"noopener\">Sandy Lyden\u003c/a> wrote \u003ca href=\"http://www.capitolabook.com/chinese.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Chinese Gold: The Chinese in the Monterey Bay Region\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Guided by Ghosts\u003c/em> ends with a replica of the artist’s studio in Port Townsend, Washington. An empty desk and chair beckons visitors, and a deck of cards asks about our own family histories. It’s a common motif at the Museum of Art & History, which often concludes its exhibitions with some kind of participatory element.\u003c/p>\n\u003cfigure id=\"attachment_13857076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857076\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-800x534.jpg\" alt=\"'Lost Chinatowns' a dance theatre work by UC Santa Cruz Assistant Professor Cynthia Ling Lee, draws from poetry, court transcripts, and racist newspaper editorials. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Lost Chinatowns’ a dance theatre work by UC Santa Cruz Assistant Professor Cynthia Ling Lee, draws from poetry, court transcripts, and racist newspaper editorials. \u003ccite>(Photo: Courtesy of Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hulls may not have grown up in Santa Cruz, but the story still feels like hers. The journey her grandmother took to flee China, and the journey her mother took to get to the United States, are of a piece with her timeline, literally, as well as metaphorically.\u003c/p>\n\u003cp>When UC Santa Cruz Theatre Arts Assistant Professor \u003ca href=\"http://theater.ucsc.edu/faculty/cynthia-ling-lee\" target=\"_blank\" rel=\"noopener\">Cynthia Ling Lee\u003c/a> arrived in the area three years ago, she was surprised to discover how little Chinese influence remains. Lee couldn’t even find an Asian grocery store. “You have to drive all the way to San Jose. There’s this whole history of racism that drove out all the Chinese people. So, evidently, that’s why!” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lee choreographed \u003ca href=\"http://www.cynthialinglee.com/lost-chinatowns/\" target=\"_blank\" rel=\"noopener\">\u003ci>Lost Chinatowns\u003c/i>\u003c/a>, a dance piece she performed at the museum in conjunction with \u003cem>Guided by Ghosts\u003c/em>. An ensemble version of the work has been performed in San Francisco as well. “While anti-Chinese racism now is not the same as it was in the early 1900s, we are in an era of, like, virulent, radicalized xenophobia, so it’s all super relevant.”\u003c/p>\n\u003cp>It’s a story Ow sees echoing through the centuries: “The labor is needed, but the people aren’t necessarily welcomed. From the Native Americans, to the Chinese, to the Japanese, to the Filipinos, to the people from the Dustbowl, and Mexico, and the countries south of Mexico. It’s the same old story. It’s still going on,” Ow said.\u003c/p>\n\u003cp>Today, Ow’s a real estate developer. Take a moment with that. Because of the \u003ca href=\"https://en.wikipedia.org/wiki/Chinese_Exclusion_Act\" target=\"_blank\" rel=\"noopener\">Chinese Exclusion Act\u003c/a> of 1882, it wasn’t until 1943 Chinese-Americans were allowed to own land in California. That makes Ow a living embodiment of the idea the personal is political.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Guided by Ghosts \u003c/strong>continues through June 23, 2019 at the Santa Cruz Museum of Art and History. For more information, click \u003ca href=\"https://santacruzmah.org/exhibitions/guided-by-ghosts\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why You Should Join the Martin Wong Fan Club I Just Started",
"headTitle": "Why You Should Join the Martin Wong Fan Club I Just Started | KQED",
"content": "\u003cp>I knew I was unconditionally, irrevocably in love with Martin Wong halfway through the very first room of \u003ci>\u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" rel=\"noopener\" target=\"_blank\">Human Instamatic\u003c/a>\u003c/i>, BAMPFA’s Martin Wong retrospective. I still had nearly an entire museum floor to go, but when you know, you know.\u003c/p>\n\u003cp>It was a piece of ephemera that finalized it. \u003ci>\u003ca href=\"https://www.moma.org/collection/works/156016?locale=en\" rel=\"noopener\" target=\"_blank\">First letter home from New York (also I joined The Museum of Modern Art)\u003c/a>\u003c/i> is a handwritten letter from Wong to his parents, describing his activities upon moving from San Francisco to New York in 1978. “Hello Mom & Pop,” it opens cheerfully, his rambling block letters fitting themselves around a line drawing of the Brooklyn Bridge (or the “Brookline Bridge,” as Wong charmingly misspells it). \u003c/p>\n\u003cfigure id=\"attachment_13810369\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200.jpg\" alt=\"Installation view with vitrine containing 'First letter home.'\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13810369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view with vitrine containing ‘First letter home.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wong details his excitement about finding good cheap food in New York, getting a complimentary catalogue for his MoMA membership, and his plans to rent an additional room from Meyer’s Hotel (“one for sleeping, the other for painting”). \u003c/p>\n\u003cp>He was in his early 30s when he wrote the letter. He would spend nearly two decades in New York — specifically on the Lower East Side — making paintings of his neighbors and neighborhood (“brick by brick and storefront by storefront,” he wrote in another letter home).\u003c/p>\n\u003cfigure id=\"attachment_13810365\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200.jpg\" alt=\"Left: 'Iglesia Pentecostal,' 1986; Middle: 'La Iglesia de Dios,' 1986; Right: 'Untitled (Silver Storefront),' 1985.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: ‘Iglesia Pentecostal,’ 1986; Middle: ‘La Iglesia de Dios,’ 1986; Right: ‘Untitled (Silver Storefront),’ 1985. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to say what was so particularly moving about Wong’s letter. Perhaps it’s his openness and optimism. Or how he found the Chelsea Hotel “too artsy and too expensive.” The fact that the letter is addressed to his parents and contains all of the above captures a family relationship so supportive, so loving, it renders the “tortured artist” trope moot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s one thing to love the person an artist was (Wong died of AIDS-related causes in 1999), but Wong’s lovability is compounded by the virtuosity of his paintings. Born in Portland in 1946 and raised in San Francisco, Wong studied ceramics at Humboldt State, but switched to painting after college, developing a style marked by earthy tones and obsessive detail — part cartoon, part trompe l’oeil.\u003c/p>\n\u003cfigure id=\"attachment_13810367\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200.jpg\" alt=\"Martin Wong, 'Brainwashing Cult Cons Top TV Star,' 1981.\" width=\"1200\" height=\"909\" class=\"size-full wp-image-13810367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-768x582.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-1020x773.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-1180x894.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-960x727.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-375x284.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-520x394.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Brainwashing Cult Cons Top TV Stars,’ 1981. \u003ccite>(Courtesy of Bronx Museum of the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before he moved to the Lower East Side, Wong worked as the night porter at Meyer’s Hotel, living and painting without any real friends or artistic community — an isolation that caused him to identify with the city’s deaf-mute community. He incorporated the sign language alphabet into his paintings, rendering sensational news headlines like \u003ci>Psychiatrists Testify: Demon Dogs Drive Man to Murder\u003c/i> (a reference to serial-killer David Berkowitz) in rows of bubbly hieroglyphic hands. \u003c/p>\n\u003cp>Many of Wong’s paintings contain such systems of describing and mapping the world: constellation names, stacks of science books, a sign-language stop sign made with the Public Art Fund. He annotated life-sized canvases of closed storefronts and meticulously rendered miniature bricks with specific addresses, locating his paintings in time and space like a documentary photographer. \u003c/p>\n\u003cfigure id=\"attachment_13810360\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200.jpg\" alt=\"Martin Wong, 'Everything Must Go,' 1983.\" width=\"1200\" height=\"991\" class=\"size-full wp-image-13810360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-1020x842.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-1180x974.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-960x793.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-240x198.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-375x310.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-520x429.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Everything Must Go,’ 1983. \u003ccite>(Courtesy of Second Ward Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the concentrated effort Wong put into his pieces, he wasn’t precious about them. Yet another thing to love. A \u003ci>New York\u003c/i> magazine piece describes how Wong, shortly before his 1984 solo show at Semaphore Gallery, “stood in front of his Ridge Street studio and started handing out his paintings.” \u003c/p>\n\u003cp>“I’m not used to all the money and attention, and I thought my paintings could brighten up some of my neighbors’ lives,” Wong says in the article. Semaphore scrambled to retrieve the works for their show, putting up fliers and offering reward money for their safe return. Wong was, according to \u003ci>New York\u003c/i> Magazine, “unrepentant.” \u003c/p>\n\u003cfigure id=\"attachment_13810361\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200.jpg\" alt=\"Martin Wong, 'Self Portrait,' 1993.\" width=\"1200\" height=\"1244\" class=\"size-full wp-image-13810361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-800x829.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-768x796.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-1020x1057.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-1180x1223.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-960x995.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-240x249.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-375x389.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-520x539.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-32x32.jpg 32w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Self Portrait,’ 1993. \u003ccite>(Courtesy of the estate and PPOW, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The circular self-portrait that opens the BAMPFA installation shows Wong with a mustache and flowing black hair, dressed in a Western-style shirt decorated with Chinese dragons, a cowboy hat on his head. He glows against a background of vibrant blue faces — all the details of his shirt, hat and hair outlined in gold.\u003c/p>\n\u003cp>“Martin’s way of presenting himself to the world was to make a bit of a spectacle of himself,” former New Museum curator Dan Cameron writes in the exhibition catalogue. “I had never seen anyone pull off that urban cowboy look before as successfully as he did, and being Chinese and gay just amped it up.” \u003c/p>\n\u003cfigure id=\"attachment_13810366\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Big-Heat_640.jpg\" alt=\"Martin Wong, 'Big Heat,' 1988.\" width=\"640\" height=\"806\" class=\"size-full wp-image-13810366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-375x472.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-520x655.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Big Heat,’ 1988. \u003ccite>(Courtesy of the Whitney Museum of American Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of Wong’s paintings are unapologetically erotic, whether they’re images of incarcerated men, uniformed firefighters kissing, or an ornately framed phallus made of his omnipresent bricks. \u003c/p>\n\u003cp>In the early ’90s he turned his attention from the rapidly gentrifying Lower East Side to the Chinatown scenes of his youth. An \u003ca href=\"https://vimeo.com/152493246\" rel=\"noopener\" target=\"_blank\">18-minute documentary by Charlie Ahearn\u003c/a> on view in \u003ci>Human Instamatic\u003c/i> captures Wong working shirtless on the mammoth painting \u003ci>Chinese New Year’s Parade\u003c/i>, made between ’92 and ’94. It’s thrilling to watch him paint the canvas and then see the canvas unmediated, in the final room of the BAMPFA exhibition.\u003c/p>\n\u003cp>What else can I say to explain my love for Martin Wong? That he ran for a while with San Francisco’s legendary theater troupe, the Cockettes. That he and his mother were collectors of antiques and tchotchkes, frequently corresponding about auctions and appraisals. That when his infatuation with firefighters came out, people started gifting him parts of firefighters’ uniforms. That after painting, he washed his hands in his apartment tub. That, when he was diagnosed with AIDS and moved home to live with his parents, he served as Grand Marshall of San Francisco’s Chinese New Year’s Parade.\u003c/p>\n\u003cfigure id=\"attachment_13810364\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200.jpg\" alt=\"Left: 'Chinese New Year's Parade,' 1992-94; Right: 'Bruce Lee in the Afterworld,' 1991.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: ‘Chinese New Year’s Parade,’ 1992-94; Right: ‘Bruce Lee in the Afterworld,’ 1991. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s easy to mourn for and love someone who didn’t live as long as they should have. But I like to think that were he still alive, we would all know of and be in love with Martin Wong. For his unwavering, singular style, for his brave commitment to painting left-behind people in left-behind places, and for his spectacular fashion sense.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Martin Wong: Human Instamatic’ is on view at the Berkeley Art Museum and Pacific Film Archive through Dec. 10, 2017. For more information, \u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "BAMPFA hosts 'Martin Wong: Human Instamatic,' a magnificent retrospective of the Chinese-American painter who captured city life in both New York and San Francisco.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I knew I was unconditionally, irrevocably in love with Martin Wong halfway through the very first room of \u003ci>\u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" rel=\"noopener\" target=\"_blank\">Human Instamatic\u003c/a>\u003c/i>, BAMPFA’s Martin Wong retrospective. I still had nearly an entire museum floor to go, but when you know, you know.\u003c/p>\n\u003cp>It was a piece of ephemera that finalized it. \u003ci>\u003ca href=\"https://www.moma.org/collection/works/156016?locale=en\" rel=\"noopener\" target=\"_blank\">First letter home from New York (also I joined The Museum of Modern Art)\u003c/a>\u003c/i> is a handwritten letter from Wong to his parents, describing his activities upon moving from San Francisco to New York in 1978. “Hello Mom & Pop,” it opens cheerfully, his rambling block letters fitting themselves around a line drawing of the Brooklyn Bridge (or the “Brookline Bridge,” as Wong charmingly misspells it). \u003c/p>\n\u003cfigure id=\"attachment_13810369\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200.jpg\" alt=\"Installation view with vitrine containing 'First letter home.'\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13810369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view with vitrine containing ‘First letter home.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wong details his excitement about finding good cheap food in New York, getting a complimentary catalogue for his MoMA membership, and his plans to rent an additional room from Meyer’s Hotel (“one for sleeping, the other for painting”). \u003c/p>\n\u003cp>He was in his early 30s when he wrote the letter. He would spend nearly two decades in New York — specifically on the Lower East Side — making paintings of his neighbors and neighborhood (“brick by brick and storefront by storefront,” he wrote in another letter home).\u003c/p>\n\u003cfigure id=\"attachment_13810365\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200.jpg\" alt=\"Left: 'Iglesia Pentecostal,' 1986; Middle: 'La Iglesia de Dios,' 1986; Right: 'Untitled (Silver Storefront),' 1985.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: ‘Iglesia Pentecostal,’ 1986; Middle: ‘La Iglesia de Dios,’ 1986; Right: ‘Untitled (Silver Storefront),’ 1985. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to say what was so particularly moving about Wong’s letter. Perhaps it’s his openness and optimism. Or how he found the Chelsea Hotel “too artsy and too expensive.” The fact that the letter is addressed to his parents and contains all of the above captures a family relationship so supportive, so loving, it renders the “tortured artist” trope moot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s one thing to love the person an artist was (Wong died of AIDS-related causes in 1999), but Wong’s lovability is compounded by the virtuosity of his paintings. Born in Portland in 1946 and raised in San Francisco, Wong studied ceramics at Humboldt State, but switched to painting after college, developing a style marked by earthy tones and obsessive detail — part cartoon, part trompe l’oeil.\u003c/p>\n\u003cfigure id=\"attachment_13810367\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200.jpg\" alt=\"Martin Wong, 'Brainwashing Cult Cons Top TV Star,' 1981.\" width=\"1200\" height=\"909\" class=\"size-full wp-image-13810367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-768x582.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-1020x773.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-1180x894.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-960x727.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-375x284.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-520x394.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Brainwashing Cult Cons Top TV Stars,’ 1981. \u003ccite>(Courtesy of Bronx Museum of the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before he moved to the Lower East Side, Wong worked as the night porter at Meyer’s Hotel, living and painting without any real friends or artistic community — an isolation that caused him to identify with the city’s deaf-mute community. He incorporated the sign language alphabet into his paintings, rendering sensational news headlines like \u003ci>Psychiatrists Testify: Demon Dogs Drive Man to Murder\u003c/i> (a reference to serial-killer David Berkowitz) in rows of bubbly hieroglyphic hands. \u003c/p>\n\u003cp>Many of Wong’s paintings contain such systems of describing and mapping the world: constellation names, stacks of science books, a sign-language stop sign made with the Public Art Fund. He annotated life-sized canvases of closed storefronts and meticulously rendered miniature bricks with specific addresses, locating his paintings in time and space like a documentary photographer. \u003c/p>\n\u003cfigure id=\"attachment_13810360\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200.jpg\" alt=\"Martin Wong, 'Everything Must Go,' 1983.\" width=\"1200\" height=\"991\" class=\"size-full wp-image-13810360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-1020x842.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-1180x974.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-960x793.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-240x198.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-375x310.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-520x429.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Everything Must Go,’ 1983. \u003ccite>(Courtesy of Second Ward Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the concentrated effort Wong put into his pieces, he wasn’t precious about them. Yet another thing to love. A \u003ci>New York\u003c/i> magazine piece describes how Wong, shortly before his 1984 solo show at Semaphore Gallery, “stood in front of his Ridge Street studio and started handing out his paintings.” \u003c/p>\n\u003cp>“I’m not used to all the money and attention, and I thought my paintings could brighten up some of my neighbors’ lives,” Wong says in the article. Semaphore scrambled to retrieve the works for their show, putting up fliers and offering reward money for their safe return. Wong was, according to \u003ci>New York\u003c/i> Magazine, “unrepentant.” \u003c/p>\n\u003cfigure id=\"attachment_13810361\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200.jpg\" alt=\"Martin Wong, 'Self Portrait,' 1993.\" width=\"1200\" height=\"1244\" class=\"size-full wp-image-13810361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-800x829.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-768x796.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-1020x1057.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-1180x1223.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-960x995.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-240x249.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-375x389.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-520x539.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-32x32.jpg 32w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Self Portrait,’ 1993. \u003ccite>(Courtesy of the estate and PPOW, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The circular self-portrait that opens the BAMPFA installation shows Wong with a mustache and flowing black hair, dressed in a Western-style shirt decorated with Chinese dragons, a cowboy hat on his head. He glows against a background of vibrant blue faces — all the details of his shirt, hat and hair outlined in gold.\u003c/p>\n\u003cp>“Martin’s way of presenting himself to the world was to make a bit of a spectacle of himself,” former New Museum curator Dan Cameron writes in the exhibition catalogue. “I had never seen anyone pull off that urban cowboy look before as successfully as he did, and being Chinese and gay just amped it up.” \u003c/p>\n\u003cfigure id=\"attachment_13810366\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Big-Heat_640.jpg\" alt=\"Martin Wong, 'Big Heat,' 1988.\" width=\"640\" height=\"806\" class=\"size-full wp-image-13810366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-375x472.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-520x655.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Big Heat,’ 1988. \u003ccite>(Courtesy of the Whitney Museum of American Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of Wong’s paintings are unapologetically erotic, whether they’re images of incarcerated men, uniformed firefighters kissing, or an ornately framed phallus made of his omnipresent bricks. \u003c/p>\n\u003cp>In the early ’90s he turned his attention from the rapidly gentrifying Lower East Side to the Chinatown scenes of his youth. An \u003ca href=\"https://vimeo.com/152493246\" rel=\"noopener\" target=\"_blank\">18-minute documentary by Charlie Ahearn\u003c/a> on view in \u003ci>Human Instamatic\u003c/i> captures Wong working shirtless on the mammoth painting \u003ci>Chinese New Year’s Parade\u003c/i>, made between ’92 and ’94. It’s thrilling to watch him paint the canvas and then see the canvas unmediated, in the final room of the BAMPFA exhibition.\u003c/p>\n\u003cp>What else can I say to explain my love for Martin Wong? That he ran for a while with San Francisco’s legendary theater troupe, the Cockettes. That he and his mother were collectors of antiques and tchotchkes, frequently corresponding about auctions and appraisals. That when his infatuation with firefighters came out, people started gifting him parts of firefighters’ uniforms. That after painting, he washed his hands in his apartment tub. That, when he was diagnosed with AIDS and moved home to live with his parents, he served as Grand Marshall of San Francisco’s Chinese New Year’s Parade.\u003c/p>\n\u003cfigure id=\"attachment_13810364\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200.jpg\" alt=\"Left: 'Chinese New Year's Parade,' 1992-94; Right: 'Bruce Lee in the Afterworld,' 1991.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: ‘Chinese New Year’s Parade,’ 1992-94; Right: ‘Bruce Lee in the Afterworld,’ 1991. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s easy to mourn for and love someone who didn’t live as long as they should have. But I like to think that were he still alive, we would all know of and be in love with Martin Wong. For his unwavering, singular style, for his brave commitment to painting left-behind people in left-behind places, and for his spectacular fashion sense.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Martin Wong: Human Instamatic’ is on view at the Berkeley Art Museum and Pacific Film Archive through Dec. 10, 2017. For more information, \u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
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"reveal": {
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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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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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