Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the Rebel Girls From Bay Area History and Bizarre Bay Area series. Her debut book, Unsung Heroines: 35 Women Who Changed the Bay Area was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.
Metallica Just Flew to the UK and Pretty Much Broke Wales
Oakland Library Is Once Again Asking You to Make Weird History Dioramas
San Francisco’s First Serial Killer Was a Doctor Named J. Milton Bowers ... Probably
The San Francisco AIDS Protest That Lasted a Decade
The Oakland Public Library Wants YOU ... to Grow Really Tall Marigolds
Three Bay Area Nonprofits Win Literary Arts Grants
A Vallejo Naval Museum Exhibit Celebrates Gender Rebels Across History
A Dazzling New Children’s Book Honors an Indigenous Teen Heroine From California
New NOFX Documentary Charts the Band’s Unruly Rise and Wrapping Up
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"content": "\u003cp>San Francisco rock legends Metallica brought the capital city of Wales to a screeching halt over the weekend with a series of firsts.\u003c/p>\n\n\n\n\u003cp>To start with, June 28 was the first time the band had played the small Celtic nation (total population: 3 million) in 30 years. Then — possibly as a result of the length of time between visits — the metal icons managed to sell 76,000 tickets for a single show, making it the largest single concert to ever happen in Wales. At least 13 roads around the city center closed in preparation for the event.\u003c/p>\n\n\n\n\u003cp>Excitement built for days before the Principality Stadium gig, with fans and revelers holding full-blown Metallica street parties outside a variety of pubs, occasionally \u003ca href=\"https://www.instagram.com/p/DaGq8wqsBeg/?hl=en\">spotting band members\u003c/a> as they did so. Then, during the show, bassist Rob Trujillo and guitarist Kirk Hammett performed \u003ca href=\"https://www.facebook.com/watch/?v=1089392840935142\">a cover of Tom Jones’ “Delilah,”\u003c/a> a song the Welsh traditionally like to sing at weddings, parties and sporting events. “Delilah” was recently banned from the Principality Stadium for having lyrics that some domestic violence charities objected to. Still, a \u003ca href=\"https://www.walesonline.co.uk/whats-on/music-nightlife-news/metallica-cardiff-review-waited-30-34201483\">review from WalesOnline\u003c/a> noted that the cover got “one of the biggest cheers of the night.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=gFKKCM1lXuQ&list=RDgFKKCM1lXuQ&start_radio=1\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>But it was after Metallica left Cardiff that the Welsh really got a taste of Metallica’s mettle. The band donated £20,000 (roughly $26,500) to \u003ca href=\"https://cardiff.foodbank.org.uk/\">Cardiff Foodbank\u003c/a> — the largest celebrity donation the charity has ever received. (In June 2024 during her Eras tour, \u003ca href=\"https://www.kqed.org/arts/tag/taylor-swift\">Taylor Swift\u003c/a> also gave Cardiff Foodbank enough cash to provide three-day emergency food parcels to 925 people.) \u003c/p>\n\n\n\n\u003cp>Rachel Biggs, chief executive of the organization, \u003ca href=\"https://www.instagram.com/p/DaLdI29Ax7L/\">told BBC Radio Wales\u003c/a> on Monday morning that the Metallica cash would provide 9,000 meals to a thousand people in need, in South Wales. “It’s incredible that celebrities are using their status to donate and raise awareness of causes such as ours,” Biggs noted. “It’s going to make an incredible difference.”\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While this financial offering took Wales entirely by surprise, Metallica has been donating to charities all over the world since 2017, when the band’s members and crew started the \u003ca href=\"https://www.allwithinmyhands.org/\">All Within My Hands\u003c/a> foundation (AWMH). The organization gives back to cities that welcome Metallica on tour and helps incentivize fans to participate in blood drives by giving participants limited edition merch.\u003c/p>\n\n\n\n\n\n\u003cp>\u003ca href=\"https://www.welsh-blood.org.uk/metallica/\">Metallica’s efforts in Wales\u003c/a> also marked the first time that UK blood services had ever partnered with a band to champion blood donation. Simon Campbell-Daves, of Welsh Blood Service, \u003ca href=\"https://www.bbc.com/news/articles/cnv9elgvz5lo\">told the BBC\u003c/a>: “We cannot be any more thankful to [the fans that donated] and to Metallica for their support in making this happen. It’s been incredible.”\u003c/p>\n\n\n\n\u003cp>Before Metallica had even arrived in Cardiff, Wales’ neighbors in Ireland were on the receiving end of even larger donations. After Metallica played Dublin’s Aviva Stadium on June 19 and 21, AWMH gave €40,000 (around $45,000) to anti-domestic violence organization \u003ca href=\"https://www.womensaid.ie/\">Women’s Aid\u003c/a> and another €40,000 to homeless charity, the \u003ca href=\"https://www.dubsimon.ie/\">Dublin Simon Community\u003c/a>. Back in 2020, AWMH donated $250,000 to five wildfire relief organizations on the west coast. According to a 2025 \u003ca href=\"https://www.youtube.com/watch?v=kg4kKVYAgYo&t=188s\">CBS news report\u003c/a>, AWMH has donated $10 million across the U.S. to workforce education programs.\u003c/p>\n\n\n\n\u003cp>In the Bay Area, we have a tendency to take Metallica for granted a little bit — another band that’s simply part of the local fabric. It’s impossible not to appreciate the quartet on a fresh level after viewing them through the rest of the world’s eyes though. Cardiff magazine, \u003ca href=\"https://www.buzzmag.co.uk/metallica-gojira-knocked-loose-live-review-principality-stadium-cardiff/\">\u003cem>Buzz\u003c/em>, ended its Metallica live review\u003c/a> with an entreaty: “Come back soon please, lads.” \u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>To start with, June 28 was the first time the band had played the small Celtic nation (total population: 3 million) in 30 years. Then — possibly as a result of the length of time between visits — the metal icons managed to sell 76,000 tickets for a single show, making it the largest single concert to ever happen in Wales. At least 13 roads around the city center closed in preparation for the event.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Excitement built for days before the Principality Stadium gig, with fans and revelers holding full-blown Metallica street parties outside a variety of pubs, occasionally \u003ca href=\"https://www.instagram.com/p/DaGq8wqsBeg/?hl=en\">spotting band members\u003c/a> as they did so. Then, during the show, bassist Rob Trujillo and guitarist Kirk Hammett performed \u003ca href=\"https://www.facebook.com/watch/?v=1089392840935142\">a cover of Tom Jones’ “Delilah,”\u003c/a> a song the Welsh traditionally like to sing at weddings, parties and sporting events. “Delilah” was recently banned from the Principality Stadium for having lyrics that some domestic violence charities objected to. Still, a \u003ca href=\"https://www.walesonline.co.uk/whats-on/music-nightlife-news/metallica-cardiff-review-waited-30-34201483\">review from WalesOnline\u003c/a> noted that the cover got “one of the biggest cheers of the night.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>But it was after Metallica left Cardiff that the Welsh really got a taste of Metallica’s mettle. The band donated £20,000 (roughly $26,500) to \u003ca href=\"https://cardiff.foodbank.org.uk/\">Cardiff Foodbank\u003c/a> — the largest celebrity donation the charity has ever received. (In June 2024 during her Eras tour, \u003ca href=\"https://www.kqed.org/arts/tag/taylor-swift\">Taylor Swift\u003c/a> also gave Cardiff Foodbank enough cash to provide three-day emergency food parcels to 925 people.) \u003c/p>\n",
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"innerHTML": "\n\u003cp>Rachel Biggs, chief executive of the organization, \u003ca href=\"https://www.instagram.com/p/DaLdI29Ax7L/\">told BBC Radio Wales\u003c/a> on Monday morning that the Metallica cash would provide 9,000 meals to a thousand people in need, in South Wales. “It’s incredible that celebrities are using their status to donate and raise awareness of causes such as ours,” Biggs noted. “It’s going to make an incredible difference.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>While this financial offering took Wales entirely by surprise, Metallica has been donating to charities all over the world since 2017, when the band’s members and crew started the \u003ca href=\"https://www.allwithinmyhands.org/\">All Within My Hands\u003c/a> foundation (AWMH). The organization gives back to cities that welcome Metallica on tour and helps incentivize fans to participate in blood drives by giving participants limited edition merch.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003ca href=\"https://www.welsh-blood.org.uk/metallica/\">Metallica’s efforts in Wales\u003c/a> also marked the first time that UK blood services had ever partnered with a band to champion blood donation. Simon Campbell-Daves, of Welsh Blood Service, \u003ca href=\"https://www.bbc.com/news/articles/cnv9elgvz5lo\">told the BBC\u003c/a>: “We cannot be any more thankful to [the fans that donated] and to Metallica for their support in making this happen. It’s been incredible.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Before Metallica had even arrived in Cardiff, Wales’ neighbors in Ireland were on the receiving end of even larger donations. After Metallica played Dublin’s Aviva Stadium on June 19 and 21, AWMH gave €40,000 (around $45,000) to anti-domestic violence organization \u003ca href=\"https://www.womensaid.ie/\">Women’s Aid\u003c/a> and another €40,000 to homeless charity, the \u003ca href=\"https://www.dubsimon.ie/\">Dublin Simon Community\u003c/a>. Back in 2020, AWMH donated $250,000 to five wildfire relief organizations on the west coast. According to a 2025 \u003ca href=\"https://www.youtube.com/watch?v=kg4kKVYAgYo&t=188s\">CBS news report\u003c/a>, AWMH has donated $10 million across the U.S. to workforce education programs.\u003c/p>\n",
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"innerHTML": "\n\u003cp>In the Bay Area, we have a tendency to take Metallica for granted a little bit — another band that’s simply part of the local fabric. It’s impossible not to appreciate the quartet on a fresh level after viewing them through the rest of the world’s eyes though. Cardiff magazine, \u003ca href=\"https://www.buzzmag.co.uk/metallica-gojira-knocked-loose-live-review-principality-stadium-cardiff/\">\u003cem>Buzz\u003c/em>, ended its Metallica live review\u003c/a> with an entreaty: “Come back soon please, lads.” \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco rock legends Metallica brought the capital city of Wales to a screeching halt over the weekend with a series of firsts.\u003c/p>\n\n\n\n\u003cp>To start with, June 28 was the first time the band had played the small Celtic nation (total population: 3 million) in 30 years. Then — possibly as a result of the length of time between visits — the metal icons managed to sell 76,000 tickets for a single show, making it the largest single concert to ever happen in Wales. At least 13 roads around the city center closed in preparation for the event.\u003c/p>\n\n\n\n\u003cp>Excitement built for days before the Principality Stadium gig, with fans and revelers holding full-blown Metallica street parties outside a variety of pubs, occasionally \u003ca href=\"https://www.instagram.com/p/DaGq8wqsBeg/?hl=en\">spotting band members\u003c/a> as they did so. Then, during the show, bassist Rob Trujillo and guitarist Kirk Hammett performed \u003ca href=\"https://www.facebook.com/watch/?v=1089392840935142\">a cover of Tom Jones’ “Delilah,”\u003c/a> a song the Welsh traditionally like to sing at weddings, parties and sporting events. “Delilah” was recently banned from the Principality Stadium for having lyrics that some domestic violence charities objected to. Still, a \u003ca href=\"https://www.walesonline.co.uk/whats-on/music-nightlife-news/metallica-cardiff-review-waited-30-34201483\">review from WalesOnline\u003c/a> noted that the cover got “one of the biggest cheers of the night.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\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/gFKKCM1lXuQ'\n title='//www.youtube.com/embed/gFKKCM1lXuQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>But it was after Metallica left Cardiff that the Welsh really got a taste of Metallica’s mettle. The band donated £20,000 (roughly $26,500) to \u003ca href=\"https://cardiff.foodbank.org.uk/\">Cardiff Foodbank\u003c/a> — the largest celebrity donation the charity has ever received. (In June 2024 during her Eras tour, \u003ca href=\"https://www.kqed.org/arts/tag/taylor-swift\">Taylor Swift\u003c/a> also gave Cardiff Foodbank enough cash to provide three-day emergency food parcels to 925 people.) \u003c/p>\n\n\n\n\u003cp>Rachel Biggs, chief executive of the organization, \u003ca href=\"https://www.instagram.com/p/DaLdI29Ax7L/\">told BBC Radio Wales\u003c/a> on Monday morning that the Metallica cash would provide 9,000 meals to a thousand people in need, in South Wales. “It’s incredible that celebrities are using their status to donate and raise awareness of causes such as ours,” Biggs noted. “It’s going to make an incredible difference.”\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While this financial offering took Wales entirely by surprise, Metallica has been donating to charities all over the world since 2017, when the band’s members and crew started the \u003ca href=\"https://www.allwithinmyhands.org/\">All Within My Hands\u003c/a> foundation (AWMH). The organization gives back to cities that welcome Metallica on tour and helps incentivize fans to participate in blood drives by giving participants limited edition merch.\u003c/p>\n\n\n\n\n\n\u003cp>\u003ca href=\"https://www.welsh-blood.org.uk/metallica/\">Metallica’s efforts in Wales\u003c/a> also marked the first time that UK blood services had ever partnered with a band to champion blood donation. Simon Campbell-Daves, of Welsh Blood Service, \u003ca href=\"https://www.bbc.com/news/articles/cnv9elgvz5lo\">told the BBC\u003c/a>: “We cannot be any more thankful to [the fans that donated] and to Metallica for their support in making this happen. It’s been incredible.”\u003c/p>\n\n\n\n\u003cp>Before Metallica had even arrived in Cardiff, Wales’ neighbors in Ireland were on the receiving end of even larger donations. After Metallica played Dublin’s Aviva Stadium on June 19 and 21, AWMH gave €40,000 (around $45,000) to anti-domestic violence organization \u003ca href=\"https://www.womensaid.ie/\">Women’s Aid\u003c/a> and another €40,000 to homeless charity, the \u003ca href=\"https://www.dubsimon.ie/\">Dublin Simon Community\u003c/a>. Back in 2020, AWMH donated $250,000 to five wildfire relief organizations on the west coast. According to a 2025 \u003ca href=\"https://www.youtube.com/watch?v=kg4kKVYAgYo&t=188s\">CBS news report\u003c/a>, AWMH has donated $10 million across the U.S. to workforce education programs.\u003c/p>\n\n\n\n\u003cp>In the Bay Area, we have a tendency to take Metallica for granted a little bit — another band that’s simply part of the local fabric. It’s impossible not to appreciate the quartet on a fresh level after viewing them through the rest of the world’s eyes though. Cardiff magazine, \u003ca href=\"https://www.buzzmag.co.uk/metallica-gojira-knocked-loose-live-review-principality-stadium-cardiff/\">\u003cem>Buzz\u003c/em>, ended its Metallica live review\u003c/a> with an entreaty: “Come back soon please, lads.” \u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Library Is Once Again Asking You to Make Weird History Dioramas",
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"content": "\u003cp>We’ve all been there. One minute you’re casually browsing newspaper archives in the library, the next you’re stumbling across a story from yore that’s so bizarre, you just \u003cem>have\u003c/em> to render it in miniature form.\u003c/p>\n\n\n\n\u003cp>Yeah, okay, so, no. We clearly haven’t all been \u003cem>there\u003c/em>. But apparently, there are enough people who get overcome with a history-fueled desire to create dioramas that the Oakland Library is building an exhibition around the concept for the second time in two years.\u003c/p>\n\n\n\n\u003cp>\u003cem>All the News That’s Fit to Build: Local News Dioramas \u003c/em>will take over the Oakland History Center on the second floor of the Oakland library’s main branch between July 17 and Oct. 3. The plan is for the show to be a creative and engaging way to bring stories from Bay Area history into the present day.\u003c/p>\n\n\n\n\u003cp>Best of all? The Oakland Library specifically encourages participants to get as weird as possible. Last year’s winners included: a detailed rendition of \u003ca href=\"https://library.biblioboard.com/viewer/fc23a099-091f-4c08-afa8-4717b1a4f283\">drunken seagulls\u003c/a>; \u003ca href=\"https://library.biblioboard.com/viewer/4c21db59-8990-41eb-8e6d-b282ff26ffb4\">a pickler in a pickle\u003c/a>; \u003ca href=\"https://library.biblioboard.com/viewer/0f51b1ce-d876-465a-9baa-09ab64df8d2e\">the tenacious women\u003c/a> who founded \u003ca href=\"https://www.kqed.org/arts/13911567/the-1960s-women-whose-environmental-activism-saved-the-bay\">Save the Bay\u003c/a>; \u003ca href=\"https://library.biblioboard.com/viewer/e0259e45-b014-49b3-b7df-5dba27436074\">noisy peacocks\u003c/a>; and \u003ca href=\"https://library.biblioboard.com/viewer/82a13365-1e44-4aa3-909b-bfbde7767666\">Harry Houdini hanging upside down\u003c/a> outside the \u003cem>Oakland Tribune\u003c/em>. So basically, anything goes.\u003c/p>\n\n\n\n\u003cp>We at KQED Arts & Culture would like to add some historically accurate diorama suggestions to the pile, if we may be so bold. Such as:\u003c/p>\n\n\n\n\u003col class=\"wp-block-list\">\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13976828/haunted-toys-r-us-sunnyvale-yonny-johnson-murphy-ranch-doll\">haunted Toys R Us in Sunnyvale\u003c/a> that made headlines in the 1970s and ’80s \u003c/li>\n\n\n\n\u003cli>The oddly costumed dancing girls of Lake Merritt’s \u003ca href=\"https://www.kqed.org/arts/13900997/3-exceptionally-weird-bay-area-festivals-we-should-bring-back\">Wild Duck Festival\u003c/a> in the 1920s\u003c/li>\n\n\n\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13957514/1896-mystery-airship-bay-area-ufo-history-victorian-aliens\">entire streetcar of witnesses in Fruitvale who saw a Victorian UFO\u003c/a> one night in 1896\u003c/li>\n\n\n\n\u003cli>The extorter, attempted murderer and bomb plotter \u003ca href=\"https://www.kqed.org/arts/13926069/meet-isabella-j-martin-the-crappiest-criminal-in-bay-area-history\">Isabella J. Martin\u003c/a>, who forced her own son to burn down Oakland homes in 1901\u003c/li>\n\n\n\n\u003cli>The “City of Oakland” hot air balloon pilots who went on a \u003ca href=\"https://www.kqed.org/arts/13910308/city-of-oakland-hot-air-balloon-idora-park-piedmont-baths-neptune-beach\">mayhem-drenched near-death ride\u003c/a> in 1909\u003c/li>\n\u003c/ol>\n\n\n\n\u003cp>Feeling inspired yet?\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you need some extra incentive, outstanding creations will be honored at a special reception on Oct. 3, with prizes provided by Kala Art Institute, the \u003ca href=\"https://www.kqed.org/arts/tag/oakland-museum-of-california\">Oakland Museum of California\u003c/a>, the \u003ca href=\"https://www.kqed.org/news/11878712/this-is-who-we-are-the-black-liberation-walking-tour-launches-in-oakland\">Black Liberation Walking Tour\u003c/a>, Mrs. Dalloway’s, \u003ca href=\"https://www.kqed.org/news/10524326/my-spot-golden-state-model-railroad-museum\">Golden State Model Railroad Museum\u003c/a> and the East Bay Depot for Creative Reuse. Special prizes will be awarded to dioramas that honor the Black Panthers, Oakland’s Latinx communities and unusual East Bay happenings from 1951. KQED Forum’s own \u003ca href=\"https://www.kqed.org/author/amadrigal\">Alexis Madrigal\u003c/a> will be on the judging panel, but the public can have their say by voting for a special People’s Choice award.\u003c/p>\n\n\n\n\u003cp>The Oakland Library is requesting that all dioramas — which must not exceed 6 inches in height — be delivered sometime before July 5, 2026, along with a copy of the newspaper story it’s based on. (This should include important details like name of newspaper and publication date.) Competitors must also fill out an \u003ca href=\"https://oaklandlibrary.librariescreate.com/dioramacontest#guidelines\">online entry form\u003c/a>. Creators are welcome to access the library’s archives and newspapers.com account for inspiration. \u003c/p>\n\n\n\n\u003cp>Finding misbehaving animals and/or inverted illusionists, however, is entirely up to you.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003cem>‘All the News That’s Fit to Build: Local News Dioramas’ will be on display at The Oakland Library’s History Center (125 14th Street, 2nd Floor) July 17–Oct. 3, 2026. Potential participants can find \u003ca href=\"https://oaklandlibrary.org/diorama/\">full instructions at the library’s website\u003c/a>.\u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>\u003cem>All the News That’s Fit to Build: Local News Dioramas \u003c/em>will take over the Oakland History Center on the second floor of the Oakland library’s main branch between July 17 and Oct. 3. The plan is for the show to be a creative and engaging way to bring stories from Bay Area history into the present day.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Best of all? The Oakland Library specifically encourages participants to get as weird as possible. Last year’s winners included: a detailed rendition of \u003ca href=\"https://library.biblioboard.com/viewer/fc23a099-091f-4c08-afa8-4717b1a4f283\">drunken seagulls\u003c/a>; \u003ca href=\"https://library.biblioboard.com/viewer/4c21db59-8990-41eb-8e6d-b282ff26ffb4\">a pickler in a pickle\u003c/a>; \u003ca href=\"https://library.biblioboard.com/viewer/0f51b1ce-d876-465a-9baa-09ab64df8d2e\">the tenacious women\u003c/a> who founded \u003ca href=\"https://www.kqed.org/arts/13911567/the-1960s-women-whose-environmental-activism-saved-the-bay\">Save the Bay\u003c/a>; \u003ca href=\"https://library.biblioboard.com/viewer/e0259e45-b014-49b3-b7df-5dba27436074\">noisy peacocks\u003c/a>; and \u003ca href=\"https://library.biblioboard.com/viewer/82a13365-1e44-4aa3-909b-bfbde7767666\">Harry Houdini hanging upside down\u003c/a> outside the \u003cem>Oakland Tribune\u003c/em>. So basically, anything goes.\u003c/p>\n",
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"innerHTML": "\n\u003cp>We at KQED Arts & Culture would like to add some historically accurate diorama suggestions to the pile, if we may be so bold. Such as:\u003c/p>\n",
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"innerHTML": "\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13976828/haunted-toys-r-us-sunnyvale-yonny-johnson-murphy-ranch-doll\">haunted Toys R Us in Sunnyvale\u003c/a> that made headlines in the 1970s and ’80s \u003c/li>\n",
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"innerHTML": "\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13957514/1896-mystery-airship-bay-area-ufo-history-victorian-aliens\">entire streetcar of witnesses in Fruitvale who saw a Victorian UFO\u003c/a> one night in 1896\u003c/li>\n",
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"innerHTML": "\n\u003cli>The extorter, attempted murderer and bomb plotter \u003ca href=\"https://www.kqed.org/arts/13926069/meet-isabella-j-martin-the-crappiest-criminal-in-bay-area-history\">Isabella J. Martin\u003c/a>, who forced her own son to burn down Oakland homes in 1901\u003c/li>\n",
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"innerHTML": "\n\u003cp>If you need some extra incentive, outstanding creations will be honored at a special reception on Oct. 3, with prizes provided by Kala Art Institute, the \u003ca href=\"https://www.kqed.org/arts/tag/oakland-museum-of-california\">Oakland Museum of California\u003c/a>, the \u003ca href=\"https://www.kqed.org/news/11878712/this-is-who-we-are-the-black-liberation-walking-tour-launches-in-oakland\">Black Liberation Walking Tour\u003c/a>, Mrs. Dalloway’s, \u003ca href=\"https://www.kqed.org/news/10524326/my-spot-golden-state-model-railroad-museum\">Golden State Model Railroad Museum\u003c/a> and the East Bay Depot for Creative Reuse. Special prizes will be awarded to dioramas that honor the Black Panthers, Oakland’s Latinx communities and unusual East Bay happenings from 1951. KQED Forum’s own \u003ca href=\"https://www.kqed.org/author/amadrigal\">Alexis Madrigal\u003c/a> will be on the judging panel, but the public can have their say by voting for a special People’s Choice award.\u003c/p>\n",
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"innerHTML": "\n\u003cp>The Oakland Library is requesting that all dioramas — which must not exceed 6 inches in height — be delivered sometime before July 5, 2026, along with a copy of the newspaper story it’s based on. (This should include important details like name of newspaper and publication date.) Competitors must also fill out an \u003ca href=\"https://oaklandlibrary.librariescreate.com/dioramacontest#guidelines\">online entry form\u003c/a>. Creators are welcome to access the library’s archives and newspapers.com account for inspiration. \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>‘All the News That’s Fit to Build: Local News Dioramas’ will be on display at The Oakland Library’s History Center (125 14th Street, 2nd Floor) July 17–Oct. 3, 2026. Potential participants can find \u003ca href=\"https://oaklandlibrary.org/diorama/\">full instructions at the library’s website\u003c/a>.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve all been there. One minute you’re casually browsing newspaper archives in the library, the next you’re stumbling across a story from yore that’s so bizarre, you just \u003cem>have\u003c/em> to render it in miniature form.\u003c/p>\n\n\n\n\u003cp>Yeah, okay, so, no. We clearly haven’t all been \u003cem>there\u003c/em>. But apparently, there are enough people who get overcome with a history-fueled desire to create dioramas that the Oakland Library is building an exhibition around the concept for the second time in two years.\u003c/p>\n\n\n\n\u003cp>\u003cem>All the News That’s Fit to Build: Local News Dioramas \u003c/em>will take over the Oakland History Center on the second floor of the Oakland library’s main branch between July 17 and Oct. 3. The plan is for the show to be a creative and engaging way to bring stories from Bay Area history into the present day.\u003c/p>\n\n\n\n\u003cp>Best of all? The Oakland Library specifically encourages participants to get as weird as possible. Last year’s winners included: a detailed rendition of \u003ca href=\"https://library.biblioboard.com/viewer/fc23a099-091f-4c08-afa8-4717b1a4f283\">drunken seagulls\u003c/a>; \u003ca href=\"https://library.biblioboard.com/viewer/4c21db59-8990-41eb-8e6d-b282ff26ffb4\">a pickler in a pickle\u003c/a>; \u003ca href=\"https://library.biblioboard.com/viewer/0f51b1ce-d876-465a-9baa-09ab64df8d2e\">the tenacious women\u003c/a> who founded \u003ca href=\"https://www.kqed.org/arts/13911567/the-1960s-women-whose-environmental-activism-saved-the-bay\">Save the Bay\u003c/a>; \u003ca href=\"https://library.biblioboard.com/viewer/e0259e45-b014-49b3-b7df-5dba27436074\">noisy peacocks\u003c/a>; and \u003ca href=\"https://library.biblioboard.com/viewer/82a13365-1e44-4aa3-909b-bfbde7767666\">Harry Houdini hanging upside down\u003c/a> outside the \u003cem>Oakland Tribune\u003c/em>. So basically, anything goes.\u003c/p>\n\n\n\n\u003cp>We at KQED Arts & Culture would like to add some historically accurate diorama suggestions to the pile, if we may be so bold. Such as:\u003c/p>\n\n\n\n\u003col class=\"wp-block-list\">\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13976828/haunted-toys-r-us-sunnyvale-yonny-johnson-murphy-ranch-doll\">haunted Toys R Us in Sunnyvale\u003c/a> that made headlines in the 1970s and ’80s \u003c/li>\n\n\n\n\u003cli>The oddly costumed dancing girls of Lake Merritt’s \u003ca href=\"https://www.kqed.org/arts/13900997/3-exceptionally-weird-bay-area-festivals-we-should-bring-back\">Wild Duck Festival\u003c/a> in the 1920s\u003c/li>\n\n\n\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13957514/1896-mystery-airship-bay-area-ufo-history-victorian-aliens\">entire streetcar of witnesses in Fruitvale who saw a Victorian UFO\u003c/a> one night in 1896\u003c/li>\n\n\n\n\u003cli>The extorter, attempted murderer and bomb plotter \u003ca href=\"https://www.kqed.org/arts/13926069/meet-isabella-j-martin-the-crappiest-criminal-in-bay-area-history\">Isabella J. Martin\u003c/a>, who forced her own son to burn down Oakland homes in 1901\u003c/li>\n\n\n\n\u003cli>The “City of Oakland” hot air balloon pilots who went on a \u003ca href=\"https://www.kqed.org/arts/13910308/city-of-oakland-hot-air-balloon-idora-park-piedmont-baths-neptune-beach\">mayhem-drenched near-death ride\u003c/a> in 1909\u003c/li>\n\u003c/ol>\n\n\n\n\u003cp>Feeling inspired yet?\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you need some extra incentive, outstanding creations will be honored at a special reception on Oct. 3, with prizes provided by Kala Art Institute, the \u003ca href=\"https://www.kqed.org/arts/tag/oakland-museum-of-california\">Oakland Museum of California\u003c/a>, the \u003ca href=\"https://www.kqed.org/news/11878712/this-is-who-we-are-the-black-liberation-walking-tour-launches-in-oakland\">Black Liberation Walking Tour\u003c/a>, Mrs. Dalloway’s, \u003ca href=\"https://www.kqed.org/news/10524326/my-spot-golden-state-model-railroad-museum\">Golden State Model Railroad Museum\u003c/a> and the East Bay Depot for Creative Reuse. Special prizes will be awarded to dioramas that honor the Black Panthers, Oakland’s Latinx communities and unusual East Bay happenings from 1951. KQED Forum’s own \u003ca href=\"https://www.kqed.org/author/amadrigal\">Alexis Madrigal\u003c/a> will be on the judging panel, but the public can have their say by voting for a special People’s Choice award.\u003c/p>\n\n\n\n\u003cp>The Oakland Library is requesting that all dioramas — which must not exceed 6 inches in height — be delivered sometime before July 5, 2026, along with a copy of the newspaper story it’s based on. (This should include important details like name of newspaper and publication date.) Competitors must also fill out an \u003ca href=\"https://oaklandlibrary.librariescreate.com/dioramacontest#guidelines\">online entry form\u003c/a>. Creators are welcome to access the library’s archives and newspapers.com account for inspiration. \u003c/p>\n\n\n\n\u003cp>Finding misbehaving animals and/or inverted illusionists, however, is entirely up to you.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003cem>‘All the News That’s Fit to Build: Local News Dioramas’ will be on display at The Oakland Library’s History Center (125 14th Street, 2nd Floor) July 17–Oct. 3, 2026. Potential participants can find \u003ca href=\"https://oaklandlibrary.org/diorama/\">full instructions at the library’s website\u003c/a>.\u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco’s First Serial Killer Was a Doctor Named J. Milton Bowers ... Probably",
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"content": "\u003cp>If you’re a Bay Area true crime nerd with an extensive knowledge of the region’s most notorious serial killers, you might be wondering why you’ve never heard of San Francisco’s very first serial killer, Dr. J. Milton Bowers. The answer is that nobody ever conclusively proved it. (Okay, fine, then: \u003cem>alleged\u003c/em> serial killer.) If you were a San Franciscan in the 1880s, however, you’d know all about Dr. Bowers. You’d certainly know enough not to marry the bearded weirdo.\u003c/p>\n\n\n\n\u003cp>Bowers was a physician whose medical specialty was, according to newspaper ads of the era, “diseases of women and children.” Which is unfortunate given that his first three wives ended up dead under suspicious circumstances while under his care. The first, Fannie Hammond, died in 1874 of “undetermined causes” and the couple’s Chicago home burned down shortly after her death. Not suspicious at all!\u003c/p>\n\n\n\n\u003cp>Bowers immediately moved to New York and married a popular actress and writer named Theresa Sherek, who was 15 years his junior. Together, the couple relocated to San Francisco, but marital bliss was short-lived. Sherek died on Jan. 28, 1881, aged 24, and was buried the very same day. The presumed cause of death was an abscess of the liver.\u003c/p>\n\n\n\n\n\n\u003cp>Within a year, Bowers was married yet again. This time to 29-year-old Cecelia Benhayon, who was a beloved San Francisco socialite. After a sudden and excruciating illness, Cecelia died on Nov. 3, 1885. And — wouldn’t you know it? — her initial death certificate suggested the cause was an abscess of the liver, just like the second Mrs. Bowers.\u003c/p>\n\n\n\n\u003cp>After Cecelia’s death, San Francisco coroner C. C. O’Donnell was quickly tipped off, via anonymous note, that there was cause to perform an autopsy. When O’Donnell rushed to the Bowers home on Market Street and demanded one, Bowers did everything in his power to prevent the procedure. This included burying Cecelia’s body before the city physician, Dr. Black, could get to it. After some legal wrangling, O’Donnell managed to get poor Cecelia disinterred. One of his arguments for it: Bowers had recently taken out a $17,000 life insurance policy on his wife.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Dr. Black finally got his scalpel on Cecelia’s remains, lo and behold he found zero evidence of a liver abscess. What he \u003cem>did\u003c/em> find was an abnormal-looking stomach, which he promptly placed in a jar and sent to a chemist named Dr. William Johnson. (Pity the delivery boy…) Johnson later testified that he could smell phosphorus on the organ before he’d even tested it for chemicals. His findings were backed by several other doctors and they were conclusive: Cecelia had been poisoned.\u003c/p>\n\n\n\n\u003cp>At the Nov. 10 inquest, when Bowers was asked to account for the phosphorus in Cecelia’s stomach, he stumbled incredulously for a while, before stating: “I did not give it to her. She must have taken it herself!” When the inquest also raised the fact that the coroner had found evidence of a recent abortion, Bowers replied, “Yes [but] I did not perform it. She did it herself!”\u003c/p>\n\n\n\n\u003cp>Faced with this level of buffoonery, nine inquest jurors decided that Bowers needed to be placed under arrest immediately. Once in the county jail, Bowers talked to the local press at every opportunity. He complained to the \u003cem>San Francisco Call\u003c/em> that he was “unused to close confinement,” but found the strength to insist that if was going to poison his wife, he would have used something less traceable than phosphorus.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"650\" height=\"950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904.png\" alt=\"A grainy black and white portrait of a white man with coiffed hair and a long white beard, accompanied by two courtroom illustrations.\" class=\"wp-image-13990863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904.png 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904-160x234.png 160w\" sizes=\"auto, (max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-element-caption\">Dr. J. Milton Bower as depicted in the San Francisco Chronicle on March 8, 1904. (Archival image)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Bowers’ six-week trial — the longest in San Francisco history at the time — began on March 9, 1886 and saw 130 witnesses testify. Cecelia’s loved ones said they had been denied access to her in her final days, and claimed repeatedly that Bowers was a chronically unfaithful man who treated his wife terribly. Cecelia’s brother Henry Benhayon said Bowers once forced Cecelia to share a bed with one of Bowers’ mistresses. More explicit details were shared in court that the \u003cem>San Francisco Chronicle\u003c/em> deemed “unfit for publication, even in technical terms.”\u003c/p>\n\n\n\n\u003cp>Additionally, Henry testified that he found two pills in Cecelia’s deathbed that contained phosphorus. He also said he’d witnessed Cecelia sobbing to Bowers, “You are torturing me to death with medicine.”\u003c/p>\n\n\n\n\u003cp>In contrast, Bowers’ associates testified that the marriage had been a happy one, and Bowers himself denied all accusations in a day-long testimony. It didn’t work. After a 35-minute deliberation, the jury found Bowers guilty of murder in the first degree. He was sentenced to death by hanging.\u003c/p>\n\n\n\n\u003cp>All’s well that ends well, right? Well, no. This is actually where things get even stranger…\u003c/p>\n\n\n\n\u003cp>Eighteen months after the end of Bowers’ trial, Henry Benhayon (yes, Cecelia’s brother again) was found dead in a Geary Street rooming house that was next door to Bowers’ former medical office. Near Henry’s lifeless body (which was found in an odd, face-down position) were three bottles: whiskey, chloroform and a tightly capped bottle of cyanide. Close to those were three letters signed with Henry’s name, one of which stated that he’d planned to murder both his sister and Bowers so he could become guardian to his niece and inherit the insurance money. The letter also stated that Henry had bought the phosphorus used to kill his sister from a unnamed man who had later committed suicide. (How convenient!)\u003c/p>\n\n\n\n\u003cp>When reporters told Bowers about the confession letter, the doctor said, rather smugly, “Strange that with all my watchfulness, and despite the fact that I was continually at her bedside, that [Henry] should be able to get in and poison her in such a mysterious manner.”\u003c/p>\n\n\n\n\n\n\u003cp>Now, if you’re thinking, “Sounds like Dr. Bowers had his brother-in-law murdered,” you’re not the first. Investigators quickly jumped on the case, and after following some boulder-sized breadcrumbs, arrested a friend of Bowers’ named John Dimmig. Not only was Dimmig a frequent visitor to Bowers in prison, he’d also recently rented the room that Henry’s body was found in. (Dimmig claimed that Henry must have stolen his key.)\u003c/p>\n\n\n\n\u003cp>Despite Dimmig making several preposterous assertions (like admitting he’d recently bought cyanide, yes, but that it was just for a doctor friend), Dimmig’s murder trial was complicated by confusing witness testimony and conflicting handwriting analysis. (One expert said the confession letter was definitely fake, the other said it absolutely matched Henry’s penmanship.) The trial ended in a hung jury. A second trial six months later also resulted in a deadlock, but this time the judge refused to let the jury give up and go home. The end result? Dimmig was found not guilty.\u003c/p>\n\n\n\n\u003cp>As a result of Dimmig being acquitted — and brace yourself for this nonsense — the California Supreme Court decided that the confession letter with Henry’s name on it was enough grounds for Bowers to be released. The doctor got out after just four years in the clink. He quickly opened a medical practice in San Francisco that no one wanted to go to. Then he tried again in Oakland, another location where he was a pariah. Finally, he limped on down to San José, where he was less well-known, and opened an office there.\u003c/p>\n\n\n\n\u003cp>Dr. Bowers died of a stroke in 1904, after battling health problems for two years. The \u003cem>San Francisco\u003c/em> \u003cem>Call\u003c/em>’s report of his death kindly noted that his fourth wife — a schoolteacher named Mary Bird who married him in 1895 — “fortunately survives him.” The article also quoted one detective, Robert Hogan, who had never forgotten the details of Cecelia Benhayon’s agonizing death. \u003c/p>\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Dr. Bowers should have broken his neck from a trap,” Hogan asserted, “instead of dying peaceably from paralysis.”\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Bowers was a physician whose medical specialty was, according to newspaper ads of the era, “diseases of women and children.” Which is unfortunate given that his first three wives ended up dead under suspicious circumstances while under his care. The first, Fannie Hammond, died in 1874 of “undetermined causes” and the couple’s Chicago home burned down shortly after her death. Not suspicious at all!\u003c/p>\n",
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"innerHTML": "\n\u003cp>Bowers immediately moved to New York and married a popular actress and writer named Theresa Sherek, who was 15 years his junior. Together, the couple relocated to San Francisco, but marital bliss was short-lived. Sherek died on Jan. 28, 1881, aged 24, and was buried the very same day. The presumed cause of death was an abscess of the liver.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Within a year, Bowers was married yet again. This time to 29-year-old Cecelia Benhayon, who was a beloved San Francisco socialite. After a sudden and excruciating illness, Cecelia died on Nov. 3, 1885. And — wouldn’t you know it? — her initial death certificate suggested the cause was an abscess of the liver, just like the second Mrs. Bowers.\u003c/p>\n",
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"innerHTML": "\n\u003cp>After Cecelia’s death, San Francisco coroner C. C. O’Donnell was quickly tipped off, via anonymous note, that there was cause to perform an autopsy. When O’Donnell rushed to the Bowers home on Market Street and demanded one, Bowers did everything in his power to prevent the procedure. This included burying Cecelia’s body before the city physician, Dr. Black, could get to it. After some legal wrangling, O’Donnell managed to get poor Cecelia disinterred. One of his arguments for it: Bowers had recently taken out a $17,000 life insurance policy on his wife.\u003c/p>\n",
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"innerHTML": "\n\u003cp>When Dr. Black finally got his scalpel on Cecelia’s remains, lo and behold he found zero evidence of a liver abscess. What he \u003cem>did\u003c/em> find was an abnormal-looking stomach, which he promptly placed in a jar and sent to a chemist named Dr. William Johnson. (Pity the delivery boy…) Johnson later testified that he could smell phosphorus on the organ before he’d even tested it for chemicals. His findings were backed by several other doctors and they were conclusive: Cecelia had been poisoned.\u003c/p>\n",
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"innerHTML": "\n\u003cp>At the Nov. 10 inquest, when Bowers was asked to account for the phosphorus in Cecelia’s stomach, he stumbled incredulously for a while, before stating: “I did not give it to her. She must have taken it herself!” When the inquest also raised the fact that the coroner had found evidence of a recent abortion, Bowers replied, “Yes [but] I did not perform it. She did it herself!”\u003c/p>\n",
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"\n\u003cp>At the Nov. 10 inquest, when Bowers was asked to account for the phosphorus in Cecelia’s stomach, he stumbled incredulously for a while, before stating: “I did not give it to her. She must have taken it herself!” When the inquest also raised the fact that the coroner had found evidence of a recent abortion, Bowers replied, “Yes [but] I did not perform it. She did it herself!”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Faced with this level of buffoonery, nine inquest jurors decided that Bowers needed to be placed under arrest immediately. Once in the county jail, Bowers talked to the local press at every opportunity. He complained to the \u003cem>San Francisco Call\u003c/em> that he was “unused to close confinement,” but found the strength to insist that if was going to poison his wife, he would have used something less traceable than phosphorus.\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904.png\" alt=\"A grainy black and white portrait of a white man with coiffed hair and a long white beard, accompanied by two courtroom illustrations.\" class=\"wp-image-13990863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904.png 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904-160x234.png 160w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Dr. J. Milton Bower as depicted in the San Francisco Chronicle on March 8, 1904.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>Bowers’ six-week trial — the longest in San Francisco history at the time — began on March 9, 1886 and saw 130 witnesses testify. Cecelia’s loved ones said they had been denied access to her in her final days, and claimed repeatedly that Bowers was a chronically unfaithful man who treated his wife terribly. Cecelia’s brother Henry Benhayon said Bowers once forced Cecelia to share a bed with one of Bowers’ mistresses. More explicit details were shared in court that the \u003cem>San Francisco Chronicle\u003c/em> deemed “unfit for publication, even in technical terms.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Additionally, Henry testified that he found two pills in Cecelia’s deathbed that contained phosphorus. He also said he’d witnessed Cecelia sobbing to Bowers, “You are torturing me to death with medicine.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>In contrast, Bowers’ associates testified that the marriage had been a happy one, and Bowers himself denied all accusations in a day-long testimony. It didn’t work. After a 35-minute deliberation, the jury found Bowers guilty of murder in the first degree. He was sentenced to death by hanging.\u003c/p>\n",
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"\n\u003cp>In contrast, Bowers’ associates testified that the marriage had been a happy one, and Bowers himself denied all accusations in a day-long testimony. It didn’t work. After a 35-minute deliberation, the jury found Bowers guilty of murder in the first degree. He was sentenced to death by hanging.\u003c/p>\n"
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"innerHTML": "\n\u003cp>All’s well that ends well, right? Well, no. This is actually where things get even stranger…\u003c/p>\n",
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"innerHTML": "\n\u003cp>Eighteen months after the end of Bowers’ trial, Henry Benhayon (yes, Cecelia’s brother again) was found dead in a Geary Street rooming house that was next door to Bowers’ former medical office. Near Henry’s lifeless body (which was found in an odd, face-down position) were three bottles: whiskey, chloroform and a tightly capped bottle of cyanide. Close to those were three letters signed with Henry’s name, one of which stated that he’d planned to murder both his sister and Bowers so he could become guardian to his niece and inherit the insurance money. The letter also stated that Henry had bought the phosphorus used to kill his sister from a unnamed man who had later committed suicide. (How convenient!)\u003c/p>\n",
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"\n\u003cp>Eighteen months after the end of Bowers’ trial, Henry Benhayon (yes, Cecelia’s brother again) was found dead in a Geary Street rooming house that was next door to Bowers’ former medical office. Near Henry’s lifeless body (which was found in an odd, face-down position) were three bottles: whiskey, chloroform and a tightly capped bottle of cyanide. Close to those were three letters signed with Henry’s name, one of which stated that he’d planned to murder both his sister and Bowers so he could become guardian to his niece and inherit the insurance money. The letter also stated that Henry had bought the phosphorus used to kill his sister from a unnamed man who had later committed suicide. (How convenient!)\u003c/p>\n"
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"innerHTML": "\n\u003cp>When reporters told Bowers about the confession letter, the doctor said, rather smugly, “Strange that with all my watchfulness, and despite the fact that I was continually at her bedside, that [Henry] should be able to get in and poison her in such a mysterious manner.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Now, if you’re thinking, “Sounds like Dr. Bowers had his brother-in-law murdered,” you’re not the first. Investigators quickly jumped on the case, and after following some boulder-sized breadcrumbs, arrested a friend of Bowers’ named John Dimmig. Not only was Dimmig a frequent visitor to Bowers in prison, he’d also recently rented the room that Henry’s body was found in. (Dimmig claimed that Henry must have stolen his key.)\u003c/p>\n",
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"\n\u003cp>Now, if you’re thinking, “Sounds like Dr. Bowers had his brother-in-law murdered,” you’re not the first. Investigators quickly jumped on the case, and after following some boulder-sized breadcrumbs, arrested a friend of Bowers’ named John Dimmig. Not only was Dimmig a frequent visitor to Bowers in prison, he’d also recently rented the room that Henry’s body was found in. (Dimmig claimed that Henry must have stolen his key.)\u003c/p>\n"
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"innerHTML": "\n\u003cp>Despite Dimmig making several preposterous assertions (like admitting he’d recently bought cyanide, yes, but that it was just for a doctor friend), Dimmig’s murder trial was complicated by confusing witness testimony and conflicting handwriting analysis. (One expert said the confession letter was definitely fake, the other said it absolutely matched Henry’s penmanship.) The trial ended in a hung jury. A second trial six months later also resulted in a deadlock, but this time the judge refused to let the jury give up and go home. The end result? Dimmig was found not guilty.\u003c/p>\n",
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"innerHTML": "\n\u003cp>As a result of Dimmig being acquitted — and brace yourself for this nonsense — the California Supreme Court decided that the confession letter with Henry’s name on it was enough grounds for Bowers to be released. The doctor got out after just four years in the clink. He quickly opened a medical practice in San Francisco that no one wanted to go to. Then he tried again in Oakland, another location where he was a pariah. Finally, he limped on down to San José, where he was less well-known, and opened an office there.\u003c/p>\n",
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"\n\u003cp>As a result of Dimmig being acquitted — and brace yourself for this nonsense — the California Supreme Court decided that the confession letter with Henry’s name on it was enough grounds for Bowers to be released. The doctor got out after just four years in the clink. He quickly opened a medical practice in San Francisco that no one wanted to go to. Then he tried again in Oakland, another location where he was a pariah. Finally, he limped on down to San José, where he was less well-known, and opened an office there.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Dr. Bowers died of a stroke in 1904, after battling health problems for two years. The \u003cem>San Francisco\u003c/em> \u003cem>Call\u003c/em>’s report of his death kindly noted that his fourth wife — a schoolteacher named Mary Bird who married him in 1895 — “fortunately survives him.” The article also quoted one detective, Robert Hogan, who had never forgotten the details of Cecelia Benhayon’s agonizing death. \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re a Bay Area true crime nerd with an extensive knowledge of the region’s most notorious serial killers, you might be wondering why you’ve never heard of San Francisco’s very first serial killer, Dr. J. Milton Bowers. The answer is that nobody ever conclusively proved it. (Okay, fine, then: \u003cem>alleged\u003c/em> serial killer.) If you were a San Franciscan in the 1880s, however, you’d know all about Dr. Bowers. You’d certainly know enough not to marry the bearded weirdo.\u003c/p>\n\n\n\n\u003cp>Bowers was a physician whose medical specialty was, according to newspaper ads of the era, “diseases of women and children.” Which is unfortunate given that his first three wives ended up dead under suspicious circumstances while under his care. The first, Fannie Hammond, died in 1874 of “undetermined causes” and the couple’s Chicago home burned down shortly after her death. Not suspicious at all!\u003c/p>\n\n\n\n\u003cp>Bowers immediately moved to New York and married a popular actress and writer named Theresa Sherek, who was 15 years his junior. Together, the couple relocated to San Francisco, but marital bliss was short-lived. Sherek died on Jan. 28, 1881, aged 24, and was buried the very same day. The presumed cause of death was an abscess of the liver.\u003c/p>\n\n\n\n\n\n\u003cp>Within a year, Bowers was married yet again. This time to 29-year-old Cecelia Benhayon, who was a beloved San Francisco socialite. After a sudden and excruciating illness, Cecelia died on Nov. 3, 1885. And — wouldn’t you know it? — her initial death certificate suggested the cause was an abscess of the liver, just like the second Mrs. Bowers.\u003c/p>\n\n\n\n\u003cp>After Cecelia’s death, San Francisco coroner C. C. O’Donnell was quickly tipped off, via anonymous note, that there was cause to perform an autopsy. When O’Donnell rushed to the Bowers home on Market Street and demanded one, Bowers did everything in his power to prevent the procedure. This included burying Cecelia’s body before the city physician, Dr. Black, could get to it. After some legal wrangling, O’Donnell managed to get poor Cecelia disinterred. One of his arguments for it: Bowers had recently taken out a $17,000 life insurance policy on his wife.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Dr. Black finally got his scalpel on Cecelia’s remains, lo and behold he found zero evidence of a liver abscess. What he \u003cem>did\u003c/em> find was an abnormal-looking stomach, which he promptly placed in a jar and sent to a chemist named Dr. William Johnson. (Pity the delivery boy…) Johnson later testified that he could smell phosphorus on the organ before he’d even tested it for chemicals. His findings were backed by several other doctors and they were conclusive: Cecelia had been poisoned.\u003c/p>\n\n\n\n\u003cp>At the Nov. 10 inquest, when Bowers was asked to account for the phosphorus in Cecelia’s stomach, he stumbled incredulously for a while, before stating: “I did not give it to her. She must have taken it herself!” When the inquest also raised the fact that the coroner had found evidence of a recent abortion, Bowers replied, “Yes [but] I did not perform it. She did it herself!”\u003c/p>\n\n\n\n\u003cp>Faced with this level of buffoonery, nine inquest jurors decided that Bowers needed to be placed under arrest immediately. Once in the county jail, Bowers talked to the local press at every opportunity. He complained to the \u003cem>San Francisco Call\u003c/em> that he was “unused to close confinement,” but found the strength to insist that if was going to poison his wife, he would have used something less traceable than phosphorus.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"650\" height=\"950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904.png\" alt=\"A grainy black and white portrait of a white man with coiffed hair and a long white beard, accompanied by two courtroom illustrations.\" class=\"wp-image-13990863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904.png 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904-160x234.png 160w\" sizes=\"auto, (max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-element-caption\">Dr. J. Milton Bower as depicted in the San Francisco Chronicle on March 8, 1904. (Archival image)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Bowers’ six-week trial — the longest in San Francisco history at the time — began on March 9, 1886 and saw 130 witnesses testify. Cecelia’s loved ones said they had been denied access to her in her final days, and claimed repeatedly that Bowers was a chronically unfaithful man who treated his wife terribly. Cecelia’s brother Henry Benhayon said Bowers once forced Cecelia to share a bed with one of Bowers’ mistresses. More explicit details were shared in court that the \u003cem>San Francisco Chronicle\u003c/em> deemed “unfit for publication, even in technical terms.”\u003c/p>\n\n\n\n\u003cp>Additionally, Henry testified that he found two pills in Cecelia’s deathbed that contained phosphorus. He also said he’d witnessed Cecelia sobbing to Bowers, “You are torturing me to death with medicine.”\u003c/p>\n\n\n\n\u003cp>In contrast, Bowers’ associates testified that the marriage had been a happy one, and Bowers himself denied all accusations in a day-long testimony. It didn’t work. After a 35-minute deliberation, the jury found Bowers guilty of murder in the first degree. He was sentenced to death by hanging.\u003c/p>\n\n\n\n\u003cp>All’s well that ends well, right? Well, no. This is actually where things get even stranger…\u003c/p>\n\n\n\n\u003cp>Eighteen months after the end of Bowers’ trial, Henry Benhayon (yes, Cecelia’s brother again) was found dead in a Geary Street rooming house that was next door to Bowers’ former medical office. Near Henry’s lifeless body (which was found in an odd, face-down position) were three bottles: whiskey, chloroform and a tightly capped bottle of cyanide. Close to those were three letters signed with Henry’s name, one of which stated that he’d planned to murder both his sister and Bowers so he could become guardian to his niece and inherit the insurance money. The letter also stated that Henry had bought the phosphorus used to kill his sister from a unnamed man who had later committed suicide. (How convenient!)\u003c/p>\n\n\n\n\u003cp>When reporters told Bowers about the confession letter, the doctor said, rather smugly, “Strange that with all my watchfulness, and despite the fact that I was continually at her bedside, that [Henry] should be able to get in and poison her in such a mysterious manner.”\u003c/p>\n\n\n\n\n\n\u003cp>Now, if you’re thinking, “Sounds like Dr. Bowers had his brother-in-law murdered,” you’re not the first. Investigators quickly jumped on the case, and after following some boulder-sized breadcrumbs, arrested a friend of Bowers’ named John Dimmig. Not only was Dimmig a frequent visitor to Bowers in prison, he’d also recently rented the room that Henry’s body was found in. (Dimmig claimed that Henry must have stolen his key.)\u003c/p>\n\n\n\n\u003cp>Despite Dimmig making several preposterous assertions (like admitting he’d recently bought cyanide, yes, but that it was just for a doctor friend), Dimmig’s murder trial was complicated by confusing witness testimony and conflicting handwriting analysis. (One expert said the confession letter was definitely fake, the other said it absolutely matched Henry’s penmanship.) The trial ended in a hung jury. A second trial six months later also resulted in a deadlock, but this time the judge refused to let the jury give up and go home. The end result? Dimmig was found not guilty.\u003c/p>\n\n\n\n\u003cp>As a result of Dimmig being acquitted — and brace yourself for this nonsense — the California Supreme Court decided that the confession letter with Henry’s name on it was enough grounds for Bowers to be released. The doctor got out after just four years in the clink. He quickly opened a medical practice in San Francisco that no one wanted to go to. Then he tried again in Oakland, another location where he was a pariah. Finally, he limped on down to San José, where he was less well-known, and opened an office there.\u003c/p>\n\n\n\n\u003cp>Dr. Bowers died of a stroke in 1904, after battling health problems for two years. The \u003cem>San Francisco\u003c/em> \u003cem>Call\u003c/em>’s report of his death kindly noted that his fourth wife — a schoolteacher named Mary Bird who married him in 1895 — “fortunately survives him.” The article also quoted one detective, Robert Hogan, who had never forgotten the details of Cecelia Benhayon’s agonizing death. \u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Dr. Bowers should have broken his neck from a trap,” Hogan asserted, “instead of dying peaceably from paralysis.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "1980s-san-francisco-aids-protest-federal-building-arc-vigil",
"title": "The San Francisco AIDS Protest That Lasted a Decade",
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"headTitle": "The San Francisco AIDS Protest That Lasted a Decade | KQED",
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"content": "\u003cp>On Oct. 27, 1985, two 26-year-old men arrived at San Francisco’s old Federal Building at 50 United Nations Plaza, chained themselves to a set of doors and started a protest that would last an entire decade.\u003c/p>\n\n\n\n\u003cp>Their names were Frank Bert and Steven Russell and both were living with ARC, or \u003ca href=\"https://www.kqed.org/stateofhealth/tag/hivaids\">AIDS\u003c/a>-Related Complex. In the 1980s, ARC was a catch-all term used to describe the symptoms most commonly associated with HIV as it developed into AIDS. Bert and Russell chose the U.N. Plaza because it was then home to the regional office of the U.S. Department of Health and Human Services.\u003c/p>\n\n\n\n\u003cp>The pair wanted to draw attention to the roughly 15,000 San Francisco residents living with ARC at the time. They were also demanding more funding for AIDS research, FDA approval of experimental AIDS treatments, and more benefits for people living with ARC. (ARC patients were granted less social security and disability benefits than AIDS patients.)\u003c/p>\n\n\n\n\u003cp>Shortly after Bert and Russell’s protest began, Pat Norman — the first openly gay employee of San Francisco’s Health Department — \u003ca href=\"https://www.youtube.com/watch?v=caJ_l-rHeN8\">told documentary filmmakers\u003c/a> she believed ARC patients were being sidelined on purpose. “[Government officials] don’t want to spend money treating and providing services for people with ARC because it is larger and larger and larger than anybody wants to concede,” she said. “They are trying very hard not to expand the definition and diagnoses of ARC.”\u003c/p>\n\n\n\n\u003cp>It did not take long for people to start sympathizing with Bert and Russell’s cause. Four days into the protest, the \u003cem>San Francisco Examiner\u003c/em> published a photo of the men titled “Other casualties of AIDS.” They sat peacefully under a blanket, wearing multiple layers of clothes, still chained to the doors. The 24/7 protest was kept alive by allies who showed up to give Bert and Russell breaks. The first two helpers were Paul Ramirez, 27 and Wes North, 31.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I’m out here, there’s so much love,” North told the \u003cem>San Francisco Chronicle\u003c/em> a few weeks later. “When I’m at home alone, I get scared. I think of dying. Here, I feel I’m doing something.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1324\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-2000x1324.png\" alt=\"A government building with two mattresses visible in its doorway. Opposite, on a grassy area, several tents are set up.\" class=\"wp-image-13990619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-2000x1324.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-2048x1356.png 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">The ARC-AIDS Vigil at San Francisco’s old Federal Building, as it looked at night. (Courtesy of the GLBT Historical Society)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>North wasn’t alone. The longer Bert, Russell and their cohort stayed at U.N. Plaza, the more the protest transformed into a community hub. By the end of 1985, 100 people were in attendance, some of whom slept in tents. Federal Building employees started bringing coffee and donuts. A nurse donated a grill. Others dropped off Thanksgiving turkeys and a Christmas tree to get the makeshift village through the holidays.\u003c/p>\n\n\n\n\u003cp>A woman named Serena Wylie who regularly donated casseroles to the vigil told the \u003cem>Chronicle\u003c/em> in December: “[The protesters] have come to be part of my family. There is joy here and a lot of laughter and smiles. There is strength and hope.”\u003c/p>\n\n\n\n\u003cp>The prolonged action was not without its risks, however. In the early hours of Nov. 3, two straight allies were attacked by strangers at the federal building. (“It is not going to scare us away,” Russell told the \u003cem>Examiner\u003c/em> at the time. “If we need to, we will stay here indefinitely.”) In the first week of December, a 39-year-old protester named Jän Beck was rushed to SF General after enduring three seizures and a stroke at the federal building. As soon as he was back on his feet, he went straight back to U.N. Plaza, telling reporters, “I have felt a home here that I have not felt in a long, long time.”\u003c/p>\n\n\n\n\u003cp>Beck added, “It started out as a desperate, last-ditch effort by people who had seemingly tried everything to get the government to listen. It gained a new spirit and power because people have become empowered.”\u003c/p>\n\n\n\n\n\n\u003cp>That spirit proved to be contagious. Folks gathered at the vigil were not placated by the House and Senate approving $221.5 million for AIDS research at the end of 1985. Everyone stayed put. Some began writing letters to their local and federal representatives, including Mayor Dianne Feinstein and President Ronald Reagan. The Board of Supervisors endorsed the vigil, and Congresswoman Barbara Boxer shared her support too.\u003c/p>\n\n\n\n\u003cp>The core members of the vigil began fundraising, sending out press releases, and set up an information table on site. An official organization was established to run things, led by project director William Davis and secretary Lance Hunt. Smaller ARC-AIDS vigil committees were formed to create sit-in schedules, plan other political actions and coordinate community outreach.\u003c/p>\n\n\n\n\u003cp>By February 1986, Hal Freeman, the manager of the Department of Health and Human Services, had resigned after 18 years of service — in protest of his own department’s inaction on AIDS and ARC. At the time, Freeman shared that, “a director in one meeting in Washington was heard to say ‘We don’t want to lend an aura of dignity to these AIDS cases,’ and that, to me, is simple homophobia.” (Freeman died of AIDS just two and a half years after his resignation.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1185\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88.jpg\" alt=\"Four men of varying ages stand outside doors to an office building. One is holding a large American flag.\" class=\"wp-image-13990331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88-1536x910.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">The third anniversary of the ARC-AIDS demonstration at U.N. Plaza Federal Building is marked by four protesters. (10/22/1988 Gay Rights Project)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In its first five years, the ARC-AIDS vigil became a powerful symbol of the suffering caused by inaction on a national level. It spotlit the ongoing crisis. Perhaps even more importantly, it became a safe space for information sharing and harm-reduction resources for thousands of Bay Area residents.\u003c/p>\n\n\n\n\u003cp>The last five years of the vigil were less consistent; by 1995, just three protesters remained at U.N. Plaza. Their encampment was ultimately destroyed by a December storm. With that, the vigil finally came to an end.\u003c/p>\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Three decades on, the ARC-AIDS vigil is an inspiring example of grassroots activism in action. It remains an essential reminder of the greatest struggles shouldered by San Francisco’s gay community in the first decade of the AIDS epidemic. That the vigil endured for so long speaks to the slowness of the federal response to the crisis. But the longest-continuous protest in San Francisco history also reflects the resilience, determination and bravery of LGBTQ+ activists in the city. May they be remembered this, and every, Pride month.\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>On Oct. 27, 1985, two 26-year-old men arrived at San Francisco’s old Federal Building at 50 United Nations Plaza, chained themselves to a set of doors and started a protest that would last an entire decade.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Their names were Frank Bert and Steven Russell and both were living with ARC, or \u003ca href=\"https://www.kqed.org/stateofhealth/tag/hivaids\">AIDS\u003c/a>-Related Complex. In the 1980s, ARC was a catch-all term used to describe the symptoms most commonly associated with HIV as it developed into AIDS. Bert and Russell chose the U.N. Plaza because it was then home to the regional office of the U.S. Department of Health and Human Services.\u003c/p>\n",
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"\n\u003cp>Their names were Frank Bert and Steven Russell and both were living with ARC, or \u003ca href=\"https://www.kqed.org/stateofhealth/tag/hivaids\">AIDS\u003c/a>-Related Complex. In the 1980s, ARC was a catch-all term used to describe the symptoms most commonly associated with HIV as it developed into AIDS. Bert and Russell chose the U.N. Plaza because it was then home to the regional office of the U.S. Department of Health and Human Services.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The pair wanted to draw attention to the roughly 15,000 San Francisco residents living with ARC at the time. They were also demanding more funding for AIDS research, FDA approval of experimental AIDS treatments, and more benefits for people living with ARC. (ARC patients were granted less social security and disability benefits than AIDS patients.)\u003c/p>\n",
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"\n\u003cp>The pair wanted to draw attention to the roughly 15,000 San Francisco residents living with ARC at the time. They were also demanding more funding for AIDS research, FDA approval of experimental AIDS treatments, and more benefits for people living with ARC. (ARC patients were granted less social security and disability benefits than AIDS patients.)\u003c/p>\n"
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"innerHTML": "\n\u003cp>Shortly after Bert and Russell’s protest began, Pat Norman — the first openly gay employee of San Francisco’s Health Department — \u003ca href=\"https://www.youtube.com/watch?v=caJ_l-rHeN8\">told documentary filmmakers\u003c/a> she believed ARC patients were being sidelined on purpose. “[Government officials] don’t want to spend money treating and providing services for people with ARC because it is larger and larger and larger than anybody wants to concede,” she said. “They are trying very hard not to expand the definition and diagnoses of ARC.”\u003c/p>\n",
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"\n\u003cp>Shortly after Bert and Russell’s protest began, Pat Norman — the first openly gay employee of San Francisco’s Health Department — \u003ca href=\"https://www.youtube.com/watch?v=caJ_l-rHeN8\">told documentary filmmakers\u003c/a> she believed ARC patients were being sidelined on purpose. “[Government officials] don’t want to spend money treating and providing services for people with ARC because it is larger and larger and larger than anybody wants to concede,” she said. “They are trying very hard not to expand the definition and diagnoses of ARC.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>It did not take long for people to start sympathizing with Bert and Russell’s cause. Four days into the protest, the \u003cem>San Francisco Examiner\u003c/em> published a photo of the men titled “Other casualties of AIDS.” They sat peacefully under a blanket, wearing multiple layers of clothes, still chained to the doors. The 24/7 protest was kept alive by allies who showed up to give Bert and Russell breaks. The first two helpers were Paul Ramirez, 27 and Wes North, 31.\u003c/p>\n",
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"\n\u003cp>It did not take long for people to start sympathizing with Bert and Russell’s cause. Four days into the protest, the \u003cem>San Francisco Examiner\u003c/em> published a photo of the men titled “Other casualties of AIDS.” They sat peacefully under a blanket, wearing multiple layers of clothes, still chained to the doors. The 24/7 protest was kept alive by allies who showed up to give Bert and Russell breaks. The first two helpers were Paul Ramirez, 27 and Wes North, 31.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“When I’m out here, there’s so much love,” North told the \u003cem>San Francisco Chronicle\u003c/em> a few weeks later. “When I’m at home alone, I get scared. I think of dying. Here, I feel I’m doing something.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>North wasn’t alone. The longer Bert, Russell and their cohort stayed at U.N. Plaza, the more the protest transformed into a community hub. By the end of 1985, 100 people were in attendance, some of whom slept in tents. Federal Building employees started bringing coffee and donuts. A nurse donated a grill. Others dropped off Thanksgiving turkeys and a Christmas tree to get the makeshift village through the holidays.\u003c/p>\n",
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"innerHTML": "\n\u003cp>A woman named Serena Wylie who regularly donated casseroles to the vigil told the \u003cem>Chronicle\u003c/em> in December: “[The protesters] have come to be part of my family. There is joy here and a lot of laughter and smiles. There is strength and hope.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>The prolonged action was not without its risks, however. In the early hours of Nov. 3, two straight allies were attacked by strangers at the federal building. (“It is not going to scare us away,” Russell told the \u003cem>Examiner\u003c/em> at the time. “If we need to, we will stay here indefinitely.”) In the first week of December, a 39-year-old protester named Jän Beck was rushed to SF General after enduring three seizures and a stroke at the federal building. As soon as he was back on his feet, he went straight back to U.N. Plaza, telling reporters, “I have felt a home here that I have not felt in a long, long time.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Beck added, “It started out as a desperate, last-ditch effort by people who had seemingly tried everything to get the government to listen. It gained a new spirit and power because people have become empowered.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>That spirit proved to be contagious. Folks gathered at the vigil were not placated by the House and Senate approving $221.5 million for AIDS research at the end of 1985. Everyone stayed put. Some began writing letters to their local and federal representatives, including Mayor Dianne Feinstein and President Ronald Reagan. The Board of Supervisors endorsed the vigil, and Congresswoman Barbara Boxer shared her support too.\u003c/p>\n",
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"innerHTML": "\n\u003cp>The core members of the vigil began fundraising, sending out press releases, and set up an information table on site. An official organization was established to run things, led by project director William Davis and secretary Lance Hunt. Smaller ARC-AIDS vigil committees were formed to create sit-in schedules, plan other political actions and coordinate community outreach.\u003c/p>\n",
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"innerHTML": "\n\u003cp>By February 1986, Hal Freeman, the manager of the Department of Health and Human Services, had resigned after 18 years of service — in protest of his own department’s inaction on AIDS and ARC. At the time, Freeman shared that, “a director in one meeting in Washington was heard to say ‘We don’t want to lend an aura of dignity to these AIDS cases,’ and that, to me, is simple homophobia.” (Freeman died of AIDS just two and a half years after his resignation.)\u003c/p>\n",
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"innerHTML": "\n\u003cp>In its first five years, the ARC-AIDS vigil became a powerful symbol of the suffering caused by inaction on a national level. It spotlit the ongoing crisis. Perhaps even more importantly, it became a safe space for information sharing and harm-reduction resources for thousands of Bay Area residents.\u003c/p>\n",
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"innerHTML": "\n\u003cp>The last five years of the vigil were less consistent; by 1995, just three protesters remained at U.N. Plaza. Their encampment was ultimately destroyed by a December storm. With that, the vigil finally came to an end.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Three decades on, the ARC-AIDS vigil is an inspiring example of grassroots activism in action. It remains an essential reminder of the greatest struggles shouldered by San Francisco’s gay community in the first decade of the AIDS epidemic. That the vigil endured for so long speaks to the slowness of the federal response to the crisis. But the longest-continuous protest in San Francisco history also reflects the resilience, determination and bravery of LGBTQ+ activists in the city. May they be remembered this, and every, Pride month.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Oct. 27, 1985, two 26-year-old men arrived at San Francisco’s old Federal Building at 50 United Nations Plaza, chained themselves to a set of doors and started a protest that would last an entire decade.\u003c/p>\n\n\n\n\u003cp>Their names were Frank Bert and Steven Russell and both were living with ARC, or \u003ca href=\"https://www.kqed.org/stateofhealth/tag/hivaids\">AIDS\u003c/a>-Related Complex. In the 1980s, ARC was a catch-all term used to describe the symptoms most commonly associated with HIV as it developed into AIDS. Bert and Russell chose the U.N. Plaza because it was then home to the regional office of the U.S. Department of Health and Human Services.\u003c/p>\n\n\n\n\u003cp>The pair wanted to draw attention to the roughly 15,000 San Francisco residents living with ARC at the time. They were also demanding more funding for AIDS research, FDA approval of experimental AIDS treatments, and more benefits for people living with ARC. (ARC patients were granted less social security and disability benefits than AIDS patients.)\u003c/p>\n\n\n\n\u003cp>Shortly after Bert and Russell’s protest began, Pat Norman — the first openly gay employee of San Francisco’s Health Department — \u003ca href=\"https://www.youtube.com/watch?v=caJ_l-rHeN8\">told documentary filmmakers\u003c/a> she believed ARC patients were being sidelined on purpose. “[Government officials] don’t want to spend money treating and providing services for people with ARC because it is larger and larger and larger than anybody wants to concede,” she said. “They are trying very hard not to expand the definition and diagnoses of ARC.”\u003c/p>\n\n\n\n\u003cp>It did not take long for people to start sympathizing with Bert and Russell’s cause. Four days into the protest, the \u003cem>San Francisco Examiner\u003c/em> published a photo of the men titled “Other casualties of AIDS.” They sat peacefully under a blanket, wearing multiple layers of clothes, still chained to the doors. The 24/7 protest was kept alive by allies who showed up to give Bert and Russell breaks. The first two helpers were Paul Ramirez, 27 and Wes North, 31.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I’m out here, there’s so much love,” North told the \u003cem>San Francisco Chronicle\u003c/em> a few weeks later. “When I’m at home alone, I get scared. I think of dying. Here, I feel I’m doing something.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1324\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-2000x1324.png\" alt=\"A government building with two mattresses visible in its doorway. Opposite, on a grassy area, several tents are set up.\" class=\"wp-image-13990619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-2000x1324.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-2048x1356.png 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">The ARC-AIDS Vigil at San Francisco’s old Federal Building, as it looked at night. (Courtesy of the GLBT Historical Society)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>North wasn’t alone. The longer Bert, Russell and their cohort stayed at U.N. Plaza, the more the protest transformed into a community hub. By the end of 1985, 100 people were in attendance, some of whom slept in tents. Federal Building employees started bringing coffee and donuts. A nurse donated a grill. Others dropped off Thanksgiving turkeys and a Christmas tree to get the makeshift village through the holidays.\u003c/p>\n\n\n\n\u003cp>A woman named Serena Wylie who regularly donated casseroles to the vigil told the \u003cem>Chronicle\u003c/em> in December: “[The protesters] have come to be part of my family. There is joy here and a lot of laughter and smiles. There is strength and hope.”\u003c/p>\n\n\n\n\u003cp>The prolonged action was not without its risks, however. In the early hours of Nov. 3, two straight allies were attacked by strangers at the federal building. (“It is not going to scare us away,” Russell told the \u003cem>Examiner\u003c/em> at the time. “If we need to, we will stay here indefinitely.”) In the first week of December, a 39-year-old protester named Jän Beck was rushed to SF General after enduring three seizures and a stroke at the federal building. As soon as he was back on his feet, he went straight back to U.N. Plaza, telling reporters, “I have felt a home here that I have not felt in a long, long time.”\u003c/p>\n\n\n\n\u003cp>Beck added, “It started out as a desperate, last-ditch effort by people who had seemingly tried everything to get the government to listen. It gained a new spirit and power because people have become empowered.”\u003c/p>\n\n\n\n\n\n\u003cp>That spirit proved to be contagious. Folks gathered at the vigil were not placated by the House and Senate approving $221.5 million for AIDS research at the end of 1985. Everyone stayed put. Some began writing letters to their local and federal representatives, including Mayor Dianne Feinstein and President Ronald Reagan. The Board of Supervisors endorsed the vigil, and Congresswoman Barbara Boxer shared her support too.\u003c/p>\n\n\n\n\u003cp>The core members of the vigil began fundraising, sending out press releases, and set up an information table on site. An official organization was established to run things, led by project director William Davis and secretary Lance Hunt. Smaller ARC-AIDS vigil committees were formed to create sit-in schedules, plan other political actions and coordinate community outreach.\u003c/p>\n\n\n\n\u003cp>By February 1986, Hal Freeman, the manager of the Department of Health and Human Services, had resigned after 18 years of service — in protest of his own department’s inaction on AIDS and ARC. At the time, Freeman shared that, “a director in one meeting in Washington was heard to say ‘We don’t want to lend an aura of dignity to these AIDS cases,’ and that, to me, is simple homophobia.” (Freeman died of AIDS just two and a half years after his resignation.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1185\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88.jpg\" alt=\"Four men of varying ages stand outside doors to an office building. One is holding a large American flag.\" class=\"wp-image-13990331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88-1536x910.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">The third anniversary of the ARC-AIDS demonstration at U.N. Plaza Federal Building is marked by four protesters. (10/22/1988 Gay Rights Project)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In its first five years, the ARC-AIDS vigil became a powerful symbol of the suffering caused by inaction on a national level. It spotlit the ongoing crisis. Perhaps even more importantly, it became a safe space for information sharing and harm-reduction resources for thousands of Bay Area residents.\u003c/p>\n\n\n\n\u003cp>The last five years of the vigil were less consistent; by 1995, just three protesters remained at U.N. Plaza. Their encampment was ultimately destroyed by a December storm. With that, the vigil finally came to an end.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Three decades on, the ARC-AIDS vigil is an inspiring example of grassroots activism in action. It remains an essential reminder of the greatest struggles shouldered by San Francisco’s gay community in the first decade of the AIDS epidemic. That the vigil endured for so long speaks to the slowness of the federal response to the crisis. But the longest-continuous protest in San Francisco history also reflects the resilience, determination and bravery of LGBTQ+ activists in the city. May they be remembered this, and every, Pride month.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you feel like it’s been forever since anyone gave you flowers, dry your eyes, turn off Taylor Swift’s \u003cem>Red\u003c/em> album, and journey to your nearest \u003ca href=\"https://www.kqed.org/news/tag/oakland-public-library\">Oakland Public Library\u003c/a>. Why? Because libraries are where all the sexy people hang out, of course! But also … because nine branches in Oakland are currently giving marigolds away.\u003c/p>\n\n\n\n\u003cp>Some fun facts about marigolds!\u003c/p>\n\n\n\n\u003cul class=\"wp-block-list\">\n\u003cli>Depending on the species, marigolds can grow up to four feet tall. Which is the same height as a donkey or an emperor penguin, two animals that absolutely should not be the same height as one other.\u003c/li>\n\n\n\n\u003cli>Marigolds attract pollinators to gardens (yay, bees!) and repel pest insects (boo, aphids!).\u003c/li>\n\n\n\n\u003cli>During Día de los Muertos, marigolds are a common sight because they’re thought to guide spirits back to their loved ones.\u003c/li>\n\n\n\n\u003cli>Marigolds thrive in full sunlight and well-drained soil, are relatively easy to grow, and stay out all summer long like your newly divorced auntie.\u003c/li>\n\n\n\n\u003cli>What do marigolds smell like? It depends on the species but … weed, kind of. It’s mostly weed. Or cat pee. Just have fun with it!\u003c/li>\n\u003c/ul>\n\n\n\n\u003cp>The César E. Chávez, Dimond, Elmhurst, Golden Gate, Martin Luther King Jr., Melrose, Rockridge, West Oakland and Main branches have been showering the public with these floral kisses since June 6. The last day to pick up a plant is June 12. There’s only one catch. Like being handed a rose on \u003cem>The Bachelor\u003c/em>, if you receive library marigolds, it means that you’re automatically in competition. \u003c/p>\n\n\n\n\u003cp>The Oakland Public Library, you see, wants to find out who can grow the tallest marigolds over the summer. That means (because librarians are gonna librarian), they want you to return with your flowers sometime between Aug. 22 and 29, so someone can measure your stems — which is not a euphemism for something less family-friendly.\u003c/p>\n\n\n\n\u003cp>So, blossom-lovers, go pick up your \u003cem>cempasúchil\u003c/em> now, and prepare to fall in love with a silent organism all over again, just like you did with that sourdough starter in summer 2020. Once your marigold obsession has begun, expect a little extra sunshine in your home, a wholesome summer-long pursuit, and a number of confused questions from your neighbors. Including: “Can I have my tape measure back?” And “Why are you skipping your annual summer vacation?” And, “But I thought you didn’t like weed?”\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can register to take part in \u003ca href=\"https://oaklandlibrary.bibliocommons.com/v2/events?q=marigold&utm_source=biblioemail-oaklandlibrary&utm_medium=email&ct=YTo1OntzOjY6InNvdXJjZSI7YToyOntpOjA7czo1OiJlbWFpbCI7aToxO2k6NDcxO31zOjU6ImVtYWlsIjtpOjQ3MTtzOjQ6InN0YXQiO3M6MjI6IjZhMWE1YmNjNjRlYTc1Nzg0NTI1MzIiO3M6NDoibGVhZCI7czo2OiIzMTg5MzQiO3M6NzoiY2hhbm5lbCI7YToxOntzOjU6ImVtYWlsIjtpOjQ3MTt9fQ%3D%3D\">the marigold-growing contest here\u003c/a>.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you feel like it’s been forever since anyone gave you flowers, dry your eyes, turn off Taylor Swift’s \u003cem>Red\u003c/em> album, and journey to your nearest \u003ca href=\"https://www.kqed.org/news/tag/oakland-public-library\">Oakland Public Library\u003c/a>. Why? Because libraries are where all the sexy people hang out, of course! But also … because nine branches in Oakland are currently giving marigolds away.\u003c/p>\n\n\n\n\u003cp>Some fun facts about marigolds!\u003c/p>\n\n\n\n\u003cul class=\"wp-block-list\">\n\u003cli>Depending on the species, marigolds can grow up to four feet tall. Which is the same height as a donkey or an emperor penguin, two animals that absolutely should not be the same height as one other.\u003c/li>\n\n\n\n\u003cli>Marigolds attract pollinators to gardens (yay, bees!) and repel pest insects (boo, aphids!).\u003c/li>\n\n\n\n\u003cli>During Día de los Muertos, marigolds are a common sight because they’re thought to guide spirits back to their loved ones.\u003c/li>\n\n\n\n\u003cli>Marigolds thrive in full sunlight and well-drained soil, are relatively easy to grow, and stay out all summer long like your newly divorced auntie.\u003c/li>\n\n\n\n\u003cli>What do marigolds smell like? It depends on the species but … weed, kind of. It’s mostly weed. Or cat pee. Just have fun with it!\u003c/li>\n\u003c/ul>\n\n\n\n\u003cp>The César E. Chávez, Dimond, Elmhurst, Golden Gate, Martin Luther King Jr., Melrose, Rockridge, West Oakland and Main branches have been showering the public with these floral kisses since June 6. The last day to pick up a plant is June 12. There’s only one catch. Like being handed a rose on \u003cem>The Bachelor\u003c/em>, if you receive library marigolds, it means that you’re automatically in competition. \u003c/p>\n\n\n\n\u003cp>The Oakland Public Library, you see, wants to find out who can grow the tallest marigolds over the summer. That means (because librarians are gonna librarian), they want you to return with your flowers sometime between Aug. 22 and 29, so someone can measure your stems — which is not a euphemism for something less family-friendly.\u003c/p>\n\n\n\n\u003cp>So, blossom-lovers, go pick up your \u003cem>cempasúchil\u003c/em> now, and prepare to fall in love with a silent organism all over again, just like you did with that sourdough starter in summer 2020. Once your marigold obsession has begun, expect a little extra sunshine in your home, a wholesome summer-long pursuit, and a number of confused questions from your neighbors. Including: “Can I have my tape measure back?” And “Why are you skipping your annual summer vacation?” And, “But I thought you didn’t like weed?”\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can register to take part in \u003ca href=\"https://oaklandlibrary.bibliocommons.com/v2/events?q=marigold&utm_source=biblioemail-oaklandlibrary&utm_medium=email&ct=YTo1OntzOjY6InNvdXJjZSI7YToyOntpOjA7czo1OiJlbWFpbCI7aToxO2k6NDcxO31zOjU6ImVtYWlsIjtpOjQ3MTtzOjQ6InN0YXQiO3M6MjI6IjZhMWE1YmNjNjRlYTc1Nzg0NTI1MzIiO3M6NDoibGVhZCI7czo2OiIzMTg5MzQiO3M6NzoiY2hhbm5lbCI7YToxOntzOjU6ImVtYWlsIjtpOjQ3MTt9fQ%3D%3D\">the marigold-growing contest here\u003c/a>.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Three Bay Area nonprofits will receive grants from the newly created \u003ca href=\"https://literaryartsfund.org/\">Literary Arts Fund\u003c/a> as part of a national effort to champion literary culture. Berkeley-based \u003ca href=\"https://www.transitbooks.org/\">Transit Books\u003c/a> and San Francisco-based \u003ca href=\"https://www.smallpresstraffic.org/\">Small Press Traffic\u003c/a> and the \u003ca href=\"https://www.catranslation.org/\">Center for the Art of Translation\u003c/a> will share $7.7 million with 37 other organization across the country.\u003c/p>\n\n\n\n\u003cp>The inaugural grant recipients include publishers, residency programs, book festivals and workshop organizers. The fund acknowledges that the literary arts are “the most underfunded artistic discipline in the nation.”\u003c/p>\n\n\n\n\u003cp>“The grant includes a five-year funding commitment toward general operating expenses for Transit Books,” publishers Adam Z. Levy and Ashley Nelson Levy told KQED via email. “To have financial support to run Transit Books as well as a fixed, multi-year commitment is the best resource we can possibly ask for right now, particularly in a time of federal funding cuts that have affected so many arts organizations.”\u003c/p>\n\n\n\n\u003cp>The \u003ca href=\"https://literaryartsfund.org/\">Literary Arts Fund\u003c/a> (LAF) was created in October 2025, but was several years in the making. The need is urgent. The Trump administration continues to threaten the \u003ca href=\"https://www.kqed.org/arts/13978922/california-humanities-national-endowment-humanities-grants-return\">National Endowment for the Humanities\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">National Endowment for the Arts\u003c/a>. Last May, more than a dozen Bay Area arts nonprofits received notices that their NEA grants had been canceled. Though many organizations were eventually able to restore those awards, the funding landscape was thrown into disarray.\u003c/p>\n\n\n\n\u003cp>The LAF was established by seven philanthropic institutions: the Ford Foundation, the Hawthornden Foundation, the Lannan Foundation, the John D. and Catherine T. MacArthur Foundation, the Mellon Foundation, the Poetry Foundation, and one anonymous foundation.\u003c/p>\n\n\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To Michael Holtmann, president of the Center for the Art of Translation (CAT), the LAF grant represents what he calls “an incredible boost to our mission for years to come.” Since 2000, CAT has been focused on bringing the work of underrepresented global writers to English-language readers. But this grant is particularly well-timed: in 2027, CAT will open its first brick-and-mortar location — complete with an event space and a bookstore — in downtown San Francisco.\u003c/p>\n\n\n\n\u003cp>“This grant comes at a thrilling moment of momentum for CAT,” Holtmann told KQED Arts. “This extraordinary show of support ensures that global writers and the translators who bring their work into English will continue to inspire readers and challenge our culture.”\u003c/p>\n\n\n\n\u003cp>Small Press Traffic Director Maxe Crandall says the support from LAF “makes a huge impact on what we can dream for experimental Bay Area poets and artists over the next five years.” The “seedbed” for boundary-pushing poets puts on talks, events and performances and hosts visitors to its \u003ca href=\"https://www.smallpresstraffic.org/currently-post/archives\">print collection reading room\u003c/a>, located inside Et al. gallery in the Mission. Since 2022, Small Press Traffic has also run an interdisciplinary publishing platform called \u003ca href=\"https://www.kqed.org/arts/13913436\">The Back Room\u003c/a>, which put out a summer issue on June 3.\u003c/p>\n\n\n\n\u003cp>“We’re inspired by the swift action of the Literary Arts Fund, in their response to grant cuts and the already abysmal funding for the literary arts in the country (1.9% of arts and culture foundation funding),” Crandall told KQED via email.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>Only two other California nonprofits received the inaugural LAF grant — the \u003ca href=\"https://lareviewofbooks.org/\">Los Angeles Review of Books\u003c/a> and \u003ca href=\"https://kaya.com/\">Kaya Press\u003c/a> — both of which are based in Los Angeles. \u003c/p>\n\n",
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"innerHTML": "\n\u003cp>“The grant includes a five-year funding commitment toward general operating expenses for Transit Books,” publishers Adam Z. Levy and Ashley Nelson Levy told KQED via email. “To have financial support to run Transit Books as well as a fixed, multi-year commitment is the best resource we can possibly ask for right now, particularly in a time of federal funding cuts that have affected so many arts organizations.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>The \u003ca href=\"https://literaryartsfund.org/\">Literary Arts Fund\u003c/a> (LAF) was created in October 2025, but was several years in the making. The need is urgent. The Trump administration continues to threaten the \u003ca href=\"https://www.kqed.org/arts/13978922/california-humanities-national-endowment-humanities-grants-return\">National Endowment for the Humanities\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">National Endowment for the Arts\u003c/a>. Last May, more than a dozen Bay Area arts nonprofits received notices that their NEA grants had been canceled. Though many organizations were eventually able to restore those awards, the funding landscape was thrown into disarray.\u003c/p>\n",
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"innerHTML": "\n\u003cp>To Michael Holtmann, president of the Center for the Art of Translation (CAT), the LAF grant represents what he calls “an incredible boost to our mission for years to come.” Since 2000, CAT has been focused on bringing the work of underrepresented global writers to English-language readers. But this grant is particularly well-timed: in 2027, CAT will open its first brick-and-mortar location — complete with an event space and a bookstore — in downtown San Francisco.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“This grant comes at a thrilling moment of momentum for CAT,” Holtmann told KQED Arts. “This extraordinary show of support ensures that global writers and the translators who bring their work into English will continue to inspire readers and challenge our culture.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Only two other California nonprofits received the inaugural LAF grant — the \u003ca href=\"https://lareviewofbooks.org/\">Los Angeles Review of Books\u003c/a> and \u003ca href=\"https://kaya.com/\">Kaya Press\u003c/a> — both of which are based in Los Angeles. \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three Bay Area nonprofits will receive grants from the newly created \u003ca href=\"https://literaryartsfund.org/\">Literary Arts Fund\u003c/a> as part of a national effort to champion literary culture. Berkeley-based \u003ca href=\"https://www.transitbooks.org/\">Transit Books\u003c/a> and San Francisco-based \u003ca href=\"https://www.smallpresstraffic.org/\">Small Press Traffic\u003c/a> and the \u003ca href=\"https://www.catranslation.org/\">Center for the Art of Translation\u003c/a> will share $7.7 million with 37 other organization across the country.\u003c/p>\n\n\n\n\u003cp>The inaugural grant recipients include publishers, residency programs, book festivals and workshop organizers. The fund acknowledges that the literary arts are “the most underfunded artistic discipline in the nation.”\u003c/p>\n\n\n\n\u003cp>“The grant includes a five-year funding commitment toward general operating expenses for Transit Books,” publishers Adam Z. Levy and Ashley Nelson Levy told KQED via email. “To have financial support to run Transit Books as well as a fixed, multi-year commitment is the best resource we can possibly ask for right now, particularly in a time of federal funding cuts that have affected so many arts organizations.”\u003c/p>\n\n\n\n\u003cp>The \u003ca href=\"https://literaryartsfund.org/\">Literary Arts Fund\u003c/a> (LAF) was created in October 2025, but was several years in the making. The need is urgent. The Trump administration continues to threaten the \u003ca href=\"https://www.kqed.org/arts/13978922/california-humanities-national-endowment-humanities-grants-return\">National Endowment for the Humanities\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">National Endowment for the Arts\u003c/a>. Last May, more than a dozen Bay Area arts nonprofits received notices that their NEA grants had been canceled. Though many organizations were eventually able to restore those awards, the funding landscape was thrown into disarray.\u003c/p>\n\n\n\n\u003cp>The LAF was established by seven philanthropic institutions: the Ford Foundation, the Hawthornden Foundation, the Lannan Foundation, the John D. and Catherine T. MacArthur Foundation, the Mellon Foundation, the Poetry Foundation, and one anonymous foundation.\u003c/p>\n\n\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To Michael Holtmann, president of the Center for the Art of Translation (CAT), the LAF grant represents what he calls “an incredible boost to our mission for years to come.” Since 2000, CAT has been focused on bringing the work of underrepresented global writers to English-language readers. But this grant is particularly well-timed: in 2027, CAT will open its first brick-and-mortar location — complete with an event space and a bookstore — in downtown San Francisco.\u003c/p>\n\n\n\n\u003cp>“This grant comes at a thrilling moment of momentum for CAT,” Holtmann told KQED Arts. “This extraordinary show of support ensures that global writers and the translators who bring their work into English will continue to inspire readers and challenge our culture.”\u003c/p>\n\n\n\n\u003cp>Small Press Traffic Director Maxe Crandall says the support from LAF “makes a huge impact on what we can dream for experimental Bay Area poets and artists over the next five years.” The “seedbed” for boundary-pushing poets puts on talks, events and performances and hosts visitors to its \u003ca href=\"https://www.smallpresstraffic.org/currently-post/archives\">print collection reading room\u003c/a>, located inside Et al. gallery in the Mission. Since 2022, Small Press Traffic has also run an interdisciplinary publishing platform called \u003ca href=\"https://www.kqed.org/arts/13913436\">The Back Room\u003c/a>, which put out a summer issue on June 3.\u003c/p>\n\n\n\n\u003cp>“We’re inspired by the swift action of the Literary Arts Fund, in their response to grant cuts and the already abysmal funding for the literary arts in the country (1.9% of arts and culture foundation funding),” Crandall told KQED via email.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>Only two other California nonprofits received the inaugural LAF grant — the \u003ca href=\"https://lareviewofbooks.org/\">Los Angeles Review of Books\u003c/a> and \u003ca href=\"https://kaya.com/\">Kaya Press\u003c/a> — both of which are based in Los Angeles. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Vallejo Naval Museum Exhibit Celebrates Gender Rebels Across History",
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"content": "\u003cfigure id=\"attachment_13983958\" class=\"wp-caption aligncenter\" style=\"max-width: 1601px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983958\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar.png\" alt=\"A coiffed and made-up gender nonconforming person sitting elegantly in a doorway, dressed in silky blouse, pants and high heels.\" width=\"1601\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar.png 1601w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar-160x200.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar-768x959.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar-1230x1536.png 1230w\" sizes=\"auto, (max-width: 1601px) 100vw, 1601px\">\u003cfigcaption class=\"wp-caption-text\">Photograph of LiKar in doorway. Photographer unknown. Li-Kar was a renowned performer and artist at Finocchio’s. \u003ccite>(Courtesy of the Louise Lawrence Transgender Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oddly, one of the most revealing things in the \u003ca href=\"https://vallejomuseum.net/\">Vallejo Naval and Historical Museum\u003c/a>’s new exhibit is an overwrought denunciation of Black drag queens dating from all the way back in 1893. One Dr. Charles H. Hughes of St. Louis (clearly incensed) had his note published by a medical journal of the era.\u003c/p>\n\u003cp>It states, in part:\u003c/p>\n\u003cblockquote>\u003cp>I am credibly informed that there is, in the city of Washington, D.C., an annual convocation of negro men called the drag dance, which is an orgy of lascivious debauchery beyond pen power of description.\u003c/p>\u003c/blockquote>\n\u003cp>(Imagine hearing the phrase “orgy of lascivious debauchery” and thinking that was a bad thing!)\u003c/p>\n\u003cp>Dr. Hughes’ quote is part of the introduction to \u003cem>I Live the Life I Love Because I Love the Life I Live: A Celebration of Trans People of Color, \u003c/em>a collection of photos and ephemera honoring gender nonconforming people of color from recent history. Curated by \u003ca href=\"https://www.kqed.org/arts/13906221/louise-lawrence-transgender-archive-vallejo-history\">Ms. Bob Davis\u003c/a> of the \u003ca href=\"https://www.kqed.org/arts/13870056/the-transgender-community-builder-who-educated-doctors-including-kinsey\">Louise Lawrence\u003c/a> Transgender Archive, the exhibit includes Bay Area queer and trans folks (including legendary nightclub dancers, \u003ca href=\"https://www.kqed.org/arts/13959726/vicki-starr-transgender-topless-dancer-san-francisco-lgbtq-prison-reform\">Vicki Starr\u003c/a> and Li-Kar), alongside their spiritual siblings from around the world. \u003cem>I Love the Life I Live\u003c/em> was previously exhibited at the \u003ca href=\"https://www.glbthistory.org/\">GLBT Historical Society Museum\u003c/a> in San Francisco.\u003c/p>\n\u003cp>While fairly hodgepodge by nature — there is no linear throughline or singular geographical focus — \u003cem>I Live the Life I Love\u003c/em> does successfully provide a number of fascinating starting points for future research.\u003c/p>\n\u003cfigure id=\"attachment_13983960\" class=\"wp-caption aligncenter\" style=\"max-width: 1286px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983960\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king.png\" alt=\"A woman dressed in a man's suit, hair slicked back in a masculine style.\" width=\"1286\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king.png 1286w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king-160x249.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king-768x1194.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king-988x1536.png 988w\" sizes=\"auto, (max-width: 1286px) 100vw, 1286px\">\u003cfigcaption class=\"wp-caption-text\">Photograph of a gender nonconforming person, as seen in ‘I Live the Life I Love Because I Love the Life I Live: A Celebration of Trans People of Color.’ \u003ccite>(Courtesy of the Louise Lawrence Transgender Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition introduces the likes of the Takarazuka Girls, an all-female revue from Japan who performed as all genders at the \u003ca href=\"https://www.kqed.org/news/11790693/magic-city-and-the-making-of-treasure-island\">1939 Golden Gate International Exposition\u003c/a>. There’s also Felicia Elizondo, a trans woman who attempted to suppress her gender identity by enlisting in the Vietnam War, only to transition in 1972 and become a vocal LGBTQ+ campaigner. The show also gives a brief overview of the charitable efforts of Brenda Lee, who turned her São Paulo house into a group home for trans women and people living with HIV and AIDS in the ’80s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taking us back further in time are Victorian dancers from a show called \u003cem>Les Joyeux Nègres\u003c/em> (\u003cem>The Merry Negroes\u003c/em>). Duos included Charles Gregory and Jack Brown, who danced the “cakewalk” wearing Civil War-era attire — Brown in a multi-tiered dress, Gregory in a colorful suit. In the same troupe, two women utilized drag as “Mr. and Mrs. Elks.”\u003c/p>\n\u003cp>A comprehensive overview of the history of trans and gender nonconforming people of color, this is not. Neither is it particularly focused on any one subculture related to the community. But if you treat \u003cem>I Live the Life I Love\u003c/em> as a mini buffet of fascinating moments from LGBTQ+ history, you’ll find a smattering of very tasty morsels.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://vallejomuseum.net/event/pride-month-exhibit-i-live-the-life-i-love-because-i-love-the-life-i-live/\">I Live the Life I Love Because I Love the Life I Live: A Celebration of Trans People of Color\u003c/a>’ is on display at the Vallejo Naval and Historical Museum (734 Marin St.), June 5—26, 2026. An official opening reception and Pride flag raising takes place on June 12, from 6 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13983958\" class=\"wp-caption aligncenter\" style=\"max-width: 1601px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983958\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar.png\" alt=\"A coiffed and made-up gender nonconforming person sitting elegantly in a doorway, dressed in silky blouse, pants and high heels.\" width=\"1601\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar.png 1601w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar-160x200.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar-768x959.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar-1230x1536.png 1230w\" sizes=\"auto, (max-width: 1601px) 100vw, 1601px\">\u003cfigcaption class=\"wp-caption-text\">Photograph of LiKar in doorway. Photographer unknown. Li-Kar was a renowned performer and artist at Finocchio’s. \u003ccite>(Courtesy of the Louise Lawrence Transgender Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oddly, one of the most revealing things in the \u003ca href=\"https://vallejomuseum.net/\">Vallejo Naval and Historical Museum\u003c/a>’s new exhibit is an overwrought denunciation of Black drag queens dating from all the way back in 1893. One Dr. Charles H. Hughes of St. Louis (clearly incensed) had his note published by a medical journal of the era.\u003c/p>\n\u003cp>It states, in part:\u003c/p>\n\u003cblockquote>\u003cp>I am credibly informed that there is, in the city of Washington, D.C., an annual convocation of negro men called the drag dance, which is an orgy of lascivious debauchery beyond pen power of description.\u003c/p>\u003c/blockquote>\n\u003cp>(Imagine hearing the phrase “orgy of lascivious debauchery” and thinking that was a bad thing!)\u003c/p>\n\u003cp>Dr. Hughes’ quote is part of the introduction to \u003cem>I Live the Life I Love Because I Love the Life I Live: A Celebration of Trans People of Color, \u003c/em>a collection of photos and ephemera honoring gender nonconforming people of color from recent history. Curated by \u003ca href=\"https://www.kqed.org/arts/13906221/louise-lawrence-transgender-archive-vallejo-history\">Ms. Bob Davis\u003c/a> of the \u003ca href=\"https://www.kqed.org/arts/13870056/the-transgender-community-builder-who-educated-doctors-including-kinsey\">Louise Lawrence\u003c/a> Transgender Archive, the exhibit includes Bay Area queer and trans folks (including legendary nightclub dancers, \u003ca href=\"https://www.kqed.org/arts/13959726/vicki-starr-transgender-topless-dancer-san-francisco-lgbtq-prison-reform\">Vicki Starr\u003c/a> and Li-Kar), alongside their spiritual siblings from around the world. \u003cem>I Love the Life I Live\u003c/em> was previously exhibited at the \u003ca href=\"https://www.glbthistory.org/\">GLBT Historical Society Museum\u003c/a> in San Francisco.\u003c/p>\n\u003cp>While fairly hodgepodge by nature — there is no linear throughline or singular geographical focus — \u003cem>I Live the Life I Love\u003c/em> does successfully provide a number of fascinating starting points for future research.\u003c/p>\n\u003cfigure id=\"attachment_13983960\" class=\"wp-caption aligncenter\" style=\"max-width: 1286px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983960\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king.png\" alt=\"A woman dressed in a man's suit, hair slicked back in a masculine style.\" width=\"1286\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king.png 1286w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king-160x249.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king-768x1194.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king-988x1536.png 988w\" sizes=\"auto, (max-width: 1286px) 100vw, 1286px\">\u003cfigcaption class=\"wp-caption-text\">Photograph of a gender nonconforming person, as seen in ‘I Live the Life I Love Because I Love the Life I Live: A Celebration of Trans People of Color.’ \u003ccite>(Courtesy of the Louise Lawrence Transgender Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition introduces the likes of the Takarazuka Girls, an all-female revue from Japan who performed as all genders at the \u003ca href=\"https://www.kqed.org/news/11790693/magic-city-and-the-making-of-treasure-island\">1939 Golden Gate International Exposition\u003c/a>. There’s also Felicia Elizondo, a trans woman who attempted to suppress her gender identity by enlisting in the Vietnam War, only to transition in 1972 and become a vocal LGBTQ+ campaigner. The show also gives a brief overview of the charitable efforts of Brenda Lee, who turned her São Paulo house into a group home for trans women and people living with HIV and AIDS in the ’80s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taking us back further in time are Victorian dancers from a show called \u003cem>Les Joyeux Nègres\u003c/em> (\u003cem>The Merry Negroes\u003c/em>). Duos included Charles Gregory and Jack Brown, who danced the “cakewalk” wearing Civil War-era attire — Brown in a multi-tiered dress, Gregory in a colorful suit. In the same troupe, two women utilized drag as “Mr. and Mrs. Elks.”\u003c/p>\n\u003cp>A comprehensive overview of the history of trans and gender nonconforming people of color, this is not. Neither is it particularly focused on any one subculture related to the community. But if you treat \u003cem>I Live the Life I Love\u003c/em> as a mini buffet of fascinating moments from LGBTQ+ history, you’ll find a smattering of very tasty morsels.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://vallejomuseum.net/event/pride-month-exhibit-i-live-the-life-i-love-because-i-love-the-life-i-live/\">I Live the Life I Love Because I Love the Life I Live: A Celebration of Trans People of Color\u003c/a>’ is on display at the Vallejo Naval and Historical Museum (734 Marin St.), June 5—26, 2026. An official opening reception and Pride flag raising takes place on June 12, from 6 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Dazzling New Children’s Book Honors an Indigenous Teen Heroine From California",
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"content": "\u003cfigure id=\"attachment_13989304\" class=\"wp-caption aligncenter\" style=\"max-width: 1549px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989304\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper.png\" alt=\"An illustration of an Indigenous child looking gleefully upwards towards a new school. Her parents watch her proudly.\" width=\"1549\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper.png 1549w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper-160x207.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper-768x992.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper-1190x1536.png 1190w\" sizes=\"auto, (max-width: 1549px) 100vw, 1549px\">\u003cfigcaption class=\"wp-caption-text\">An illustration by Morgan Thompson from ‘Alice Piper Speaks Up’ by Sage Andrew Romero and Loralee Sepsey. \u003ccite>(Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All Alice Piper wanted was a well-rounded education. But for an \u003ca href=\"https://www.kqed.org/arts/tag/native-american\">Indigenous\u003c/a> girl growing up in the 1910s and ’20s, accessing one was no easy feat. Piper’s family lived in Soha-witü in Inyo County, and her earliest education was at a Native school in Big Pine, 40 miles from her home. At the government institution, Piper was trained in little more than laundry duties and canning vegetables. Understandably, she yearned for more.\u003c/p>\n\u003cp>When Big Pine public school opened in 1921, Piper jumped at the chance to attend. After she was refused entry based on her race, she fought back. With the assistance of San Francisco lawyer J. W. Henderson, and alongside the families of six other Indigenous children, 16-year-old Piper and her parents filed a petition directly with the California Supreme Court, arguing that her exclusion from Big Pine violated the 14th Amendment.\u003c/p>\n\u003cp>[aside postid='arts_13921886']In June 1924, the court unanimously decided in Piper’s favor, forever changing the education opportunities available to Indigenous Californians. (Piper’s case was also cited as a precedent during \u003ca href=\"https://www.kqed.org/mindshift/63745/tracing-black-white-achievement-gaps-since-the-brown-v-board-decision\">Brown v. Board of Education\u003c/a> in 1954.)\u003c/p>\n\u003cp>Now, a new book charts Piper’s victory in ways specifically designed to teach kids not just her heroic story, but also the long history of prejudice against Indigenous communities across the West. \u003cem>Alice Piper Speaks Up\u003c/em> combines beautiful illustrations by Morgan Thompson with emotive prose written from Piper’s perspective.\u003c/p>\n\u003cp>The book — the third in \u003ca href=\"https://www.heydaybooks.com/\">Heyday\u003c/a>’s \u003ca href=\"https://www.goodreads.com/series/210398-fighting-for-justice\">\u003cem>Fighting for Justice\u003c/em>\u003c/a> series for children — is particularly successful in portraying Piper’s story in ways that are relatable for all ages. Her love for her family and for the traditions she shares with her people, the Numu, are portrayed vividly. So too are her longings for a better life and the fear and confusion she experiences during her court battle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One section reads:\u003c/p>\n\u003cblockquote>\u003cp>Alice studies the judges, silent and focused.\u003c/p>\n\u003cp>She wonders:\u003cbr>\nDo they see me and think I’m dirty?\u003cbr>\nDon’t they know that I’m the same as they are?\u003cbr>\nDon’t they know how badly I want to learn?\u003c/p>\n\u003cp>Her father’s hand,\u003cbr>\nrough and scarred,\u003cbr>\ngrips hers tight.\u003c/p>\u003c/blockquote>\n\u003cp>At the end of each short chapter are additional pages of facts and photos that place Piper’s story within a wider historical context. These more overtly educational pages are tailor-made for the classroom and clearly explain the clashes between settlers and Indigenous communities. They also feature simple timelines of events, as well as sidebars with useful word definitions.\u003c/p>\n\u003cfigure id=\"attachment_13989306\" class=\"wp-caption aligncenter\" style=\"max-width: 1885px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989306\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page.png\" alt=\"A book page featuring text blocks, photos of Owens Lake and a war memorial, a timeline of events and a side bar with definitions for certain terms used in the main text.\" width=\"1885\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page.png 1885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page-160x170.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page-768x815.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page-1448x1536.png 1448w\" sizes=\"auto, (max-width: 1885px) 100vw, 1885px\">\u003cfigcaption class=\"wp-caption-text\">Moments from Indigenous history in California, as seen in ‘Alice Piper Speaks Up’ by Sage Andrew Romero and Loralee Sepsey \u003ccite>(Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book’s handy juxtaposition of kid-friendly storytelling and educational content makes \u003cem>Alice Piper Speaks Up\u003c/em> an essential purchase for any parents looking for accessible ways to teach their kids about civil rights. The first two books in the \u003cem>Fighting for Justice\u003c/em> series — one about \u003ca href=\"https://www.kqed.org/forum/2010101870475/biddy-mason-speaks-up-introduces-kids-to-one-of-californias-forgotten-figures\">Biddy Mason\u003c/a>’s fight for freedom from slavery; another about \u003ca href=\"https://www.kqed.org/news/55300/fred-korematsus-journey-from-east-oakland-to-the-national-portrait-gallery\">Fred Korematsu\u003c/a>, who railed against Japanese internment — offer similarly valuable lessons.\u003c/p>\n\u003cp>A statue of Alice Piper was erected outside Big Pine High School in June 2014. It stands as a permanent reminder that ordinary people like her can make extraordinary differences. It’s refreshing now to see \u003cem>Alice Piper Speaks Up\u003c/em> impart that powerful message to a wider audience.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.heydaybooks.com/catalog/alice-piper-speaks-up/\">Alice Piper Speaks Up\u003c/a>’ by Sage Andrew Romero and Loralee Sepsey is out on June 2, 2026, via Heyday Books.\u003c/em>\u003c/p>\n\n",
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"title": "Review: ‘Alice Piper Speaks Up’ Honors an Indigenous Hero | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13989304\" class=\"wp-caption aligncenter\" style=\"max-width: 1549px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989304\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper.png\" alt=\"An illustration of an Indigenous child looking gleefully upwards towards a new school. Her parents watch her proudly.\" width=\"1549\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper.png 1549w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper-160x207.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper-768x992.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper-1190x1536.png 1190w\" sizes=\"auto, (max-width: 1549px) 100vw, 1549px\">\u003cfigcaption class=\"wp-caption-text\">An illustration by Morgan Thompson from ‘Alice Piper Speaks Up’ by Sage Andrew Romero and Loralee Sepsey. \u003ccite>(Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All Alice Piper wanted was a well-rounded education. But for an \u003ca href=\"https://www.kqed.org/arts/tag/native-american\">Indigenous\u003c/a> girl growing up in the 1910s and ’20s, accessing one was no easy feat. Piper’s family lived in Soha-witü in Inyo County, and her earliest education was at a Native school in Big Pine, 40 miles from her home. At the government institution, Piper was trained in little more than laundry duties and canning vegetables. Understandably, she yearned for more.\u003c/p>\n\u003cp>When Big Pine public school opened in 1921, Piper jumped at the chance to attend. After she was refused entry based on her race, she fought back. With the assistance of San Francisco lawyer J. W. Henderson, and alongside the families of six other Indigenous children, 16-year-old Piper and her parents filed a petition directly with the California Supreme Court, arguing that her exclusion from Big Pine violated the 14th Amendment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In June 1924, the court unanimously decided in Piper’s favor, forever changing the education opportunities available to Indigenous Californians. (Piper’s case was also cited as a precedent during \u003ca href=\"https://www.kqed.org/mindshift/63745/tracing-black-white-achievement-gaps-since-the-brown-v-board-decision\">Brown v. Board of Education\u003c/a> in 1954.)\u003c/p>\n\u003cp>Now, a new book charts Piper’s victory in ways specifically designed to teach kids not just her heroic story, but also the long history of prejudice against Indigenous communities across the West. \u003cem>Alice Piper Speaks Up\u003c/em> combines beautiful illustrations by Morgan Thompson with emotive prose written from Piper’s perspective.\u003c/p>\n\u003cp>The book — the third in \u003ca href=\"https://www.heydaybooks.com/\">Heyday\u003c/a>’s \u003ca href=\"https://www.goodreads.com/series/210398-fighting-for-justice\">\u003cem>Fighting for Justice\u003c/em>\u003c/a> series for children — is particularly successful in portraying Piper’s story in ways that are relatable for all ages. Her love for her family and for the traditions she shares with her people, the Numu, are portrayed vividly. So too are her longings for a better life and the fear and confusion she experiences during her court battle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One section reads:\u003c/p>\n\u003cblockquote>\u003cp>Alice studies the judges, silent and focused.\u003c/p>\n\u003cp>She wonders:\u003cbr>\nDo they see me and think I’m dirty?\u003cbr>\nDon’t they know that I’m the same as they are?\u003cbr>\nDon’t they know how badly I want to learn?\u003c/p>\n\u003cp>Her father’s hand,\u003cbr>\nrough and scarred,\u003cbr>\ngrips hers tight.\u003c/p>\u003c/blockquote>\n\u003cp>At the end of each short chapter are additional pages of facts and photos that place Piper’s story within a wider historical context. These more overtly educational pages are tailor-made for the classroom and clearly explain the clashes between settlers and Indigenous communities. They also feature simple timelines of events, as well as sidebars with useful word definitions.\u003c/p>\n\u003cfigure id=\"attachment_13989306\" class=\"wp-caption aligncenter\" style=\"max-width: 1885px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989306\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page.png\" alt=\"A book page featuring text blocks, photos of Owens Lake and a war memorial, a timeline of events and a side bar with definitions for certain terms used in the main text.\" width=\"1885\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page.png 1885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page-160x170.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page-768x815.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page-1448x1536.png 1448w\" sizes=\"auto, (max-width: 1885px) 100vw, 1885px\">\u003cfigcaption class=\"wp-caption-text\">Moments from Indigenous history in California, as seen in ‘Alice Piper Speaks Up’ by Sage Andrew Romero and Loralee Sepsey \u003ccite>(Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book’s handy juxtaposition of kid-friendly storytelling and educational content makes \u003cem>Alice Piper Speaks Up\u003c/em> an essential purchase for any parents looking for accessible ways to teach their kids about civil rights. The first two books in the \u003cem>Fighting for Justice\u003c/em> series — one about \u003ca href=\"https://www.kqed.org/forum/2010101870475/biddy-mason-speaks-up-introduces-kids-to-one-of-californias-forgotten-figures\">Biddy Mason\u003c/a>’s fight for freedom from slavery; another about \u003ca href=\"https://www.kqed.org/news/55300/fred-korematsus-journey-from-east-oakland-to-the-national-portrait-gallery\">Fred Korematsu\u003c/a>, who railed against Japanese internment — offer similarly valuable lessons.\u003c/p>\n\u003cp>A statue of Alice Piper was erected outside Big Pine High School in June 2014. It stands as a permanent reminder that ordinary people like her can make extraordinary differences. It’s refreshing now to see \u003cem>Alice Piper Speaks Up\u003c/em> impart that powerful message to a wider audience.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.heydaybooks.com/catalog/alice-piper-speaks-up/\">Alice Piper Speaks Up\u003c/a>’ by Sage Andrew Romero and Loralee Sepsey is out on June 2, 2026, via Heyday Books.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fat Mike is not my favorite person. Let’s just get that out of the way. While his band \u003ca href=\"https://www.kqed.org/arts/11531393/san-francisco-punks-nofx-add-best-selling-book-to-list-of-achievements\">NOFX\u003c/a> is undoubtedly one of the most iconic of ’90s and early-aughts pop punk — and they long ago mastered the art of fun, unpredictable live shows — anyone with longterm involvements with \u003ca href=\"https://www.kqed.org/arts/tag/bay-area-punk\">punk\u003c/a>, Bay Area or otherwise, has been witness to the front man’s air of entitlement in one form or another.\u003c/p>\n\u003cp>[aside postid='arts_13927278']Some of my issues with Fat Mike (real name: Mike Burkett) are petty — like the time I saw him skip to the front of a very long bathroom line at a show and respond to objectors with the words “But I’m Fat Mike.” Some of the things that turned me off were full-blown controversies — like the time he gave his own audience shots of tequila that \u003ca href=\"https://www.avclub.com/turns-out-you-probably-didnt-drink-fat-mikes-piss-at-1798220189\">may or may not\u003c/a> have contained his pee. Or the time he publicly \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">made a tasteless joke about a Las Vegas mass shooting\u003c/a>.\u003c/p>\n\u003cp>Truthfully, most of the things that have soured me on the vocalist/bassist are behind-the-scenes tales that I’ll not risk writing about here because I am aware that NOFX as a unit can be rather litigious. (I once received a “cease and desist” notice from the band’s lawyer for attempting to sell a punk rock dog hoodie on Etsy that included one of their patches.) Refreshingly, NOFX’s penchant for legal wrangling is reflected immediately in the band’s new documentary — an honest move, given that they produced \u003ca href=\"https://www.40yearsoffuckinup.com/\">\u003cem>40 Years of Fuckin’ Up\u003c/em>\u003c/a> themselves.\u003c/p>\n\u003cp>The first words the viewer sees on screen are as follows:\u003c/p>\n\u003cblockquote>\u003cp>In 2024, the punk rock band NOFX ended their 40 year career after a worldwide final tour. At the time of filming, some of the band’s members were no longer speaking and involved in legal disputes. This is the last time they will ever be seen on film together.\u003c/p>\u003c/blockquote>\n\u003cp>This is in reference to the fact that guitarist Eric Melvin served Fat Mike with legal papers requesting financial records to make sure he had been paid appropriately for his work. Or, as Fat Mike puts it in \u003cem>40 Years\u003c/em>, Melvin accused the front man of “skimming millions of dollars from NOFX.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>40 Years\u003c/em>, then, does a decent job of reflecting the messy goings-on in this band. The film is not a tell-all, exactly — despite some revealing moments in one of Fat Mike’s BDSM closets and some graphic cell phone footage of the night he almost died — but it is a good summary of much of what they’ve been through together. A lot of which appears to revolve around Fat Mike’s long-documented dependencies on drugs and alcohol. (“They act like they’re worried about my health which is total fucking bullshit,” he says at one point. “They’re worried about their fucking paychecks.”)\u003c/p>\n\u003cp>[aside postid='arts_13984438']The movie is broken down into five broad chapters. The first covers NOFX’s earliest days, slogging it out in a van with small audiences and even smaller financial returns. The second sees the band turning a corner and takes the viewer behind the scenes for the recording of 1994’s \u003cem>Punk in Drublic\u003c/em>, the quartet’s breakthrough album. The third documents NOFX’s marriage to a DIY ethos and their reasons for actively swerving major label interest. The fourth is almost entirely about drugs and health problems. The fifth covers NOFX’s emotional final shows. Throughout it all, Fat Mike is portrayed as a savvy businessman, despite his many issues.\u003c/p>\n\u003cp>If there is a hero of the piece, it turns out to be NOFX drummer, Erik “Smelly” Sandin. His recovery in the band’s early days, from a serious heroin addiction (“a bottomless pit of misery,” he reflects) makes for one of the most engrossing portions of \u003cem>40 Years\u003c/em>. Possibly because of that personal experience, Smelly now seems like the most level-headed person in his band. There is gravitas to his words when he talks of Fat Mike’s predilection for inhaling substances. “When you’re doing drugs, you’re stuffing your internal voices that are telling you you’re not worthy,” he says. “You’re a scared little boy.”\u003c/p>\n\u003cfigure id=\"attachment_13989594\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989594\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike.jpeg\" alt=\"A white man with a green mohawk stands wearing a black rubber suit and dog collar with his arms and neck tethered to the wall via chains.\" width=\"2000\" height=\"1054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike-768x405.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike-1536x809.jpeg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fat Mike at his home, in ‘40 Years of Fuckin’ Up.’ \u003ccite>(Pyramid Productions Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fat Mike’s own words in \u003cem>40 Years\u003c/em> reflect this at times. “I don’t like performing anymore,” he says, “I don’t want to be the center of attention.” (Which is an odd thing to assert for someone who spends ample time on camera here, indulging in bondage-related situations.) In another interview, the front man reiterates: “I can’t pretend to rock out to these songs I’ve been playing for 40 years unless I’m loaded.” (In the next breath, he refers to NOFX’s stage shows as “absolutely authentic.” Make of that what you will.)\u003c/p>\n\u003cp>Regardless of the band’s inherent messiness, the sheer number of very famous punk musicians featured in the film reflects the fact that there remains a mountain of goodwill towards everyone in NOFX. Interviewees include members of The Offspring, Descendents, Youth Brigade, Against Me!, The Vandals, Less Than Jake, Bad Religion, Fishbone, RKL, The Exploited, Good Riddance, Bad Cop/Bad Cop, Hi-Standard and Pennywise. (Wil Wheaton also shows up for some reason.)\u003c/p>\n\u003cp>It’s an inescapable fact that a lot of bands have longterm careers because of Fat Wreck Chords, the San Francisco-based record label that Fat Mike co-founded with his then-wife Erin Burkett back in 1990. The fact that Fat Wreck’s impact doesn’t feature more directly in this documentary is a little confounding. Especially considering that half of NOFX’s back catalog was released through the label.\u003c/p>\n\u003cp>[aside postid='arts_13953628']\u003cem>40 Years\u003c/em> is — unsurprisingly for a movie about pop punk — an overwhelmingly male affair. \u003ca href=\"https://www.kqed.org/arts/13976994/dance-hall-crashers-reunion-interview\">Dance Hall Crashers\u003c/a>’ Karina Denike appears only briefly, despite being referred to as “the actual 5th member of NOFX” in the movie’s credits. \u003cem>40 Years\u003c/em> would have benefited greatly from hearing her perspectives on the band, especially as she performed alongside them on their (clearly fraught, at times) final tour.\u003c/p>\n\u003cp>One of the most remarkable things about \u003cem>40 Years of Fuckin’ Up\u003c/em> is that it is wildly entertaining throughout, whether or not you find Fat Mike profoundly irritating. (This offers a clue to their sustained success.) Whichever way you slice it, NOFX’s history makes for fascinating — and if you’re a DIY musician, educational — viewing.\u003c/p>\n\u003cp>By the end of the two-hour film, you’ll wonder how this band didn’t slide off the rails and burst into flames many, many years ago. But you’ll also appreciate the fact that they had the good sense to document the bedlam.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfdocfest2026.eventive.org/films/69c588aecb08015dcc67a5ac\">40 Years of Fuckin’ Up\u003c/a>’ screens May 28, 2026 at the Roxie (3117 16th St., San Francisco) as part of the 25th \u003ca href=\"https://sfdocfest2026.eventive.org/welcome\">San Francisco Documentary Festival\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fat Mike is not my favorite person. Let’s just get that out of the way. While his band \u003ca href=\"https://www.kqed.org/arts/11531393/san-francisco-punks-nofx-add-best-selling-book-to-list-of-achievements\">NOFX\u003c/a> is undoubtedly one of the most iconic of ’90s and early-aughts pop punk — and they long ago mastered the art of fun, unpredictable live shows — anyone with longterm involvements with \u003ca href=\"https://www.kqed.org/arts/tag/bay-area-punk\">punk\u003c/a>, Bay Area or otherwise, has been witness to the front man’s air of entitlement in one form or another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some of my issues with Fat Mike (real name: Mike Burkett) are petty — like the time I saw him skip to the front of a very long bathroom line at a show and respond to objectors with the words “But I’m Fat Mike.” Some of the things that turned me off were full-blown controversies — like the time he gave his own audience shots of tequila that \u003ca href=\"https://www.avclub.com/turns-out-you-probably-didnt-drink-fat-mikes-piss-at-1798220189\">may or may not\u003c/a> have contained his pee. Or the time he publicly \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">made a tasteless joke about a Las Vegas mass shooting\u003c/a>.\u003c/p>\n\u003cp>Truthfully, most of the things that have soured me on the vocalist/bassist are behind-the-scenes tales that I’ll not risk writing about here because I am aware that NOFX as a unit can be rather litigious. (I once received a “cease and desist” notice from the band’s lawyer for attempting to sell a punk rock dog hoodie on Etsy that included one of their patches.) Refreshingly, NOFX’s penchant for legal wrangling is reflected immediately in the band’s new documentary — an honest move, given that they produced \u003ca href=\"https://www.40yearsoffuckinup.com/\">\u003cem>40 Years of Fuckin’ Up\u003c/em>\u003c/a> themselves.\u003c/p>\n\u003cp>The first words the viewer sees on screen are as follows:\u003c/p>\n\u003cblockquote>\u003cp>In 2024, the punk rock band NOFX ended their 40 year career after a worldwide final tour. At the time of filming, some of the band’s members were no longer speaking and involved in legal disputes. This is the last time they will ever be seen on film together.\u003c/p>\u003c/blockquote>\n\u003cp>This is in reference to the fact that guitarist Eric Melvin served Fat Mike with legal papers requesting financial records to make sure he had been paid appropriately for his work. Or, as Fat Mike puts it in \u003cem>40 Years\u003c/em>, Melvin accused the front man of “skimming millions of dollars from NOFX.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>40 Years\u003c/em>, then, does a decent job of reflecting the messy goings-on in this band. The film is not a tell-all, exactly — despite some revealing moments in one of Fat Mike’s BDSM closets and some graphic cell phone footage of the night he almost died — but it is a good summary of much of what they’ve been through together. A lot of which appears to revolve around Fat Mike’s long-documented dependencies on drugs and alcohol. (“They act like they’re worried about my health which is total fucking bullshit,” he says at one point. “They’re worried about their fucking paychecks.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The movie is broken down into five broad chapters. The first covers NOFX’s earliest days, slogging it out in a van with small audiences and even smaller financial returns. The second sees the band turning a corner and takes the viewer behind the scenes for the recording of 1994’s \u003cem>Punk in Drublic\u003c/em>, the quartet’s breakthrough album. The third documents NOFX’s marriage to a DIY ethos and their reasons for actively swerving major label interest. The fourth is almost entirely about drugs and health problems. The fifth covers NOFX’s emotional final shows. Throughout it all, Fat Mike is portrayed as a savvy businessman, despite his many issues.\u003c/p>\n\u003cp>If there is a hero of the piece, it turns out to be NOFX drummer, Erik “Smelly” Sandin. His recovery in the band’s early days, from a serious heroin addiction (“a bottomless pit of misery,” he reflects) makes for one of the most engrossing portions of \u003cem>40 Years\u003c/em>. Possibly because of that personal experience, Smelly now seems like the most level-headed person in his band. There is gravitas to his words when he talks of Fat Mike’s predilection for inhaling substances. “When you’re doing drugs, you’re stuffing your internal voices that are telling you you’re not worthy,” he says. “You’re a scared little boy.”\u003c/p>\n\u003cfigure id=\"attachment_13989594\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989594\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike.jpeg\" alt=\"A white man with a green mohawk stands wearing a black rubber suit and dog collar with his arms and neck tethered to the wall via chains.\" width=\"2000\" height=\"1054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike-768x405.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike-1536x809.jpeg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fat Mike at his home, in ‘40 Years of Fuckin’ Up.’ \u003ccite>(Pyramid Productions Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fat Mike’s own words in \u003cem>40 Years\u003c/em> reflect this at times. “I don’t like performing anymore,” he says, “I don’t want to be the center of attention.” (Which is an odd thing to assert for someone who spends ample time on camera here, indulging in bondage-related situations.) In another interview, the front man reiterates: “I can’t pretend to rock out to these songs I’ve been playing for 40 years unless I’m loaded.” (In the next breath, he refers to NOFX’s stage shows as “absolutely authentic.” Make of that what you will.)\u003c/p>\n\u003cp>Regardless of the band’s inherent messiness, the sheer number of very famous punk musicians featured in the film reflects the fact that there remains a mountain of goodwill towards everyone in NOFX. Interviewees include members of The Offspring, Descendents, Youth Brigade, Against Me!, The Vandals, Less Than Jake, Bad Religion, Fishbone, RKL, The Exploited, Good Riddance, Bad Cop/Bad Cop, Hi-Standard and Pennywise. (Wil Wheaton also shows up for some reason.)\u003c/p>\n\u003cp>It’s an inescapable fact that a lot of bands have longterm careers because of Fat Wreck Chords, the San Francisco-based record label that Fat Mike co-founded with his then-wife Erin Burkett back in 1990. The fact that Fat Wreck’s impact doesn’t feature more directly in this documentary is a little confounding. Especially considering that half of NOFX’s back catalog was released through the label.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>40 Years\u003c/em> is — unsurprisingly for a movie about pop punk — an overwhelmingly male affair. \u003ca href=\"https://www.kqed.org/arts/13976994/dance-hall-crashers-reunion-interview\">Dance Hall Crashers\u003c/a>’ Karina Denike appears only briefly, despite being referred to as “the actual 5th member of NOFX” in the movie’s credits. \u003cem>40 Years\u003c/em> would have benefited greatly from hearing her perspectives on the band, especially as she performed alongside them on their (clearly fraught, at times) final tour.\u003c/p>\n\u003cp>One of the most remarkable things about \u003cem>40 Years of Fuckin’ Up\u003c/em> is that it is wildly entertaining throughout, whether or not you find Fat Mike profoundly irritating. (This offers a clue to their sustained success.) Whichever way you slice it, NOFX’s history makes for fascinating — and if you’re a DIY musician, educational — viewing.\u003c/p>\n\u003cp>By the end of the two-hour film, you’ll wonder how this band didn’t slide off the rails and burst into flames many, many years ago. But you’ll also appreciate the fact that they had the good sense to document the bedlam.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfdocfest2026.eventive.org/films/69c588aecb08015dcc67a5ac\">40 Years of Fuckin’ Up\u003c/a>’ screens May 28, 2026 at the Roxie (3117 16th St., San Francisco) as part of the 25th \u003ca href=\"https://sfdocfest2026.eventive.org/welcome\">San Francisco Documentary Festival\u003c/a>.\u003c/em>\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": "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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"mindshift": {
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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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"order": 12
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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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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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