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"content": "\u003cp>Los Angeles’ quaint \u003ca href=\"http://maps.latimes.com/neighborhoods/neighborhood/atwater-village/\">Atwater Village\u003c/a> is the unlikely epicenter of a political movement that’s gone viral. The founders of the \u003ca href=\"https://www.pussyhatproject.com/\">Pussyhat Project\u003c/a> are responsible for the thousands of protesters who will be wearing pink cat-eared hats at this weekend’s post-inauguration \u003ca href=\"https://www.womensmarch.com/\">Women’s March\u003c/a> in Washington, D.C.\u003c/p>\n\u003cp>Screenwriter \u003ca href=\"https://twitter.com/kristasuh\">Krista Suh\u003c/a> and architect \u003ca href=\"http://www.jaynazweiman.com/\">Jayna Zweiman\u003c/a> spun the Pussyhat Project at \u003ca href=\"http://www.thelittleknittery.com/\">The Little Knittery\u003c/a> last November. Friends for only a few months, the two novice knitters were devastated by the election of Donald Trump and turned to yarn and needles to channel their disappointment.\u003c/p>\n\u003cp>Inspiration for the project came to Suh while planning to attend the march.\u003c/p>\n\u003cp>“I should knit a hat because it’s going to be really cold there and I’m just an L.A. girl not used to the elements,” recalls Suh, wearing a Pussyhat made with hot pink yarn. “And that’s when it really hit me. If I, a beginner knitter, can make this hat, other people can, too. And it’s not just about me anymore.”\u003c/p>\n\u003cp>And the name? Well, there’s that \u003ca href=\"http://wpo.st/IJVR2\">infamous comment\u003c/a> Donald Trump made while filming an episode of “Access Hollywood.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s the \u003ca href=\"https://www.pussyhatproject.com/knit/\">Pussy Power Hat\u003c/a>!” says Suh, laughing. “Everyone fell silent. They’re like, That. Is. It. It was like history was being made.”\u003c/p>\n\u003cp>Along with \u003ca href=\"http://www.ravelry.com/designers/kat-coyle\">Kat Coyle\u003c/a>, the owner of The Little Knittery, Suh and Zweiman quickly designed the “Pussy Power Hat” and released \u003ca href=\"http://www.ravelry.com/patterns/library/pussyhat-project\">the pattern\u003c/a> via social media. And just like that, the project went viral.\u003c/p>\n\u003cp>https://youtu.be/AesiuE-D1Ms\u003c/p>\n\u003cp>On a recent Friday night at The Little Knittery, there’s not an empty seat at the suddenly bustling store. Pink balls of yarn spin as needles click and conversation flows. Seated at a large, long table covered with cookies, candy and coffee mugs, Marina Mont’Ros is working on her 24th Pussyhat.\u003c/p>\n\u003cp>“I’ve made ones with fuzzy ears. I made one with reflective yarn so that it glows in the dark,” she says.\u003c/p>\n\u003cp>Since the project started, Mont’Ros has made the 45-minute bus trip each week to be here.\u003c/p>\n\u003cp>“Not everybody lives right here in this area, but we can all come together and do this because it’s something we believe in,” says Mont’Ros. “And that’s an amazing thing to me.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I just love … reclaiming the word ‘pussy’ and using it as an expression of power instead of the way that it’s been used.’\u003ccite>Kazi Pitelka\u003c/cite>\u003c/aside>\n\u003cp>This “knit-in” is just one of many taking place in yarn shops up and down the state and across the county. Even women in \u003ca href=\"https://www.pussyhatproject.com/hat-tracker/\">places as far away as Australia and Norway\u003c/a> have formed Pussyhat knitting groups. The goal is to knit, crochet or sew tens of thousands of these hats to give away to marchers going to D.C.\u003c/p>\n\u003cp>But according to Suh and Zweiman, it doesn’t stop with those who will go to Washington. They see the Pussyhat Project as way women can participate in the event even if they can’t physically be in D.C. or at one of the many \u003ca href=\"https://www.womensmarch.com/sisters/\">women’s marches\u003c/a> slated for big and small towns across the nation that day.\u003c/p>\n\u003cp>Wearing a thick, loose-knit Pussyhat, co-founder Jayna Zweiman has an easy smile as she talks about the project.\u003c/p>\n\u003cp>“I’m really hoping that this is a very strong powerful visual, but also that there are these connections amongst people to be ready for women’s activism in the future,” says Zweiman. “It’s not just about the hats. It’s so much more.”\u003c/p>\n\u003cp>And it is. Each hat will bear the message of a women’s issue important to the knitter. A message delivered so much easier because, you can’t deny it, these hats are cute.\u003c/p>\n\u003cfigure id=\"attachment_11273984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11273984\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/KnittingGroup-800x515.jpg\" alt=\"A group of women knit pussyhats at The Little Knittery in Atwater Village in Los Angeles. \" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-1180x760.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-520x335.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of women knit pussyhats at The Little Knittery in Atwater Village in Los Angeles. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When the hat is laid flat it’s in the shape of a rectangle. But when you put it on your head, the little corners of the rectangle at the top pop out a little bit to look like cat ears,” Zweiman explains. “It’s a pussycat hat. So in a way it can be very G-rated.”\u003c/p>\n\u003cp>Or not.\u003c/p>\n\u003cp>“You can call it the kitty hat. A lot of parents have been talking to their daughters and sons about it in that way,” affirms Zweiman.\u003c/p>\n\u003cp>Kazi Pitelka agrees. She’s been knitting since she was a child.\u003c/p>\n\u003cp>[contextly_sidebar id=”eZOI3StrBjPTrYzxBMdl4tPjV0RJb9hv”]\u003c/p>\n\u003cp>“I just love it. Love, you know, reclaiming the word ‘pussy’ and using it as an expression of power instead of the way that it’s been used.”\u003c/p>\n\u003cp>Mont’Ros seconds that emotion.\u003c/p>\n\u003cp>“If you call it a pussy. If you say, you know, va-jay-jay… or your lady place. Whatever you call it, say it proudly.”\u003c/p>\n\u003cp>And the project is making a difference to her. The camaraderie. The shared values. And it says something important about the collective strength of women in a challenging new time.\u003c/p>\n\u003cfigure id=\"attachment_11273994\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11273994\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/Knitters2-800x537.jpg\" alt=\"Longtime knitters Kazi Pitelka and Marina Mont’Ros at The Little Knittery.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-960x644.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-520x349.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime knitters Kazi Pitelka and Marina Mont’Ros at The Little Knittery. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You know we’re knitting these and we’re feeling powerful while we’re making them, and that’s going into the hat itself. All of this love,” says Mont’Ros. “And now somebody is going to wear it and that’s going to be a symbol. Symbols are powerful things.”\u003c/p>\n\u003cp>With less than a week to go until the Women’s March, Suh and Zweiman have no idea how many Pussyhats have been made. They think the total is somewhere between 30,000 and 100,000 from \u003ca href=\"https://www.instagram.com/explore/tags/pussyhatproject/\">crafters working across the country\u003c/a> and beyond. But both say they’re more concerned with creating a community than reaching a certain number. That’s the power of the Pussyhat.\u003c/p>\n\u003cp>“It tells everyone that I believe in women’s rights,” says Suh, “and I’m not ashamed to talk about it and show it to people.”\u003c/p>\n\u003cp>But she admits with a laugh that she has bigger plans.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I hope it becomes a really hot fashion item. I hope people give the hat to their granddaughters one day, like, I wore this to the \u003ca href=\"https://www.womensmarch.com/\">Women’s March\u003c/a> in 2017.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Los Angeles’ quaint \u003ca href=\"http://maps.latimes.com/neighborhoods/neighborhood/atwater-village/\">Atwater Village\u003c/a> is the unlikely epicenter of a political movement that’s gone viral. The founders of the \u003ca href=\"https://www.pussyhatproject.com/\">Pussyhat Project\u003c/a> are responsible for the thousands of protesters who will be wearing pink cat-eared hats at this weekend’s post-inauguration \u003ca href=\"https://www.womensmarch.com/\">Women’s March\u003c/a> in Washington, D.C.\u003c/p>\n\u003cp>Screenwriter \u003ca href=\"https://twitter.com/kristasuh\">Krista Suh\u003c/a> and architect \u003ca href=\"http://www.jaynazweiman.com/\">Jayna Zweiman\u003c/a> spun the Pussyhat Project at \u003ca href=\"http://www.thelittleknittery.com/\">The Little Knittery\u003c/a> last November. Friends for only a few months, the two novice knitters were devastated by the election of Donald Trump and turned to yarn and needles to channel their disappointment.\u003c/p>\n\u003cp>Inspiration for the project came to Suh while planning to attend the march.\u003c/p>\n\u003cp>“I should knit a hat because it’s going to be really cold there and I’m just an L.A. girl not used to the elements,” recalls Suh, wearing a Pussyhat made with hot pink yarn. “And that’s when it really hit me. If I, a beginner knitter, can make this hat, other people can, too. And it’s not just about me anymore.”\u003c/p>\n\u003cp>And the name? Well, there’s that \u003ca href=\"http://wpo.st/IJVR2\">infamous comment\u003c/a> Donald Trump made while filming an episode of “Access Hollywood.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s the \u003ca href=\"https://www.pussyhatproject.com/knit/\">Pussy Power Hat\u003c/a>!” says Suh, laughing. “Everyone fell silent. They’re like, That. Is. It. It was like history was being made.”\u003c/p>\n\u003cp>Along with \u003ca href=\"http://www.ravelry.com/designers/kat-coyle\">Kat Coyle\u003c/a>, the owner of The Little Knittery, Suh and Zweiman quickly designed the “Pussy Power Hat” and released \u003ca href=\"http://www.ravelry.com/patterns/library/pussyhat-project\">the pattern\u003c/a> via social media. And just like that, the project went viral.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AesiuE-D1Ms'\n title='//www.youtube.com/embed/AesiuE-D1Ms'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On a recent Friday night at The Little Knittery, there’s not an empty seat at the suddenly bustling store. Pink balls of yarn spin as needles click and conversation flows. Seated at a large, long table covered with cookies, candy and coffee mugs, Marina Mont’Ros is working on her 24th Pussyhat.\u003c/p>\n\u003cp>“I’ve made ones with fuzzy ears. I made one with reflective yarn so that it glows in the dark,” she says.\u003c/p>\n\u003cp>Since the project started, Mont’Ros has made the 45-minute bus trip each week to be here.\u003c/p>\n\u003cp>“Not everybody lives right here in this area, but we can all come together and do this because it’s something we believe in,” says Mont’Ros. “And that’s an amazing thing to me.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I just love … reclaiming the word ‘pussy’ and using it as an expression of power instead of the way that it’s been used.’\u003ccite>Kazi Pitelka\u003c/cite>\u003c/aside>\n\u003cp>This “knit-in” is just one of many taking place in yarn shops up and down the state and across the county. Even women in \u003ca href=\"https://www.pussyhatproject.com/hat-tracker/\">places as far away as Australia and Norway\u003c/a> have formed Pussyhat knitting groups. The goal is to knit, crochet or sew tens of thousands of these hats to give away to marchers going to D.C.\u003c/p>\n\u003cp>But according to Suh and Zweiman, it doesn’t stop with those who will go to Washington. They see the Pussyhat Project as way women can participate in the event even if they can’t physically be in D.C. or at one of the many \u003ca href=\"https://www.womensmarch.com/sisters/\">women’s marches\u003c/a> slated for big and small towns across the nation that day.\u003c/p>\n\u003cp>Wearing a thick, loose-knit Pussyhat, co-founder Jayna Zweiman has an easy smile as she talks about the project.\u003c/p>\n\u003cp>“I’m really hoping that this is a very strong powerful visual, but also that there are these connections amongst people to be ready for women’s activism in the future,” says Zweiman. “It’s not just about the hats. It’s so much more.”\u003c/p>\n\u003cp>And it is. Each hat will bear the message of a women’s issue important to the knitter. A message delivered so much easier because, you can’t deny it, these hats are cute.\u003c/p>\n\u003cfigure id=\"attachment_11273984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11273984\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/KnittingGroup-800x515.jpg\" alt=\"A group of women knit pussyhats at The Little Knittery in Atwater Village in Los Angeles. \" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-1180x760.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/KnittingGroup-520x335.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of women knit pussyhats at The Little Knittery in Atwater Village in Los Angeles. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When the hat is laid flat it’s in the shape of a rectangle. But when you put it on your head, the little corners of the rectangle at the top pop out a little bit to look like cat ears,” Zweiman explains. “It’s a pussycat hat. So in a way it can be very G-rated.”\u003c/p>\n\u003cp>Or not.\u003c/p>\n\u003cp>“You can call it the kitty hat. A lot of parents have been talking to their daughters and sons about it in that way,” affirms Zweiman.\u003c/p>\n\u003cp>Kazi Pitelka agrees. She’s been knitting since she was a child.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I just love it. Love, you know, reclaiming the word ‘pussy’ and using it as an expression of power instead of the way that it’s been used.”\u003c/p>\n\u003cp>Mont’Ros seconds that emotion.\u003c/p>\n\u003cp>“If you call it a pussy. If you say, you know, va-jay-jay… or your lady place. Whatever you call it, say it proudly.”\u003c/p>\n\u003cp>And the project is making a difference to her. The camaraderie. The shared values. And it says something important about the collective strength of women in a challenging new time.\u003c/p>\n\u003cfigure id=\"attachment_11273994\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11273994\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/Knitters2-800x537.jpg\" alt=\"Longtime knitters Kazi Pitelka and Marina Mont’Ros at The Little Knittery.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-960x644.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/Knitters2-520x349.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime knitters Kazi Pitelka and Marina Mont’Ros at The Little Knittery. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You know we’re knitting these and we’re feeling powerful while we’re making them, and that’s going into the hat itself. All of this love,” says Mont’Ros. “And now somebody is going to wear it and that’s going to be a symbol. Symbols are powerful things.”\u003c/p>\n\u003cp>With less than a week to go until the Women’s March, Suh and Zweiman have no idea how many Pussyhats have been made. They think the total is somewhere between 30,000 and 100,000 from \u003ca href=\"https://www.instagram.com/explore/tags/pussyhatproject/\">crafters working across the country\u003c/a> and beyond. But both say they’re more concerned with creating a community than reaching a certain number. That’s the power of the Pussyhat.\u003c/p>\n\u003cp>“It tells everyone that I believe in women’s rights,” says Suh, “and I’m not ashamed to talk about it and show it to people.”\u003c/p>\n\u003cp>But she admits with a laugh that she has bigger plans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I hope it becomes a really hot fashion item. I hope people give the hat to their granddaughters one day, like, I wore this to the \u003ca href=\"https://www.womensmarch.com/\">Women’s March\u003c/a> in 2017.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kevin Starr, a fourth-generation San Franciscan who stood alone as an interpreter of the vivid sweep of California history and its importance to the American nation, has died at the age of 76. \u003c/p>\n\u003cp>The Los Angeles Times, the first to report Starr’s passing, said he died Saturday after suffering a heart attack in San Francisco.\u003c/p>\n\u003cp>“Kevin Starr chronicled the history of California as no one else,” Gov. Jerry Brown — another native San Franciscan with deep ties to the history of the city and state — said in a statement Sunday. “He captured the spirit of our state and brought to life the characters and personalities that made the California story. His vision, like California itself, was bigger than life.”\u003c/p>\n\u003cp>Starr was born Sept. 3, 1940, and identified strongly with his native city. One of his great-grandfathers had arrived here during the 1850s and one of his grandfathers was a firefighter who battled the blaze that swept the city after the 1906 earthquake. \u003c/p>\n\u003cp>At various points, he ran, unsuccessfully, for the San Francisco Board of Supervisors, was an aide to Mayor Joseph Alioto, and served as the city’s head librarian. He went on to become the state librarian and to hold faculty appointments at a series of California colleges. At the time of his death, Starr was \u003ca href=\"https://dornsife.usc.edu/cf/faculty-and-staff/faculty.cfm?pid=1003730\" target=\"_blank\" rel=\"noopener\">a professor of history and policy, planning and development\u003c/a> at the University of Southern California.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His biographical summary tends to bely what might describe as a turbulent childhood. From the L.A. Times obituary:\u003c/p>\n\u003cblockquote>\u003cp>At age 6, he and his younger brother were sent to Albertina Orphanage in Ukiah, more than 100 miles north of San Francisco, after his parents divorced and his mother suffered a nervous breakdown.\u003c/p>\n\u003cp>His mother eventually brought her two sons back to live in the Portrero Hill housing project in San Francisco, where the family lived on a monthly welfare check of $130.\u003c/p>\n\u003cp>To “emancipate” himself from the hardscrabble upbringing, he worked two newspaper delivery routes. Starr also credited the Catholic Church’s strong educational mission. He attended St. Boniface School in the Tenderloin district, and later, St. Ignatius High School, before completing his high school studies at a seminary and enrolling in the Jesuit-run University of San Francisco.\u003c/p>\u003c/blockquote>\n\u003cp>Starr went on to graduate studies at Harvard, where he earned a doctorate in American literature. It was there, he said in \u003ca href=\"http://www.latimes.com/la-oe-morrison11-2009jul11-column.html\">a 2009 L.A. Times interview\u003c/a>, he conceived the idea of his California history: \u003c/p>\n\u003cblockquote>\u003cp>\n“I thought, ‘There’s all kinds of wonderful books on California, but they don’t seem to have the point of view we’re encouraged to look at — the social drama of the imagination.’ So I started the first volume, writing it for my thesis.”\u003c/p>\u003c/blockquote>\n\u003cp>That work, published in 1973, was “Americans and the California Dream, 1850-1915.” The book, the first in an eight-volume series published over 36 years, traces how California bloomed into the national consciousness — as a primitive Eden, as the scene of riotous Gold Rush excess, as an American society founded and focused on the new, as a place of constant contradiction. \u003c/p>\n\u003cp>“Americans and the California Dream” is mostly a literary history, focusing on how a wide range of witnesses — including explorers, military, politicians, journalists, historians, poets and novelists — responded to California and, in turn, the affect California had on them and on American life and imagination. \u003c/p>\n\u003cp>Here he is, for instance, on the afterlife of the Gold Rush, which he said was responsible for an enduring “accrual of psychological associations” with the state:\u003c/p>\n\u003cblockquote>\u003cp>“Whatever else California was, good or bad, it was charged with human hope. It was linked imaginatively with the most compelling of American myths, the pursuit of happiness. … California would never lose this symbolic connection with an intensified pursuit of happiness. As a hope in defiance of facts, as a longing which could ennoble and encourage but which could also turn and devour itself, the symbolic value of California endured — a legacy of the Gold Rush.”\u003c/p>\u003c/blockquote>\n\u003cp>By the time the final book in the series, “Golden Dreams: California in an Age of Abundance, 1950-1963,” was published in 2009, Starr’s work had achieved landmark status. An \u003ca href=\"http://articles.latimes.com/2009/jul/08/entertainment/et-rutten8\" target=\"_blank\" rel=\"noopener\">L.A. Times reviewer\u003c/a> was almost euphoric:\u003c/p>\n\u003cblockquote>\u003cp>“Taken together, these books constitute as comprehensive a social, political, ethnographic, cultural and philosophical history as any state is ever likely to achieve. It was conceived in dazzling ambition and masterfully executed. The author’s scholarship and erudition animate each volume without once falling into the trap of self-regard. It is, in sum, an achievement made even more remarkable by the fact that it is wonderfully readable.”\u003c/p>\u003c/blockquote>\n\u003cp>Some criticized Starr for presenting too sunny a picture of California’s history, especially its early chapters. \u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=a1YZThJF_08\" target=\"_blank\" rel=\"noopener\">a 2013 talk at USF\u003c/a>, Starr acknowledged the criticism and talked about the growth of his own historical understanding. \u003c/p>\n\u003cp>“I have tried to develop more and more what [Spanish philosopher and playwright Miguel de] Unamuno called ‘the tragic sense of life’ and to see the war of good and evil occurring simultaneously,” Starr said. \u003c/p>\n\u003cp>That change might be seen his introduction to “Rooted in Barbarous Soil,” a volume of essays on the Gold Rush and its immediate aftermath, Starr addresses the “racist criminality” that characterized the era’s treatment of the native population and the denial of liberty and justice to immigrants of color.\u003c/p>\n\u003cp>“For some, the Gold Rush is a panorama of delusion, aggression, lies and deceit, broken promises and empty dreams,” Starr wrote. “For those who think this way, those long-ago years continue today in masked but still damaging forms. … Yet for those who believe that the California experiment, which is part of the larger American experiment, is of lasting value, the sins of the Gold Rush, while not denied or even forgiven, can be held in equipoise, in mitigating judgment, against all that the Gold Rush positively achieved. … Such positive results do not excuse the sins of the past; yet they do provide a hope that what has been accomplished has been, on balance, worth at least some of the terrible cost.”\u003c/p>\n\u003cp>In a widely quoted \u003ca href=\"http://www.sfchronicle.com/opinion/article/California-dreamin-The-Golden-State-has-a-2599066.php\" target=\"_blank\" rel=\"noopener\">2003 op-ed piece\u003c/a> for the San Francisco Chronicle, Starr wrote that “California is everything and nothing at all. It is the cutting edge of the American dream — a utopia. But it could also become the paradigm of the dream lost — a nightmare dystopia.”\u003c/p>\n\u003cp>He ticked off the major challenges facing the state, including mass incarceration due to the ongoing war on drugs, homelessness and declining quality of life for many in both urban and rural California, the dot-com bust, the collapse of the state’s finances, and the need to find a way to accommodate a continuing influx of people. \u003c/p>\n\u003cp>He closed by asking whether the California of the future would be one in which the state’s riches would “belong to a privileged few? Or will millions of Californians, including those of ordinary abilities, find themselves participating in what promises to be the most interesting social experiment on the planet?”\u003c/p>\n\u003cp>Starr was known as a dazzling conversationalist eager to take his audience along on his intellectual adventures. L.A. Times book editor Carolyn Kellogg described him in \u003ca href=\"http://articles.latimes.com/2013/apr/12/entertainment/la-ca-jc-kevin-starr-20130414\" target=\"_blank\" rel=\"noopener\">a 2013 piece\u003c/a>: \u003c/p>\n\u003cblockquote>\u003cp>“Asking Kevin Starr a question is like turning on a fire hose. First there’s a blast of erudition. Then, as his intellect gathers, information rushes out in a deluge. He’s talking, but it’s as if an invisible scholar inside his head is yanking books off shelves, throwing them open, checking the index, then racing off to find the next volume. On the outside, Starr is an avuncular 72-year-old, but his brain is sprinting like an Olympian.” \u003c/p>\u003c/blockquote>\n\u003cp>A couple of other Starr remembrances \u003ca href=\"http://www.sfchronicle.com/news/article/Kevin-Starr-historian-and-former-state-10859456.php\" target=\"_blank\" rel=\"noopener\">via the San Francisco Chronicle\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“No one else has more printed words on the formation of the Golden State, and what it means to the nation and world, than Starr,” said Mattie Taormina, who worked as Dr. Starr’s special assistant at the California State Library for more than eight years.\u003c/p>\n\u003cp>Taormina, who is now director of the Sutro Library — the California State Library’s San Francisco branch — said Dr. Starr’s compassion, wit and humility inspired everyone that knew him.\u003c/p>\n\u003cp>“He was a presence. He was the kind of force that would fill up a room whenever he came in,” Taormina said. “He was such a great mentor, and he was that way not just with me, but with everyone that worked at the library.”\u003c/p>\n\u003cp>… San Francisco Museum and Historical Society co-founder Charles Fracchia, who knew Dr. Starr for nearly 60 years, said his friend’s hard upbringing drove him to succeed on a “huge and broad level.”\u003c/p>\n\u003cp>“His books will not die; they will not go out of fashion. They will be on library shelves as works of literature,” Fracchia said.\u003c/p>\u003c/blockquote>\n\u003cp>Starr is survived by his wife, Sheila Starr of San Francisco, and daughters Jessica Starr and Marian Starr Imperatore..\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“He loved life, and he lived life in a beautiful and grand way — to the fullest,” Jessica Starr told the L.A. Times. “We’re sorry he is no longer with us. He was taken too soon.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kevin Starr, a fourth-generation San Franciscan who stood alone as an interpreter of the vivid sweep of California history and its importance to the American nation, has died at the age of 76. \u003c/p>\n\u003cp>The Los Angeles Times, the first to report Starr’s passing, said he died Saturday after suffering a heart attack in San Francisco.\u003c/p>\n\u003cp>“Kevin Starr chronicled the history of California as no one else,” Gov. Jerry Brown — another native San Franciscan with deep ties to the history of the city and state — said in a statement Sunday. “He captured the spirit of our state and brought to life the characters and personalities that made the California story. His vision, like California itself, was bigger than life.”\u003c/p>\n\u003cp>Starr was born Sept. 3, 1940, and identified strongly with his native city. One of his great-grandfathers had arrived here during the 1850s and one of his grandfathers was a firefighter who battled the blaze that swept the city after the 1906 earthquake. \u003c/p>\n\u003cp>At various points, he ran, unsuccessfully, for the San Francisco Board of Supervisors, was an aide to Mayor Joseph Alioto, and served as the city’s head librarian. He went on to become the state librarian and to hold faculty appointments at a series of California colleges. At the time of his death, Starr was \u003ca href=\"https://dornsife.usc.edu/cf/faculty-and-staff/faculty.cfm?pid=1003730\" target=\"_blank\" rel=\"noopener\">a professor of history and policy, planning and development\u003c/a> at the University of Southern California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His biographical summary tends to bely what might describe as a turbulent childhood. From the L.A. Times obituary:\u003c/p>\n\u003cblockquote>\u003cp>At age 6, he and his younger brother were sent to Albertina Orphanage in Ukiah, more than 100 miles north of San Francisco, after his parents divorced and his mother suffered a nervous breakdown.\u003c/p>\n\u003cp>His mother eventually brought her two sons back to live in the Portrero Hill housing project in San Francisco, where the family lived on a monthly welfare check of $130.\u003c/p>\n\u003cp>To “emancipate” himself from the hardscrabble upbringing, he worked two newspaper delivery routes. Starr also credited the Catholic Church’s strong educational mission. He attended St. Boniface School in the Tenderloin district, and later, St. Ignatius High School, before completing his high school studies at a seminary and enrolling in the Jesuit-run University of San Francisco.\u003c/p>\u003c/blockquote>\n\u003cp>Starr went on to graduate studies at Harvard, where he earned a doctorate in American literature. It was there, he said in \u003ca href=\"http://www.latimes.com/la-oe-morrison11-2009jul11-column.html\">a 2009 L.A. Times interview\u003c/a>, he conceived the idea of his California history: \u003c/p>\n\u003cblockquote>\u003cp>\n“I thought, ‘There’s all kinds of wonderful books on California, but they don’t seem to have the point of view we’re encouraged to look at — the social drama of the imagination.’ So I started the first volume, writing it for my thesis.”\u003c/p>\u003c/blockquote>\n\u003cp>That work, published in 1973, was “Americans and the California Dream, 1850-1915.” The book, the first in an eight-volume series published over 36 years, traces how California bloomed into the national consciousness — as a primitive Eden, as the scene of riotous Gold Rush excess, as an American society founded and focused on the new, as a place of constant contradiction. \u003c/p>\n\u003cp>“Americans and the California Dream” is mostly a literary history, focusing on how a wide range of witnesses — including explorers, military, politicians, journalists, historians, poets and novelists — responded to California and, in turn, the affect California had on them and on American life and imagination. \u003c/p>\n\u003cp>Here he is, for instance, on the afterlife of the Gold Rush, which he said was responsible for an enduring “accrual of psychological associations” with the state:\u003c/p>\n\u003cblockquote>\u003cp>“Whatever else California was, good or bad, it was charged with human hope. It was linked imaginatively with the most compelling of American myths, the pursuit of happiness. … California would never lose this symbolic connection with an intensified pursuit of happiness. As a hope in defiance of facts, as a longing which could ennoble and encourage but which could also turn and devour itself, the symbolic value of California endured — a legacy of the Gold Rush.”\u003c/p>\u003c/blockquote>\n\u003cp>By the time the final book in the series, “Golden Dreams: California in an Age of Abundance, 1950-1963,” was published in 2009, Starr’s work had achieved landmark status. An \u003ca href=\"http://articles.latimes.com/2009/jul/08/entertainment/et-rutten8\" target=\"_blank\" rel=\"noopener\">L.A. Times reviewer\u003c/a> was almost euphoric:\u003c/p>\n\u003cblockquote>\u003cp>“Taken together, these books constitute as comprehensive a social, political, ethnographic, cultural and philosophical history as any state is ever likely to achieve. It was conceived in dazzling ambition and masterfully executed. The author’s scholarship and erudition animate each volume without once falling into the trap of self-regard. It is, in sum, an achievement made even more remarkable by the fact that it is wonderfully readable.”\u003c/p>\u003c/blockquote>\n\u003cp>Some criticized Starr for presenting too sunny a picture of California’s history, especially its early chapters. \u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=a1YZThJF_08\" target=\"_blank\" rel=\"noopener\">a 2013 talk at USF\u003c/a>, Starr acknowledged the criticism and talked about the growth of his own historical understanding. \u003c/p>\n\u003cp>“I have tried to develop more and more what [Spanish philosopher and playwright Miguel de] Unamuno called ‘the tragic sense of life’ and to see the war of good and evil occurring simultaneously,” Starr said. \u003c/p>\n\u003cp>That change might be seen his introduction to “Rooted in Barbarous Soil,” a volume of essays on the Gold Rush and its immediate aftermath, Starr addresses the “racist criminality” that characterized the era’s treatment of the native population and the denial of liberty and justice to immigrants of color.\u003c/p>\n\u003cp>“For some, the Gold Rush is a panorama of delusion, aggression, lies and deceit, broken promises and empty dreams,” Starr wrote. “For those who think this way, those long-ago years continue today in masked but still damaging forms. … Yet for those who believe that the California experiment, which is part of the larger American experiment, is of lasting value, the sins of the Gold Rush, while not denied or even forgiven, can be held in equipoise, in mitigating judgment, against all that the Gold Rush positively achieved. … Such positive results do not excuse the sins of the past; yet they do provide a hope that what has been accomplished has been, on balance, worth at least some of the terrible cost.”\u003c/p>\n\u003cp>In a widely quoted \u003ca href=\"http://www.sfchronicle.com/opinion/article/California-dreamin-The-Golden-State-has-a-2599066.php\" target=\"_blank\" rel=\"noopener\">2003 op-ed piece\u003c/a> for the San Francisco Chronicle, Starr wrote that “California is everything and nothing at all. It is the cutting edge of the American dream — a utopia. But it could also become the paradigm of the dream lost — a nightmare dystopia.”\u003c/p>\n\u003cp>He ticked off the major challenges facing the state, including mass incarceration due to the ongoing war on drugs, homelessness and declining quality of life for many in both urban and rural California, the dot-com bust, the collapse of the state’s finances, and the need to find a way to accommodate a continuing influx of people. \u003c/p>\n\u003cp>He closed by asking whether the California of the future would be one in which the state’s riches would “belong to a privileged few? Or will millions of Californians, including those of ordinary abilities, find themselves participating in what promises to be the most interesting social experiment on the planet?”\u003c/p>\n\u003cp>Starr was known as a dazzling conversationalist eager to take his audience along on his intellectual adventures. L.A. Times book editor Carolyn Kellogg described him in \u003ca href=\"http://articles.latimes.com/2013/apr/12/entertainment/la-ca-jc-kevin-starr-20130414\" target=\"_blank\" rel=\"noopener\">a 2013 piece\u003c/a>: \u003c/p>\n\u003cblockquote>\u003cp>“Asking Kevin Starr a question is like turning on a fire hose. First there’s a blast of erudition. Then, as his intellect gathers, information rushes out in a deluge. He’s talking, but it’s as if an invisible scholar inside his head is yanking books off shelves, throwing them open, checking the index, then racing off to find the next volume. On the outside, Starr is an avuncular 72-year-old, but his brain is sprinting like an Olympian.” \u003c/p>\u003c/blockquote>\n\u003cp>A couple of other Starr remembrances \u003ca href=\"http://www.sfchronicle.com/news/article/Kevin-Starr-historian-and-former-state-10859456.php\" target=\"_blank\" rel=\"noopener\">via the San Francisco Chronicle\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“No one else has more printed words on the formation of the Golden State, and what it means to the nation and world, than Starr,” said Mattie Taormina, who worked as Dr. Starr’s special assistant at the California State Library for more than eight years.\u003c/p>\n\u003cp>Taormina, who is now director of the Sutro Library — the California State Library’s San Francisco branch — said Dr. Starr’s compassion, wit and humility inspired everyone that knew him.\u003c/p>\n\u003cp>“He was a presence. He was the kind of force that would fill up a room whenever he came in,” Taormina said. “He was such a great mentor, and he was that way not just with me, but with everyone that worked at the library.”\u003c/p>\n\u003cp>… San Francisco Museum and Historical Society co-founder Charles Fracchia, who knew Dr. Starr for nearly 60 years, said his friend’s hard upbringing drove him to succeed on a “huge and broad level.”\u003c/p>\n\u003cp>“His books will not die; they will not go out of fashion. They will be on library shelves as works of literature,” Fracchia said.\u003c/p>\u003c/blockquote>\n\u003cp>Starr is survived by his wife, Sheila Starr of San Francisco, and daughters Jessica Starr and Marian Starr Imperatore..\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He loved life, and he lived life in a beautiful and grand way — to the fullest,” Jessica Starr told the L.A. Times. “We’re sorry he is no longer with us. He was taken too soon.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The artist Doug Aitken has a history of taking his audiences out of traditional museum or gallery spaces. His latest installation, a companion piece to his retrospective exhibition \u003ca href=\"http://www.moca.org/exhibition/doug-aitken-electric-earth\">Electric Earth\u003c/a> at MOCA, is a series of sculptures in the ocean called \u003ca href=\"https://www.underwaterpavilions.com/#underwaterpavilions\">Underwater Pavilions\u003c/a>. Viewing them involves a ferry ride to the island of Catalina, followed by a deep-sea dive.\u003c/p>\n\u003cp>The installation is on the other side of town in the Casino Point Dive Park in front of the Catalina Casino, with its famed art deco ballroom.\u003c/p>\n\u003cp>The artwork is only 100 yards or so from shore. The turquoise glow around it stands out from the dark blue sea.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/302609960\" params=\"auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true\" width=\"100%\" height=\"450\" iframe=\"true\" /]\u003c/p>\n\u003cp>\"As you swim closer, you find yourself, I think, really in the present. You find yourself kind of caught in that moment with nothing else in your mind,\" Aitken said. \"You find yourself swimming through a sea of monochrome, kind of blue gray, and in front of you in the distance you start making out shapes -- these strange geometric shapes -- hexagonal shapes.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The three sculptures all float at different depths. One has mirrors on the outside, and the other two have mirrors on the inside.\u003c/p>\n\u003cp>Those are the ones local dive instructor Joel Wilson really likes, \"because it’s kind of like a scuba diving changing room -- you go inside and you can kind of see yourself from all angles, and you really kind of get a sense of what I look like when I’m scuba diving.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kPE5rHTr5qs\u003c/p>\n\u003cp>They all have a textured surface designed for sea life to cling to, and live on. They’re big, 12 feet or so, enough to swim inside, look in the mirrors, turn around and swim out through one of the hexagonal openings.\u003c/p>\n\u003cp>Swimming through these sculptures was a cool experience. But getting to them was challenging. Aitken says it’s not just an inconvenience.\u003c/p>\n\u003cp>\"I think there’s something about taking this boat over there that kind of allows you to slow down and decelerate in a way,” Aitken said, “that disorienting sense of suddenly stepping into a completely different field of experience.\"\u003c/p>\n\u003cfigure id=\"attachment_11268140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11268140\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/Scuba2-800x470.jpg\" alt=\"A diver is reflected in Doug Aitken's 'Underwater Pavilions' installation.\" width=\"800\" height=\"470\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-800x470.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-160x94.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-1020x599.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-1180x693.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-960x564.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-240x141.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-375x220.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A diver is reflected in Doug Aitken's 'Underwater Pavilions' installation. \u003ccite>(Courtesy Joel Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aitken has a history of taking his audiences out of the traditional museum or gallery spaces. He's staged performances on a train traveling across America, and has had large-scale video installations in an airplane hangar-like space in Arles, France, and on a barge floating off the coast of Athens.\u003c/p>\n\u003cp>Cyrill Gutsch, founder of the environmental organization \u003ca href=\"http://www.parley.tv/#fortheoceans\">Parley for the Oceans\u003c/a>, says there’s more below the surface. His group has partnered with Aitken’s studio and MOCA on this project.\u003c/p>\n\u003cp>“The oceans are under such a massive threat and still nobody really knows or cares, because the sea feels like so far away from everyday life, and nobody really understands why it is necessary actually to protect the sea,” Gutsch said.\u003c/p>\n\u003cp>Parley doesn’t focus on protests, but rather employs art to raise consciousness about the plight of the oceans.\u003c/p>\n\u003cp>“Jacques Cousteau said in a very nice way, ‘People only protect what they love.’ And art is the perfect way to create that love -- to kind of close the gap that is between us, mankind, and that life that feels so distant, so far away, and still we are so depending on it,\" he said.\u003c/p>\n\u003cp>For most of us, Aitken says, the Pacific Ocean is so vast, \"we don’t really know where to go or what to see or how to approach it, so it becomes intimidating. It becomes this kind of dark mysterious mass. The idea of the Underwater Pavilions is to create something which is almost like an aperture. It's almost like a door into the ocean.\"\u003c/p>\n\u003cp>And for Parley, Doug Aitken’s art can make that connection.\u003c/p>\n\u003cp>“It’s like a bait in a way, to lure people down to discover – to explore,” Gutsch said.\u003c/p>\n\u003cfigure id=\"attachment_11268216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11268216\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/SeaInstallation-800x601.jpg\" alt=\"One of Doug Aitken's sculptures, just before being submerged.\" width=\"800\" height=\"601\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-800x601.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-1020x766.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-1180x886.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-960x721.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-375x282.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Doug Aitken's sculptures, just before being submerged. \u003ccite>(Courtesy Doug Aitken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the town of Avalon, it's bait to further attract tourists to the island. And according to Richard Huband at the local scuba shop, there’s already plenty of interest from the mainland, too.\u003c/p>\n\u003cp>“We’ve had people calling just to come and see the sculptures before they are even installed. So yeah, we’ll get more divers because they want to come and see them,” Huband said.\u003c/p>\n\u003cp>In fact, divers travel to see great wrecks around the world, so this will be a draw for divers. But will it be a draw for art lovers in general?\u003c/p>\n\u003cp>The sculptures are expected to stay where they are for at least the next three months. You just need to drive, park, take a ferry to Catalina, rent your gear if you need it, and dive. The trip could cost $200, and that's if you don’t stay overnight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you’d rather experience Underwater Pavilions from dry land, for free, they’re in the process of installing a live video and audio feed of the sculptures.\u003c/p>\n\n",
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"excerpt": "Environmental groups hope artist Doug Aitken's latest installation will help raise consciousness about the plight of the world's oceans.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The artist Doug Aitken has a history of taking his audiences out of traditional museum or gallery spaces. His latest installation, a companion piece to his retrospective exhibition \u003ca href=\"http://www.moca.org/exhibition/doug-aitken-electric-earth\">Electric Earth\u003c/a> at MOCA, is a series of sculptures in the ocean called \u003ca href=\"https://www.underwaterpavilions.com/#underwaterpavilions\">Underwater Pavilions\u003c/a>. Viewing them involves a ferry ride to the island of Catalina, followed by a deep-sea dive.\u003c/p>\n\u003cp>The installation is on the other side of town in the Casino Point Dive Park in front of the Catalina Casino, with its famed art deco ballroom.\u003c/p>\n\u003cp>The artwork is only 100 yards or so from shore. The turquoise glow around it stands out from the dark blue sea.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='450'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/302609960&visual=true&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true'\n title='https://api.soundcloud.com/tracks/302609960'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"As you swim closer, you find yourself, I think, really in the present. You find yourself kind of caught in that moment with nothing else in your mind,\" Aitken said. \"You find yourself swimming through a sea of monochrome, kind of blue gray, and in front of you in the distance you start making out shapes -- these strange geometric shapes -- hexagonal shapes.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The three sculptures all float at different depths. One has mirrors on the outside, and the other two have mirrors on the inside.\u003c/p>\n\u003cp>Those are the ones local dive instructor Joel Wilson really likes, \"because it’s kind of like a scuba diving changing room -- you go inside and you can kind of see yourself from all angles, and you really kind of get a sense of what I look like when I’m scuba diving.\"\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kPE5rHTr5qs'\n title='//www.youtube.com/embed/kPE5rHTr5qs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>They all have a textured surface designed for sea life to cling to, and live on. They’re big, 12 feet or so, enough to swim inside, look in the mirrors, turn around and swim out through one of the hexagonal openings.\u003c/p>\n\u003cp>Swimming through these sculptures was a cool experience. But getting to them was challenging. Aitken says it’s not just an inconvenience.\u003c/p>\n\u003cp>\"I think there’s something about taking this boat over there that kind of allows you to slow down and decelerate in a way,” Aitken said, “that disorienting sense of suddenly stepping into a completely different field of experience.\"\u003c/p>\n\u003cfigure id=\"attachment_11268140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11268140\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/Scuba2-800x470.jpg\" alt=\"A diver is reflected in Doug Aitken's 'Underwater Pavilions' installation.\" width=\"800\" height=\"470\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-800x470.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-160x94.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-1020x599.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-1180x693.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-960x564.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-240x141.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-375x220.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A diver is reflected in Doug Aitken's 'Underwater Pavilions' installation. \u003ccite>(Courtesy Joel Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aitken has a history of taking his audiences out of the traditional museum or gallery spaces. He's staged performances on a train traveling across America, and has had large-scale video installations in an airplane hangar-like space in Arles, France, and on a barge floating off the coast of Athens.\u003c/p>\n\u003cp>Cyrill Gutsch, founder of the environmental organization \u003ca href=\"http://www.parley.tv/#fortheoceans\">Parley for the Oceans\u003c/a>, says there’s more below the surface. His group has partnered with Aitken’s studio and MOCA on this project.\u003c/p>\n\u003cp>“The oceans are under such a massive threat and still nobody really knows or cares, because the sea feels like so far away from everyday life, and nobody really understands why it is necessary actually to protect the sea,” Gutsch said.\u003c/p>\n\u003cp>Parley doesn’t focus on protests, but rather employs art to raise consciousness about the plight of the oceans.\u003c/p>\n\u003cp>“Jacques Cousteau said in a very nice way, ‘People only protect what they love.’ And art is the perfect way to create that love -- to kind of close the gap that is between us, mankind, and that life that feels so distant, so far away, and still we are so depending on it,\" he said.\u003c/p>\n\u003cp>For most of us, Aitken says, the Pacific Ocean is so vast, \"we don’t really know where to go or what to see or how to approach it, so it becomes intimidating. It becomes this kind of dark mysterious mass. The idea of the Underwater Pavilions is to create something which is almost like an aperture. It's almost like a door into the ocean.\"\u003c/p>\n\u003cp>And for Parley, Doug Aitken’s art can make that connection.\u003c/p>\n\u003cp>“It’s like a bait in a way, to lure people down to discover – to explore,” Gutsch said.\u003c/p>\n\u003cfigure id=\"attachment_11268216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11268216\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/SeaInstallation-800x601.jpg\" alt=\"One of Doug Aitken's sculptures, just before being submerged.\" width=\"800\" height=\"601\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-800x601.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-1020x766.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-1180x886.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-960x721.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-375x282.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Doug Aitken's sculptures, just before being submerged. \u003ccite>(Courtesy Doug Aitken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the town of Avalon, it's bait to further attract tourists to the island. And according to Richard Huband at the local scuba shop, there’s already plenty of interest from the mainland, too.\u003c/p>\n\u003cp>“We’ve had people calling just to come and see the sculptures before they are even installed. So yeah, we’ll get more divers because they want to come and see them,” Huband said.\u003c/p>\n\u003cp>In fact, divers travel to see great wrecks around the world, so this will be a draw for divers. But will it be a draw for art lovers in general?\u003c/p>\n\u003cp>The sculptures are expected to stay where they are for at least the next three months. You just need to drive, park, take a ferry to Catalina, rent your gear if you need it, and dive. The trip could cost $200, and that's if you don’t stay overnight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you’d rather experience Underwater Pavilions from dry land, for free, they’re in the process of installing a live video and audio feed of the sculptures.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Ghost Ship Fire Prompts SFFD to Consider Random Warehouse Inspections",
"title": "Ghost Ship Fire Prompts SFFD to Consider Random Warehouse Inspections",
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"content": "\u003cp>The fire that killed 36 people in an artist collective in Oakland last month has led top San Francisco fire officials to contemplate randomly inspecting the city's nearly 1,000 warehouses for safety violations, a possibility strongly rejected by artist and tenant advocates.\u003c/p>\n\u003cp>San Francisco Fire Marshal Dan De Cossio \u003ca href=\"http://www.sfexaminer.com/sf-orders-3-warehouses-vacate-following-ghost-ship-fire/\" target=\"_blank\">revealed \u003c/a>that since the Ghost Ship warehouse fire, the department has issued \"orders to vacate\" to residents they say were living illegally and dangerously in three warehouses.\u003c/p>\n\u003cp>\"Our mandate here is to keep people safe in buildings,\" De Cossio said during a Fire Commission meeting on Wednesday.\u003c/p>\n\u003cp>\"We need to be careful not to give a false sense of security to people that are living in buildings that were not permitted for that use,\" De Cossio said. \"I think it would be irresponsible for us, if we thought there was an event in a specific building, that there would most likely be fatalities, for us not to take action.\"\u003c/p>\n\u003cp>His remarks come as artists in the Bay Area and around the country have repeatedly \u003ca href=\"https://ww2.kqed.org/forum/2016/12/14/after-the-ghost-ship-fire-whats-next-for-bay-area-artists-regulations-and-safety/\" target=\"_blank\">expressed fear\u003c/a> that safety crackdowns prompted by the Dec. 2 Ghost Ship fire would lead to members of their communities getting evicted.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Ghost Ship warehouse in Oakland's Fruitvale neighborhood was not permitted as a living space.\u003c/p>\n\u003cp>Two of the San Francisco buildings that received notices are located in the city's South of Market neighborhood and one was on Potrero Hill, according to department spokesman Jonathan Baxter. The notices were all issued in the two weeks after the Oakland blaze.\u003c/p>\n\u003cp>Fire officials believe the orders affected up to 24 people, Baxter said Thursday. He was not aware if any of them were artists.\u003c/p>\n\u003cp>The vacate orders came after the department received 15 complaints about warehouse safety problems, according to De Cossio. The buildings that received them had \"deficient\" exits or lacked proper permits, he said.\u003c/p>\n\u003cp>Currently, according to fire officials, inspections and any resulting orders are strictly complaint-driven.\u003c/p>\n\u003cp>At Wednesday's meeting, San Francisco Fire Commissioner Ken Cleveland suggested a more aggressive inspection protocol to De Cossio \"just to put the community on notice,\" Cleveland said.\u003c/p>\n\u003cp>\"We could do random,\" De Cossio said. \"We are open to that idea.\"\u003c/p>\n\u003cp>After the Ghost Ship blaze, fire officials discussed the idea of random inspections, according to Fire Chief Joanne Hayes-White. \"There's competing feelings about that,\" she acknowledged.\u003c/p>\n\u003cp>\"When we say 'notice to vacate' it is our opinion that it is unsafe, and they should vacate,\" Hayes-White said. \"There are entities that feel that other solutions should be offered instead of putting someone right out there on the street.\"\u003c/p>\n\u003cp>The Fire Department would need to work with other city agencies before moving forward on random warehouse inspections, she said.\u003c/p>\n\u003cp>A change in warehouse inspection policy, which would require reforms to local code, is a bad idea, according to Randy Shaw, a longtime tenant activist who directs the Tenderloin Housing Clinic.\u003c/p>\n\u003cp>\"A random sweep is not a good use of resources and is particularly worrisome,\" Shaw said Thursday. \"The city should not embark on this plan.\"\u003c/p>\n\u003cp>Artist advocates agree.\u003c/p>\n\u003cp>\"The government cracking down on artists' spaces, causing confusion, fear and potentially evictions and displacement, is not the way to make the city safe for artists,\" said Spike Kahn, director and founder of the Pacific Felt Factory arts complex, which has more than a dozen artist studios.\u003c/p>\n\u003cp>\"Fire safety is important, but so is having a place to sleep inside and out of the rain,\" Kahn said Thursday.\u003c/p>\n\u003cp>The city should help fund work to bring warehouses up to code and keep the spaces affordable, Kahn said. She is calling for the creation of a task force involving community artists and city officials to help create ways to prevent artist evictions and keep their current homes safe.\u003c/p>\n\u003cp>\"We cannot allow the city to kick people out of buildings where they live and work,\" Kahn said. \"They are not in unsafe buildings because they want to be. They have no choice ... in one of the most expensive cities in the world.\"\u003c/p>\n\u003cp>That balance is something Oakland Mayor Libby Schaaf tried to strike on Wednesday. Schaaf issued an \u003ca href=\"https://ww2.kqed.org/arts/2017/01/11/oakland-mayor-issues-exec-order-protecting-tenants-of-unsafe-warehouse-spaces/\" target=\"_blank\">executive order\u003c/a> aimed at bringing non-permitted residential spaces into compliance with city law while minimizing displacement.\u003c/p>\n\u003cp>San Francisco is looking into similar solutions, according to Debra Walker, vice president of the Building Inspection Commission and also an artist.\u003c/p>\n\u003cp>In the short term, city agencies should try to avoid tactics that lead to people getting displaced from unauthorized warehouses, Walker said. Long term, the city should come up with reforms that could potentially legalize them and make them safer, she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Nobody wants anything to happen close to what happened at Ghost Ship,\" Walker said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The fire that killed 36 people in an artist collective in Oakland last month has led top San Francisco fire officials to contemplate randomly inspecting the city's nearly 1,000 warehouses for safety violations, a possibility strongly rejected by artist and tenant advocates.\u003c/p>\n\u003cp>San Francisco Fire Marshal Dan De Cossio \u003ca href=\"http://www.sfexaminer.com/sf-orders-3-warehouses-vacate-following-ghost-ship-fire/\" target=\"_blank\">revealed \u003c/a>that since the Ghost Ship warehouse fire, the department has issued \"orders to vacate\" to residents they say were living illegally and dangerously in three warehouses.\u003c/p>\n\u003cp>\"Our mandate here is to keep people safe in buildings,\" De Cossio said during a Fire Commission meeting on Wednesday.\u003c/p>\n\u003cp>\"We need to be careful not to give a false sense of security to people that are living in buildings that were not permitted for that use,\" De Cossio said. \"I think it would be irresponsible for us, if we thought there was an event in a specific building, that there would most likely be fatalities, for us not to take action.\"\u003c/p>\n\u003cp>His remarks come as artists in the Bay Area and around the country have repeatedly \u003ca href=\"https://ww2.kqed.org/forum/2016/12/14/after-the-ghost-ship-fire-whats-next-for-bay-area-artists-regulations-and-safety/\" target=\"_blank\">expressed fear\u003c/a> that safety crackdowns prompted by the Dec. 2 Ghost Ship fire would lead to members of their communities getting evicted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Ghost Ship warehouse in Oakland's Fruitvale neighborhood was not permitted as a living space.\u003c/p>\n\u003cp>Two of the San Francisco buildings that received notices are located in the city's South of Market neighborhood and one was on Potrero Hill, according to department spokesman Jonathan Baxter. The notices were all issued in the two weeks after the Oakland blaze.\u003c/p>\n\u003cp>Fire officials believe the orders affected up to 24 people, Baxter said Thursday. He was not aware if any of them were artists.\u003c/p>\n\u003cp>The vacate orders came after the department received 15 complaints about warehouse safety problems, according to De Cossio. The buildings that received them had \"deficient\" exits or lacked proper permits, he said.\u003c/p>\n\u003cp>Currently, according to fire officials, inspections and any resulting orders are strictly complaint-driven.\u003c/p>\n\u003cp>At Wednesday's meeting, San Francisco Fire Commissioner Ken Cleveland suggested a more aggressive inspection protocol to De Cossio \"just to put the community on notice,\" Cleveland said.\u003c/p>\n\u003cp>\"We could do random,\" De Cossio said. \"We are open to that idea.\"\u003c/p>\n\u003cp>After the Ghost Ship blaze, fire officials discussed the idea of random inspections, according to Fire Chief Joanne Hayes-White. \"There's competing feelings about that,\" she acknowledged.\u003c/p>\n\u003cp>\"When we say 'notice to vacate' it is our opinion that it is unsafe, and they should vacate,\" Hayes-White said. \"There are entities that feel that other solutions should be offered instead of putting someone right out there on the street.\"\u003c/p>\n\u003cp>The Fire Department would need to work with other city agencies before moving forward on random warehouse inspections, she said.\u003c/p>\n\u003cp>A change in warehouse inspection policy, which would require reforms to local code, is a bad idea, according to Randy Shaw, a longtime tenant activist who directs the Tenderloin Housing Clinic.\u003c/p>\n\u003cp>\"A random sweep is not a good use of resources and is particularly worrisome,\" Shaw said Thursday. \"The city should not embark on this plan.\"\u003c/p>\n\u003cp>Artist advocates agree.\u003c/p>\n\u003cp>\"The government cracking down on artists' spaces, causing confusion, fear and potentially evictions and displacement, is not the way to make the city safe for artists,\" said Spike Kahn, director and founder of the Pacific Felt Factory arts complex, which has more than a dozen artist studios.\u003c/p>\n\u003cp>\"Fire safety is important, but so is having a place to sleep inside and out of the rain,\" Kahn said Thursday.\u003c/p>\n\u003cp>The city should help fund work to bring warehouses up to code and keep the spaces affordable, Kahn said. She is calling for the creation of a task force involving community artists and city officials to help create ways to prevent artist evictions and keep their current homes safe.\u003c/p>\n\u003cp>\"We cannot allow the city to kick people out of buildings where they live and work,\" Kahn said. \"They are not in unsafe buildings because they want to be. They have no choice ... in one of the most expensive cities in the world.\"\u003c/p>\n\u003cp>That balance is something Oakland Mayor Libby Schaaf tried to strike on Wednesday. Schaaf issued an \u003ca href=\"https://ww2.kqed.org/arts/2017/01/11/oakland-mayor-issues-exec-order-protecting-tenants-of-unsafe-warehouse-spaces/\" target=\"_blank\">executive order\u003c/a> aimed at bringing non-permitted residential spaces into compliance with city law while minimizing displacement.\u003c/p>\n\u003cp>San Francisco is looking into similar solutions, according to Debra Walker, vice president of the Building Inspection Commission and also an artist.\u003c/p>\n\u003cp>In the short term, city agencies should try to avoid tactics that lead to people getting displaced from unauthorized warehouses, Walker said. Long term, the city should come up with reforms that could potentially legalize them and make them safer, she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Nobody wants anything to happen close to what happened at Ghost Ship,\" Walker said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Aren't There Any Strip Clubs in the East Bay?",
"headTitle": "Why Aren’t There Any Strip Clubs in the East Bay? | KQED",
"content": "\u003cp>\u003cem> In the 1960s, San Francisco was in the midst of a sexual revolution. Officials across the bay in Oakland wanted none of it. \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Bay Curious\u003c/a> is a new podcast from KQED that answers your questions about the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Listener Alicia Gallo was out with friends one night, and they couldn’t find any strip clubs to go to in the East Bay. She got to thinking, San Francisco has plenty of them. She remembers going to one in S.F. for a friend’s birthday party back in college. Stumped, she asked Bay Curious, “Why aren’t there any strip clubs in the East Bay?”\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003ch3>Are There Really None?\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like Alicia Gallo, I couldn’t find any strip clubs in the East Bay. But I did find strippers. After asking around a bit, I met an Oakland club promoter named Trina McQueen. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When I came to Oakland there was no strip clubs,” McQueen says. “So my girlfriend and I and all of her friends brought it to Oakland. That was in 1991. And it shot off the roof.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">McQueen’s dancers work at Club BNB, an LGBT bar in downtown Oakland. They dance and strip — but not all the way.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11048013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11048013 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-800x533.jpg\" alt=\"Promoter Trina McQueen emcees on stage at Club BnB while her dancers perform.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Promoter Trina McQueen emcees onstage at Club BNB while her dancers perform. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a reason her dancers don’t disrobe beyond their pasties and G-strings. It’s against the law for dancers to go nude in Oakland, or anywhere in Alameda County.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My show is not a nude show,” McQueen says.\u003c/span>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/302386770″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003ch3>‘No Breasts or Private Parts’\u003c/h3>\n\u003cp>According to \u003ca href=\"https://www2.municode.com/library/ca/oakland/codes/code_of_ordinances?nodeId=TIT9PUPEMOWE_CH9.28NUDA\">Chapter 9.28 of the Oakland Municipal Code\u003c/a>, it’s a misdemeanor for women to expose their breasts “while participating in any live act, demonstration, or exhibition in any public place.” Even simulating that nipple with a pasty is questionable.\u003c/p>\n\u003cblockquote>\u003cp>Every female is guilty of a misdemeanor who, while participating in any live act, demonstration, or exhibition in any public place, place open to the public, or place open to public view, or while serving food or drink or both to any customer:\u003c/p>\n\u003cp>A. Exposes any portion of either breast below a straight line so drawn that both nipples and all portions of both breasts which have a different pigmentation than that of the main portion of the breasts are below such straight line; or\u003c/p>\n\u003cp>B. Employs any device or covering which is intended to simulate such portions of the breast below such line; or\u003c/p>\n\u003cp>C. Wears any type of clothing so that any portion of such part of the breast may be observed.\u003c/p>\u003c/blockquote>\n\u003cp>Another section \u003ca href=\"https://www2.municode.com/library/ca/oakland/codes/code_of_ordinances?nodeId=TIT9PUPEMOWE_CH9.28NUDA_9.28.040PRAGDIPRPA\">prohibits the display of “private parts”\u003c/a> for women or men.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Oakland City Council passed this ordinance in 1970. But why? For the answer, you need to cross the Bay to San Francisco, where commercial sex was booming, says \u003c/span>\u003cspan style=\"font-weight: 400\">Josh Sides, the Whitsett Professor of California History at Cal State Northridge.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11048059\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11048059\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-1920x1280.jpg\" alt=\"A plaque hangs outside the Condor Club in San Francisco.\" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A plaque hangs outside the Condor Club in San Francisco’s North Beach. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carol Doda Goes Topless For the First Time\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the 1960s, people watched dancers perform in pasties and swimsuits at go-go bars on Broadway in North Beach.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On June 19, 1964, at the Condor Club, a cocktail waitress named Carol Doda tossed aside her pasties and did The Swim dance in a topless monokini.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11034913\" class=\"wp-caption alignleft\" style=\"max-width: 266px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11034913 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/Doda-e1469758914511-400x396.jpg\" alt=\"Carol Doda acquitted on indecency charge, 1965. \" width=\"266\" height=\"263\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-400x396.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511.jpg 561w\" sizes=\"(max-width: 266px) 100vw, 266px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda acquitted on indecency charge, 1965. \u003ccite>(United Press International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Doda, who’s \u003c/span>\u003ca href=\"http://ww2.kqed.org/news/2015/11/11/legendary-san-francisco-stripper-carol-doda-dies/\">\u003cspan style=\"font-weight: 400\">now deceased\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, said in a 1997 KRON-TV \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/227176\" target=\"_blank\" rel=\"noopener\">documentary \u003c/a>that the audience was captivated.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“They were lined up around the corner. It’s like they had never seen bare breasts before in their lives,” she said. Baring her nipples was a big deal, she added — “the greatest thing since sliced bread.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Doda’s dance sparked a sexual revolution of its own. There was an explosion of adult bookstores, erotic massage parlors and porn theaters, particularly in the North Beach and Tenderloin neighborhoods.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sides says San Francisco went from having no topless clubs in 1964 to having about 40 within a year.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“San Francisco became the sort of example that every city wanted to avoid,” he said.\u003c/span>\u003c/p>\n\u003ch3>The Smut Capital of America\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 1969, local and state lawmakers started to crack down on obscenity and indecency. Dianne Feinstein was running for the San Francisco Board of Supervisors that year, and she pointed to “the growth of obscenity” as one of the things ruining the city.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11034916\" class=\"wp-caption alignleft\" style=\"max-width: 243px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\" wp-image-11034916\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357-400x703.jpg\" alt=\"An ad for a topless bar in the Oakland Tribune during the topless and bottomless craze in 1969.\" width=\"243\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357-400x703.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357-800x1407.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357.jpg 816w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">An ad for a topless bar in the Oakland Tribune during the topless and bottomless craze in 1969. \u003ccite>(Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In September 1969, Gov. Ronald Reagan signed the \u003ca href=\"http://codes.findlaw.com/ca/penal-code/pen-sect-318-5.html\" target=\"_blank\" rel=\"noopener\">Quimby-Walsh Act.\u003c/a> The law allowed cities and counties to regulate how waiters, waitresses and entertainers dress in bars and restaurants.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Jan. 22, 1970, Oakland passed an ordinance prohibiting “exposure of portions of the human body in specified places.” City officials had been waiting for Reagan to sign the Quimby-Walsh Act so they could stifle the topless — and emerging bottomless — craze.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To this day, that ordinance is what keeps strip clubs out of Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We get quite a bit of interest of individuals wanting to start strip clubs in Oakland, but unfortunately the city’s policies and regulations don’t allow that at this time,” says Juno Thomas, Small Business Assistance Center coordinator for the Oakland Economic and Workforce Development Department.\u003c/span>\u003c/p>\n\u003ch3>We Don’t Want You Here!\u003c/h3>\n\u003cp>The ban over all of Alameda County means there’s also no legal strip clubs in cities like Hayward, Emeryville or Berkeley.\u003c/p>\n\u003cp>Other cities in the East Bay use zoning rules to discourage strip clubs and restrict where they try to open. That’s how it’s done in Contra Costa County — home to the cities of Richmond and Walnut Creek. In fact, zoning is the most common way municipalities deal with strip clubs.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As for McQueen, she’s hoping Oakland will change its rules to match San Francisco.\u003c/span>\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I don’t feel like my dancers that live in Oakland need to go make their money in San Francisco,” McQueen says. “I just feel like they need to be able to make their money where they live.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For now, she’ll just keep doing her thing — pasties and G-strings — in Oakland.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Got a question you want to see the \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Bay Curious\u003c/a> team take on? Submit it!\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem> In the 1960s, San Francisco was in the midst of a sexual revolution. Officials across the bay in Oakland wanted none of it. \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Bay Curious\u003c/a> is a new podcast from KQED that answers your questions about the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Listener Alicia Gallo was out with friends one night, and they couldn’t find any strip clubs to go to in the East Bay. She got to thinking, San Francisco has plenty of them. She remembers going to one in S.F. for a friend’s birthday party back in college. Stumped, she asked Bay Curious, “Why aren’t there any strip clubs in the East Bay?”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>Are There Really None?\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like Alicia Gallo, I couldn’t find any strip clubs in the East Bay. But I did find strippers. After asking around a bit, I met an Oakland club promoter named Trina McQueen. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When I came to Oakland there was no strip clubs,” McQueen says. “So my girlfriend and I and all of her friends brought it to Oakland. That was in 1991. And it shot off the roof.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">McQueen’s dancers work at Club BNB, an LGBT bar in downtown Oakland. They dance and strip — but not all the way.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11048013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11048013 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-800x533.jpg\" alt=\"Promoter Trina McQueen emcees on stage at Club BnB while her dancers perform.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Promoter Trina McQueen emcees onstage at Club BNB while her dancers perform. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a reason her dancers don’t disrobe beyond their pasties and G-strings. It’s against the law for dancers to go nude in Oakland, or anywhere in Alameda County.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My show is not a nude show,” McQueen says.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/302386770″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/302386770″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>‘No Breasts or Private Parts’\u003c/h3>\n\u003cp>According to \u003ca href=\"https://www2.municode.com/library/ca/oakland/codes/code_of_ordinances?nodeId=TIT9PUPEMOWE_CH9.28NUDA\">Chapter 9.28 of the Oakland Municipal Code\u003c/a>, it’s a misdemeanor for women to expose their breasts “while participating in any live act, demonstration, or exhibition in any public place.” Even simulating that nipple with a pasty is questionable.\u003c/p>\n\u003cblockquote>\u003cp>Every female is guilty of a misdemeanor who, while participating in any live act, demonstration, or exhibition in any public place, place open to the public, or place open to public view, or while serving food or drink or both to any customer:\u003c/p>\n\u003cp>A. Exposes any portion of either breast below a straight line so drawn that both nipples and all portions of both breasts which have a different pigmentation than that of the main portion of the breasts are below such straight line; or\u003c/p>\n\u003cp>B. Employs any device or covering which is intended to simulate such portions of the breast below such line; or\u003c/p>\n\u003cp>C. Wears any type of clothing so that any portion of such part of the breast may be observed.\u003c/p>\u003c/blockquote>\n\u003cp>Another section \u003ca href=\"https://www2.municode.com/library/ca/oakland/codes/code_of_ordinances?nodeId=TIT9PUPEMOWE_CH9.28NUDA_9.28.040PRAGDIPRPA\">prohibits the display of “private parts”\u003c/a> for women or men.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Oakland City Council passed this ordinance in 1970. But why? For the answer, you need to cross the Bay to San Francisco, where commercial sex was booming, says \u003c/span>\u003cspan style=\"font-weight: 400\">Josh Sides, the Whitsett Professor of California History at Cal State Northridge.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11048059\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11048059\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-1920x1280.jpg\" alt=\"A plaque hangs outside the Condor Club in San Francisco.\" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A plaque hangs outside the Condor Club in San Francisco’s North Beach. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carol Doda Goes Topless For the First Time\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the 1960s, people watched dancers perform in pasties and swimsuits at go-go bars on Broadway in North Beach.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On June 19, 1964, at the Condor Club, a cocktail waitress named Carol Doda tossed aside her pasties and did The Swim dance in a topless monokini.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11034913\" class=\"wp-caption alignleft\" style=\"max-width: 266px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11034913 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/Doda-e1469758914511-400x396.jpg\" alt=\"Carol Doda acquitted on indecency charge, 1965. \" width=\"266\" height=\"263\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-400x396.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511.jpg 561w\" sizes=\"(max-width: 266px) 100vw, 266px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda acquitted on indecency charge, 1965. \u003ccite>(United Press International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Doda, who’s \u003c/span>\u003ca href=\"http://ww2.kqed.org/news/2015/11/11/legendary-san-francisco-stripper-carol-doda-dies/\">\u003cspan style=\"font-weight: 400\">now deceased\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, said in a 1997 KRON-TV \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/227176\" target=\"_blank\" rel=\"noopener\">documentary \u003c/a>that the audience was captivated.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“They were lined up around the corner. It’s like they had never seen bare breasts before in their lives,” she said. Baring her nipples was a big deal, she added — “the greatest thing since sliced bread.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Doda’s dance sparked a sexual revolution of its own. There was an explosion of adult bookstores, erotic massage parlors and porn theaters, particularly in the North Beach and Tenderloin neighborhoods.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sides says San Francisco went from having no topless clubs in 1964 to having about 40 within a year.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“San Francisco became the sort of example that every city wanted to avoid,” he said.\u003c/span>\u003c/p>\n\u003ch3>The Smut Capital of America\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 1969, local and state lawmakers started to crack down on obscenity and indecency. Dianne Feinstein was running for the San Francisco Board of Supervisors that year, and she pointed to “the growth of obscenity” as one of the things ruining the city.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11034916\" class=\"wp-caption alignleft\" style=\"max-width: 243px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\" wp-image-11034916\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357-400x703.jpg\" alt=\"An ad for a topless bar in the Oakland Tribune during the topless and bottomless craze in 1969.\" width=\"243\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357-400x703.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357-800x1407.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357.jpg 816w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">An ad for a topless bar in the Oakland Tribune during the topless and bottomless craze in 1969. \u003ccite>(Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In September 1969, Gov. Ronald Reagan signed the \u003ca href=\"http://codes.findlaw.com/ca/penal-code/pen-sect-318-5.html\" target=\"_blank\" rel=\"noopener\">Quimby-Walsh Act.\u003c/a> The law allowed cities and counties to regulate how waiters, waitresses and entertainers dress in bars and restaurants.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Jan. 22, 1970, Oakland passed an ordinance prohibiting “exposure of portions of the human body in specified places.” City officials had been waiting for Reagan to sign the Quimby-Walsh Act so they could stifle the topless — and emerging bottomless — craze.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To this day, that ordinance is what keeps strip clubs out of Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We get quite a bit of interest of individuals wanting to start strip clubs in Oakland, but unfortunately the city’s policies and regulations don’t allow that at this time,” says Juno Thomas, Small Business Assistance Center coordinator for the Oakland Economic and Workforce Development Department.\u003c/span>\u003c/p>\n\u003ch3>We Don’t Want You Here!\u003c/h3>\n\u003cp>The ban over all of Alameda County means there’s also no legal strip clubs in cities like Hayward, Emeryville or Berkeley.\u003c/p>\n\u003cp>Other cities in the East Bay use zoning rules to discourage strip clubs and restrict where they try to open. That’s how it’s done in Contra Costa County — home to the cities of Richmond and Walnut Creek. In fact, zoning is the most common way municipalities deal with strip clubs.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As for McQueen, she’s hoping Oakland will change its rules to match San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I don’t feel like my dancers that live in Oakland need to go make their money in San Francisco,” McQueen says. “I just feel like they need to be able to make their money where they live.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For now, she’ll just keep doing her thing — pasties and G-strings — in Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Got a question you want to see the \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Bay Curious\u003c/a> team take on? Submit it!\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New Film Wants Your Hopes and Fears Before Trump’s Inauguration",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.73dayslater.com/\">\u003cstrong>\"73 Days Later\"\u003c/strong> \u003c/a>is a new, largely crowdsourced documentary film for which Americans can record their perspectives about the incoming Donald Trump administration, and \u003ca href=\"https://www.73dayslater.com/submit-a-video-1\" target=\"_blank\">submit them to the filmmakers\u003c/a>. We spoke with the film's San Francisco-based director, Maxwell Salvati.\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/302276805\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\u003cstrong>Why the title \"73 Days Later?\"\u003c/strong>\u003c/p>\n\u003cp>We're covering everything from Election Day through the inauguration. We wanted to capture an accurate portrait of the country in the 73 days.\u003c/p>\n\u003cp>\u003cstrong>Why did you want to tackle this project?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Honestly, I didn't come up with the idea until halfway through election night, when I got a bit of a wake-up call. I thought I knew the narrative of our country. I was wrong. I decided to embark on making a film to kind of re-color my spectrum of understanding of who we were. To really listen and communicate and actually tune in with the pulse of our country.\u003c/p>\n\u003cp>I grew up in Los Angeles, went to college in Boston and live in San Francisco. As much as I'd like to say that I'm pretty accepting and knowledgeable of the large swaths of our country, I've lived in bubbles. This project was my way to try and give an accurate portrait of our country in this period to anyone and everyone who wants a platform to share their voice so we can start to communicate and become more united and less divided as a nation. This was my way of beginning that conversation.\u003c/p>\n\u003cp>\u003cstrong>So you’ve got a \u003ca href=\"https://www.73dayslater.com/submit-a-video-1\">website where people can submit videos\u003c/a> from their smartphones or computers between now and Jan. 20, and you’ve got a team of filmmakers doing some interviews as well. Then somehow you’ll stitch them together into a cohesive narrative?\u003c/strong>\u003c/p>\n\u003cp>That's the goal. We are running full force right now with filmmakers and submissions. The narrative of this film has been a little bit elusive. Every week, every cabinet choice, every event that we film, every rally, every film, every protest, every submission we get, it shifts a little bit.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EDCdZ6u42n8\u003c/p>\n\u003cp>\u003cstrong>What questions are you asking people to answer in these videos?\u003c/strong>\u003c/p>\n\u003cp>One of the questions that has been the most engaging for me has been, 'If you could give Donald Trump one piece of advice, what would it be?' The primary answer from all parties, all affiliations, so far, has been to listen. I think that's one of the most common threads. Everyone, even if they're a Donald Trump supporter or their passionately against him, they don't think he listens. They really want him to step back and just be a little bit more careful with the people and the voices and the lives in this country.\u003c/p>\n\u003cp>Robert Rosendary is doing a thing called the \u003ca href=\"http://savingourfuture.com/2016/12/robert-rosendary-patriots-walk-across-america/\">Patriot Walk\u003c/a>, walking from California to Washington in the 73 days from election to inauguration. He's staunchly Republican and conservative, and he's been very critical of President Barack Obama. And he wants to listen, he wants to hear all perspectives. So it's quite aligned with the goals for our project. We both want to unite, we both want to listen. And we want to do our small part in bringing our country to a place where we can communicate and empathize with each other to get closer.\u003c/p>\n\u003cp>It's an unprecedented time, and it's important that we capture it honestly and carefully, and with the best intentions in mind, which is what we're doing with the film.\u003c/p>\n\u003cp>\u003cstrong>This is supposed to be a nonpartisan, unbiased film. You and the other filmmakers are based in San Francisco, a progressive city, in a state that voted overwhelmingly for Hillary Clinton. Are you worried that may skew the perspectives of the film?\u003c/strong>\u003c/p>\n\u003cp>I'm not worried that it's going to skew it. We've had multiple instances where, as soon as I've done interviews in the streets, people will ask if we're with team Trump. Because we've become so objective in our questioning, and I've been able to check my beliefs at the door.\u003c/p>\n\u003cp>\u003cstrong>I can imagine it would be really cathartic for people participating, getting interviewed or interviewing themselves for this film -- but what are you hoping the viewer will take away from it?\u003c/strong>\u003c/p>\n\u003cp>I'm hoping the film we make allows people to really assess whether or not they have been open and accepting and truly listening. Hearing people about their struggles, their strifes, their fears, their worries, their sorrows. Regardless of political affiliation, everyone wants the same common goal of happiness, and love, and safety, and warmth. And we all have different ways of going about that.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11265063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/73Days-800x801.jpg\" alt=\"73days\" width=\"800\" height=\"801\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-520x521.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In conducting these interviews and seeing the submissions, I can see that and I can feel that. And I'm changed already, in a massive way. I interact with people day to day so much more open and in the moment and present. I hope that same sentiment resonates with people if they see this film at home in the movie theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The filmmakers will continue to collect submissions and footage through Jan. 20 and hope to release the film soon after.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.73dayslater.com/\">\u003cstrong>\"73 Days Later\"\u003c/strong> \u003c/a>is a new, largely crowdsourced documentary film for which Americans can record their perspectives about the incoming Donald Trump administration, and \u003ca href=\"https://www.73dayslater.com/submit-a-video-1\" target=\"_blank\">submit them to the filmmakers\u003c/a>. We spoke with the film's San Francisco-based director, Maxwell Salvati.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/302276805&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/302276805'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Why the title \"73 Days Later?\"\u003c/strong>\u003c/p>\n\u003cp>We're covering everything from Election Day through the inauguration. We wanted to capture an accurate portrait of the country in the 73 days.\u003c/p>\n\u003cp>\u003cstrong>Why did you want to tackle this project?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Honestly, I didn't come up with the idea until halfway through election night, when I got a bit of a wake-up call. I thought I knew the narrative of our country. I was wrong. I decided to embark on making a film to kind of re-color my spectrum of understanding of who we were. To really listen and communicate and actually tune in with the pulse of our country.\u003c/p>\n\u003cp>I grew up in Los Angeles, went to college in Boston and live in San Francisco. As much as I'd like to say that I'm pretty accepting and knowledgeable of the large swaths of our country, I've lived in bubbles. This project was my way to try and give an accurate portrait of our country in this period to anyone and everyone who wants a platform to share their voice so we can start to communicate and become more united and less divided as a nation. This was my way of beginning that conversation.\u003c/p>\n\u003cp>\u003cstrong>So you’ve got a \u003ca href=\"https://www.73dayslater.com/submit-a-video-1\">website where people can submit videos\u003c/a> from their smartphones or computers between now and Jan. 20, and you’ve got a team of filmmakers doing some interviews as well. Then somehow you’ll stitch them together into a cohesive narrative?\u003c/strong>\u003c/p>\n\u003cp>That's the goal. We are running full force right now with filmmakers and submissions. The narrative of this film has been a little bit elusive. Every week, every cabinet choice, every event that we film, every rally, every film, every protest, every submission we get, it shifts a little bit.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EDCdZ6u42n8'\n title='//www.youtube.com/embed/EDCdZ6u42n8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What questions are you asking people to answer in these videos?\u003c/strong>\u003c/p>\n\u003cp>One of the questions that has been the most engaging for me has been, 'If you could give Donald Trump one piece of advice, what would it be?' The primary answer from all parties, all affiliations, so far, has been to listen. I think that's one of the most common threads. Everyone, even if they're a Donald Trump supporter or their passionately against him, they don't think he listens. They really want him to step back and just be a little bit more careful with the people and the voices and the lives in this country.\u003c/p>\n\u003cp>Robert Rosendary is doing a thing called the \u003ca href=\"http://savingourfuture.com/2016/12/robert-rosendary-patriots-walk-across-america/\">Patriot Walk\u003c/a>, walking from California to Washington in the 73 days from election to inauguration. He's staunchly Republican and conservative, and he's been very critical of President Barack Obama. And he wants to listen, he wants to hear all perspectives. So it's quite aligned with the goals for our project. We both want to unite, we both want to listen. And we want to do our small part in bringing our country to a place where we can communicate and empathize with each other to get closer.\u003c/p>\n\u003cp>It's an unprecedented time, and it's important that we capture it honestly and carefully, and with the best intentions in mind, which is what we're doing with the film.\u003c/p>\n\u003cp>\u003cstrong>This is supposed to be a nonpartisan, unbiased film. You and the other filmmakers are based in San Francisco, a progressive city, in a state that voted overwhelmingly for Hillary Clinton. Are you worried that may skew the perspectives of the film?\u003c/strong>\u003c/p>\n\u003cp>I'm not worried that it's going to skew it. We've had multiple instances where, as soon as I've done interviews in the streets, people will ask if we're with team Trump. Because we've become so objective in our questioning, and I've been able to check my beliefs at the door.\u003c/p>\n\u003cp>\u003cstrong>I can imagine it would be really cathartic for people participating, getting interviewed or interviewing themselves for this film -- but what are you hoping the viewer will take away from it?\u003c/strong>\u003c/p>\n\u003cp>I'm hoping the film we make allows people to really assess whether or not they have been open and accepting and truly listening. Hearing people about their struggles, their strifes, their fears, their worries, their sorrows. Regardless of political affiliation, everyone wants the same common goal of happiness, and love, and safety, and warmth. And we all have different ways of going about that.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11265063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/73Days-800x801.jpg\" alt=\"73days\" width=\"800\" height=\"801\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-520x521.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In conducting these interviews and seeing the submissions, I can see that and I can feel that. And I'm changed already, in a massive way. I interact with people day to day so much more open and in the moment and present. I hope that same sentiment resonates with people if they see this film at home in the movie theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The filmmakers will continue to collect submissions and footage through Jan. 20 and hope to release the film soon after.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>A community writing workshop in San Diego has just published the new collection \u003ca href=\"http://www.cityworkspress.org/books.html\">“Reclaiming our Stories.”\u003c/a> It features first-person narratives from 19 emerging writers, many of them current or former community college students who have struggled with homelessness, gangs or childhood trauma. The project grew out of an effort at Pillars of the Community, an organization dedicated to helping those affected by the criminal justice system. The California Report’s Sasha Khokha spoke with two of the book’s contributors, who also read from their work.\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/301966017″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>Beto Vasquez was once a high school dropout, and has overcome homelessness, incarceration and addiction, and managed to change the trajectory of his life. Beto recently graduated from UCSD, obtaining a master’s degree in biology. He ultimately plans to fulfill a doctoral degree and pursue a career as a community college administrator. He says his life has been a journey “from cells to cells,” that is, from living in them to studying them. He is an educational advocate for marginalized groups and a great proponent of diversity in STEM fields.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/301970997″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>Wilnisha “Tru7h” Sutton was raised in San Diego and is currently focused on her music career and activism. She’s paid a high price for her past misdemeanor charges: She recently lost a job as a teacher’s aide because her background check didn’t clear within the three-day time frame.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Beto, you were one of the first to join the community storytelling workshops about a year and a half ago. What drew you to the idea of learning to write your own story?\u003c/strong>\u003c/p>\n\u003cp>Being a lifelong learner and trying so many things that didn’t work out, I’ve just been on this trend of challenging myself. Learning how to be comfortable being uncomfortable. The writing group really provided me an opportunity to step out of my comfort zone, and ended up being really therapeutic for me.\u003c/p>\n\u003cp>\u003cstrong>You spent most of your life incarcerated, and now, you’ve pursued your master’s in biology at UC San Diego. The story you wrote explores how you turned your life around, and includes an encounter you had in the research lab. What does it mean to you to put this kind of story down on the page, to see it in print?\u003c/strong>\u003c/p>\n\u003cp>Being able to share such a minute instance in my life, such a small detail, with other folks, is huge. Sometimes it’s just our own insecurities, those few small moments that we’ve had that can make or break us. Overcoming the obstacles that I’ve overcome, being able to totally change the trajectory of my life, can hopefully serve as an example to people who already doubt themselves, who’ve been told they’re never going to be anything.\u003c/p>\n\u003cp>\u003cstrong>Tru7h, as a teenager in San Diego, you got caught up with a man who was a pimp. What was it like to revisit those painful moments and share them in a writing workshop with people you didn’t know?\u003c/strong>\u003c/p>\n\u003cp>It was very tough, to see my mistakes right in front of me. Actually, I’ve changed a lot, but at the same time, I guess I had to really deal with it head-on. To search myself, and to forgive myself, and that I love myself. It was tough, but at the same time, it was beautiful.\u003c/p>\n\u003cp>\u003cstrong>When I think of San Diego, I think beaches, SeaWorld, the U.S.-Mexico border. How do you think these ideas challenge the idea most Californians have of your city?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tru7h\u003c/strong>: People think we’re just living the life out here because of our weather. But it’s a struggle. The cost of living is very high. In Southeast San Diego, a lot of us are struggling just to make ends meet.\u003c/p>\n\u003cp>\u003cstrong>Beto\u003c/strong>: For people who just have this image of San Diego as being 70 degrees all year round and everything’s perfect, we need to put a little more humanity into that. We have a large homeless population here because of that great weather, but they’re not being served. We have pockets of gentrification, where people are being displaced. But we also have our fair share of folks who care, who have the resilience and tenacity to take it a step forward to do something about it. This book is just the beginning.\u003c/p>\n\u003cp>\u003cstrong>What’s the most surprising thing you learned from listening to or reading the other stories in this book? There’s a big range, from a Muslim woman who was homeless as a child in San Diego, to a teen who watched his brother get arrested by a SWAT team\u003c/strong>.\u003c/p>\n\u003cp>\u003cstrong>Tru7h\u003c/strong>: For me, it was just the struggle for what a lot of people are dealing with in our community. Southeast San Diego, the area we live in, our people have been through a lot. But they’re survivors. They’re willing to put it on paper, and be free.\u003c/p>\n\u003cp>\u003cstrong>Beto\u003c/strong>: Growing up in a rough neighborhood, growing up as a male, growing up with privilege that you’re sometimes not aware of. It’s really tricky being able to step outside of that, taking in what the hardships are that other people that don’t look like you, or perhaps that even grew up in the same neighborhoods as you. That’s really what this book is doing: allowing us the opportunity to crack that open, normalizing situations, normalizing lifestyles, normalizing making mistakes.\u003c/p>\n\u003cp>\u003cstrong>Tru7h\u003c/strong>: It also brought us closer as a community. When we see each other now, it’s like, OK, now, it’s my brother, my sister. I know a little bit of your story, your struggle. I could trust these people with my story, my secrets, and yet you still love me, you’re still here for me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Beto, you were one of the first to join the community storytelling workshops about a year and a half ago. What drew you to the idea of learning to write your own story?\u003c/strong>\u003c/p>\n\u003cp>Being a lifelong learner and trying so many things that didn’t work out, I’ve just been on this trend of challenging myself. Learning how to be comfortable being uncomfortable. The writing group really provided me an opportunity to step out of my comfort zone, and ended up being really therapeutic for me.\u003c/p>\n\u003cp>\u003cstrong>You spent most of your life incarcerated, and now, you’ve pursued your master’s in biology at UC San Diego. The story you wrote explores how you turned your life around, and includes an encounter you had in the research lab. What does it mean to you to put this kind of story down on the page, to see it in print?\u003c/strong>\u003c/p>\n\u003cp>Being able to share such a minute instance in my life, such a small detail, with other folks, is huge. Sometimes it’s just our own insecurities, those few small moments that we’ve had that can make or break us. Overcoming the obstacles that I’ve overcome, being able to totally change the trajectory of my life, can hopefully serve as an example to people who already doubt themselves, who’ve been told they’re never going to be anything.\u003c/p>\n\u003cp>\u003cstrong>Tru7h, as a teenager in San Diego, you got caught up with a man who was a pimp. What was it like to revisit those painful moments and share them in a writing workshop with people you didn’t know?\u003c/strong>\u003c/p>\n\u003cp>It was very tough, to see my mistakes right in front of me. Actually, I’ve changed a lot, but at the same time, I guess I had to really deal with it head-on. To search myself, and to forgive myself, and that I love myself. It was tough, but at the same time, it was beautiful.\u003c/p>\n\u003cp>\u003cstrong>When I think of San Diego, I think beaches, SeaWorld, the U.S.-Mexico border. How do you think these ideas challenge the idea most Californians have of your city?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tru7h\u003c/strong>: People think we’re just living the life out here because of our weather. But it’s a struggle. The cost of living is very high. In Southeast San Diego, a lot of us are struggling just to make ends meet.\u003c/p>\n\u003cp>\u003cstrong>Beto\u003c/strong>: For people who just have this image of San Diego as being 70 degrees all year round and everything’s perfect, we need to put a little more humanity into that. We have a large homeless population here because of that great weather, but they’re not being served. We have pockets of gentrification, where people are being displaced. But we also have our fair share of folks who care, who have the resilience and tenacity to take it a step forward to do something about it. This book is just the beginning.\u003c/p>\n\u003cp>\u003cstrong>What’s the most surprising thing you learned from listening to or reading the other stories in this book? There’s a big range, from a Muslim woman who was homeless as a child in San Diego, to a teen who watched his brother get arrested by a SWAT team\u003c/strong>.\u003c/p>\n\u003cp>\u003cstrong>Tru7h\u003c/strong>: For me, it was just the struggle for what a lot of people are dealing with in our community. Southeast San Diego, the area we live in, our people have been through a lot. But they’re survivors. They’re willing to put it on paper, and be free.\u003c/p>\n\u003cp>\u003cstrong>Beto\u003c/strong>: Growing up in a rough neighborhood, growing up as a male, growing up with privilege that you’re sometimes not aware of. It’s really tricky being able to step outside of that, taking in what the hardships are that other people that don’t look like you, or perhaps that even grew up in the same neighborhoods as you. That’s really what this book is doing: allowing us the opportunity to crack that open, normalizing situations, normalizing lifestyles, normalizing making mistakes.\u003c/p>\n\u003cp>\u003cstrong>Tru7h\u003c/strong>: It also brought us closer as a community. When we see each other now, it’s like, OK, now, it’s my brother, my sister. I know a little bit of your story, your struggle. I could trust these people with my story, my secrets, and yet you still love me, you’re still here for me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Remember \u003ca href=\"http://soultrain.com/\">“Soul Train”\u003c/a>? The show billed itself as the “hippest trip in America, 60 non-stop minutes across the tracks of your mind.”\u003c/p>\n\u003cp>Flashback to 1979, when the Electric Boogaloos \u003ca href=\"https://www.youtube.com/watch?v=qkc8YduPnOM\" target=\"_blank\" rel=\"noopener\">made their first appearance\u003c/a> dancing to the Bar-Kays.\u003c/p>\n\u003cp>Host Don Cornelius introduces the dance crew, saying: “These very creative young men have invented a dancing style that’s becoming very popular, and it’s described as popping or boogaloo.”\u003c/p>\n\u003cp>Sammy Solomon introduces himself as “\u003ca href=\"https://tropicsofmeta.wordpress.com/2017/01/05/the-story-of-boogaloo-sam-as-told-by-izel-gaye/\">Boogaloo Sam\u003c/a>, specializing in boogaloo.” His brother, Timothy Solomon, introduces himself as “\u003ca href=\"https://www.youtube.com/watch?v=b341AFiucAY\">Popin’ Pete\u003c/a>.” To the audience’s delight, he demonstrates his moves, his body jerking robotically or popping.\u003c/p>\n\u003cp>The Solomon brothers hail from Fresno. Turns out, popping is a dance rooted not in the Bronx or Los Angeles, but in California’s Central Valley.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qkc8YduPnOM\u003c/p>\n\u003cp>“The Electric Boogaloos were pioneers,” says Fresno State historian Sean Slusser. “They helped to popularize popping by getting on ‘Soul Train’ and working with artists like Michael Jackson.” Popin’ Pete worked with Jackson on “Thriller.”\u003c/p>\n\u003cp>As a historian, Slusser is intrigued by the genesis of popping. Bigger cities like Los Angeles, San Francisco, New York and Atlanta get a lot of credit for innovations in hip-hop. But what about smaller places like Fresno? Why aren’t hip-hop artists’ stories from these places told?\u003c/p>\n\u003cp>“They’re using hip-hop the same way, right? It’s a vehicle of expression, it’s a way to kind of get through economic depression, get through all the kinds of problems we associate with cities,” says Slusser.\u003c/p>\n\u003cp>He and his colleague, Romeo Guzman, decided an oral history project was in order.\u003c/p>\n\u003cp>The project, “\u003ca href=\"https://tropicsofmeta.wordpress.com/2017/01/05/straight-outta-fresno-hip-hop-dance-from-popping-to-b-boying-and-b-girling/\" target=\"_blank\" rel=\"noopener\">Straight Outta Fresno: Hip Hop Dance from Popping to B-Boying and B-Girling\u003c/a>,” will be archived at Fresno State as part of the university’s \u003ca href=\"https://www.facebook.com/FresnoStatePublicHistory/\">Valley Public History Initiative: Preserving Our Stories\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11257432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11257432 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/20161119_134907-800x450.jpg\" alt=\"20161119_134907\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">B-boy Goku (Charles Montgomery) dances for an audience at the Fresno State ‘What’s Popping’ event in November.\u003c/figcaption>\u003c/figure>\n\u003cp>The historians and their students are hoping to build Fresno’s hip-hop narrative by interviewing anyone who identifies with the culture: graffiti artists, MCs, DJs and hip-hop dancers, including B-boys, B-girls, lockers and poppers.\u003c/p>\n\u003cp>“Hip-hop in general and dancers are protective of their history,” Slusser says. “They’re amazing in the sense that they’re really into documenting ‘this is where this move came from, this is the person who originated it, here’s how it evolved, here’s how it changed over time,’ in this old-school oral history way. There’s this passing down of knowledge over dance moves, arguing over minute details.”\u003c/p>\n\u003cp>[contextly_sidebar id=”uyWrP2D0P8EWpVxIZOfxXnpcttsQ8O2I”]\u003c/p>\n\u003cp>And that includes popping. Its exact origins are still up for debate, Slusser says.\u003c/p>\n\u003cp>“One story that’s kind of emerged around Boogaloo Sam was that he was in church, in a Baptist church in Fresno,” says Slusser. Apparently, the dancer witnessed women catching the Holy Spirit and later mimicked those movements and spasms in his routine.\u003c/p>\n\u003cp>But there’s a competing origin story. It revolves around a kid named Tick’n Will, who danced with the Solomon brothers in Fresno and was a member of the original Boogaloo Lockers. Tick’n Will lived in Fresno’s Tulare housing project and created moves like the “old man,” imitating a man limping down the street.\u003c/p>\n\u003cp>“Whether it’s the church or referencing people you see day to day, that’s the beauty of hip-hop,” says Slusser. “It’s being able to take something that wasn’t meant to be a dance or wasn’t meant to be visual art and creating something new out of it. It makes perfect sense for populations that don’t have access to other resources like art and music classes.”\u003c/p>\n\u003cfigure id=\"attachment_11262097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11262097 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/DebFresno-800x947.jpg\" alt=\"Dancer Deborah McCoy gave her oral history as part of Fresno State’s “What’s Popping” event in November.\" width=\"800\" height=\"947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-800x947.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-1020x1208.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-1180x1397.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-960x1137.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-240x284.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-375x444.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-520x616.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancer Deborah McCoy gave her oral history as part of Fresno State’s ‘What’s Popping’ event in November. \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of these origin stories will be part of the oral history archive. But it will also include stories from people like Deborah McCoy, who was one of the first to be interviewed for the ongoing project.\u003c/p>\n\u003cp>McCoy was dancing in West Fresno in the ’70s just like Popin’ Pete and Boogaloo Sam.\u003c/p>\n\u003cp>“All of those guys, we would see them in the community,” she says in her oral history. “But we minded our own business. There were a lot of street dancers. We knew them all.”\u003c/p>\n\u003cp>McCoy and her brother, Ken, were a dancing team. They traveled the state competing and winning contests everywhere they went.\u003c/p>\n\u003cp>“I remember we danced in an Armenian church,” McCoy says. “They called us. At a church! Wow. We were like, OK. Back in the day, dance and church did not mix! I don’t care who you were, did not mix! You were going straight to hell!”\u003c/p>\n\u003cp>McCoy says her family didn’t have much money but they still managed to wear fabulous costumes. Her stepmom was a seamstress.\u003c/p>\n\u003cp>“We would go to thrift stores and buy material, so she would sew all of our clothes,” she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b341AFiucAY\u003c/p>\n\u003cp>As he records her oral history, Slusser asks her where she learned her dance styles.\u003c/p>\n\u003cp>“From the street, what you mean, what you mean where were we learning?” she says. “On the street. There was no. … Are you kidding? I have to say it like this. ‘You’re black and you’re gonna go take dance lessons?’ Come on, dude. It’s on the street. It’s right there. They were called battles. There’s no fighting and all that. You wanna fight? OK, we’re dancing.”\u003c/p>\n\u003cp>Over the years, hip-hop in Fresno evolved. In the ’90s, dance battles involved kids whose parents were refugees from Laos after the Vietnam War.\u003c/p>\n\u003cp>“Everybody talks about Fresno when it comes to B-boy and the Hmong community,” says James Vang. He grew up in a rough area in the ’90s and stayed away from gangs by breakin.’ He says Hmong B-boys made a name for themselves in Fresno and then spread out to other states.\u003c/p>\n\u003cp>“So they brought that B-boy history over there to start dancing. So now you’ve got B-boys in Sacramento, Minnesota, North Carolina and Wisconsin.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CP_oKLbaHRc\u003c/p>\n\u003cp>That history and how it influenced future generations is just one of the chapters Fresno State hopes to document next for its oral history archive.\u003c/p>\n\u003cp>As for Popin’ Pete and Boogaloo Sam, they’re still dancing. They travel the world, teaching their dance moves.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://twitter.com/popinpete1/status/800601832871428096\u003c/p>\n\n",
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"excerpt": "A new oral history project documents the roots of a hip-hop dance style that started in a California city you might not expect: Fresno.\r\n",
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"title": "The Hip-Hop Dance Craze Born in Fresno: Popping | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember \u003ca href=\"http://soultrain.com/\">“Soul Train”\u003c/a>? The show billed itself as the “hippest trip in America, 60 non-stop minutes across the tracks of your mind.”\u003c/p>\n\u003cp>Flashback to 1979, when the Electric Boogaloos \u003ca href=\"https://www.youtube.com/watch?v=qkc8YduPnOM\" target=\"_blank\" rel=\"noopener\">made their first appearance\u003c/a> dancing to the Bar-Kays.\u003c/p>\n\u003cp>Host Don Cornelius introduces the dance crew, saying: “These very creative young men have invented a dancing style that’s becoming very popular, and it’s described as popping or boogaloo.”\u003c/p>\n\u003cp>Sammy Solomon introduces himself as “\u003ca href=\"https://tropicsofmeta.wordpress.com/2017/01/05/the-story-of-boogaloo-sam-as-told-by-izel-gaye/\">Boogaloo Sam\u003c/a>, specializing in boogaloo.” His brother, Timothy Solomon, introduces himself as “\u003ca href=\"https://www.youtube.com/watch?v=b341AFiucAY\">Popin’ Pete\u003c/a>.” To the audience’s delight, he demonstrates his moves, his body jerking robotically or popping.\u003c/p>\n\u003cp>The Solomon brothers hail from Fresno. Turns out, popping is a dance rooted not in the Bronx or Los Angeles, but in California’s Central Valley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qkc8YduPnOM'\n title='//www.youtube.com/embed/qkc8YduPnOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The Electric Boogaloos were pioneers,” says Fresno State historian Sean Slusser. “They helped to popularize popping by getting on ‘Soul Train’ and working with artists like Michael Jackson.” Popin’ Pete worked with Jackson on “Thriller.”\u003c/p>\n\u003cp>As a historian, Slusser is intrigued by the genesis of popping. Bigger cities like Los Angeles, San Francisco, New York and Atlanta get a lot of credit for innovations in hip-hop. But what about smaller places like Fresno? Why aren’t hip-hop artists’ stories from these places told?\u003c/p>\n\u003cp>“They’re using hip-hop the same way, right? It’s a vehicle of expression, it’s a way to kind of get through economic depression, get through all the kinds of problems we associate with cities,” says Slusser.\u003c/p>\n\u003cp>He and his colleague, Romeo Guzman, decided an oral history project was in order.\u003c/p>\n\u003cp>The project, “\u003ca href=\"https://tropicsofmeta.wordpress.com/2017/01/05/straight-outta-fresno-hip-hop-dance-from-popping-to-b-boying-and-b-girling/\" target=\"_blank\" rel=\"noopener\">Straight Outta Fresno: Hip Hop Dance from Popping to B-Boying and B-Girling\u003c/a>,” will be archived at Fresno State as part of the university’s \u003ca href=\"https://www.facebook.com/FresnoStatePublicHistory/\">Valley Public History Initiative: Preserving Our Stories\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11257432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11257432 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/20161119_134907-800x450.jpg\" alt=\"20161119_134907\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/20161119_134907-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">B-boy Goku (Charles Montgomery) dances for an audience at the Fresno State ‘What’s Popping’ event in November.\u003c/figcaption>\u003c/figure>\n\u003cp>The historians and their students are hoping to build Fresno’s hip-hop narrative by interviewing anyone who identifies with the culture: graffiti artists, MCs, DJs and hip-hop dancers, including B-boys, B-girls, lockers and poppers.\u003c/p>\n\u003cp>“Hip-hop in general and dancers are protective of their history,” Slusser says. “They’re amazing in the sense that they’re really into documenting ‘this is where this move came from, this is the person who originated it, here’s how it evolved, here’s how it changed over time,’ in this old-school oral history way. There’s this passing down of knowledge over dance moves, arguing over minute details.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And that includes popping. Its exact origins are still up for debate, Slusser says.\u003c/p>\n\u003cp>“One story that’s kind of emerged around Boogaloo Sam was that he was in church, in a Baptist church in Fresno,” says Slusser. Apparently, the dancer witnessed women catching the Holy Spirit and later mimicked those movements and spasms in his routine.\u003c/p>\n\u003cp>But there’s a competing origin story. It revolves around a kid named Tick’n Will, who danced with the Solomon brothers in Fresno and was a member of the original Boogaloo Lockers. Tick’n Will lived in Fresno’s Tulare housing project and created moves like the “old man,” imitating a man limping down the street.\u003c/p>\n\u003cp>“Whether it’s the church or referencing people you see day to day, that’s the beauty of hip-hop,” says Slusser. “It’s being able to take something that wasn’t meant to be a dance or wasn’t meant to be visual art and creating something new out of it. It makes perfect sense for populations that don’t have access to other resources like art and music classes.”\u003c/p>\n\u003cfigure id=\"attachment_11262097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11262097 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/DebFresno-800x947.jpg\" alt=\"Dancer Deborah McCoy gave her oral history as part of Fresno State’s “What’s Popping” event in November.\" width=\"800\" height=\"947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-800x947.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-1020x1208.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-1180x1397.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-960x1137.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-240x284.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-375x444.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/DebFresno-520x616.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancer Deborah McCoy gave her oral history as part of Fresno State’s ‘What’s Popping’ event in November. \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of these origin stories will be part of the oral history archive. But it will also include stories from people like Deborah McCoy, who was one of the first to be interviewed for the ongoing project.\u003c/p>\n\u003cp>McCoy was dancing in West Fresno in the ’70s just like Popin’ Pete and Boogaloo Sam.\u003c/p>\n\u003cp>“All of those guys, we would see them in the community,” she says in her oral history. “But we minded our own business. There were a lot of street dancers. We knew them all.”\u003c/p>\n\u003cp>McCoy and her brother, Ken, were a dancing team. They traveled the state competing and winning contests everywhere they went.\u003c/p>\n\u003cp>“I remember we danced in an Armenian church,” McCoy says. “They called us. At a church! Wow. We were like, OK. Back in the day, dance and church did not mix! I don’t care who you were, did not mix! You were going straight to hell!”\u003c/p>\n\u003cp>McCoy says her family didn’t have much money but they still managed to wear fabulous costumes. Her stepmom was a seamstress.\u003c/p>\n\u003cp>“We would go to thrift stores and buy material, so she would sew all of our clothes,” she says.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/b341AFiucAY'\n title='//www.youtube.com/embed/b341AFiucAY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As he records her oral history, Slusser asks her where she learned her dance styles.\u003c/p>\n\u003cp>“From the street, what you mean, what you mean where were we learning?” she says. “On the street. There was no. … Are you kidding? I have to say it like this. ‘You’re black and you’re gonna go take dance lessons?’ Come on, dude. It’s on the street. It’s right there. They were called battles. There’s no fighting and all that. You wanna fight? OK, we’re dancing.”\u003c/p>\n\u003cp>Over the years, hip-hop in Fresno evolved. In the ’90s, dance battles involved kids whose parents were refugees from Laos after the Vietnam War.\u003c/p>\n\u003cp>“Everybody talks about Fresno when it comes to B-boy and the Hmong community,” says James Vang. He grew up in a rough area in the ’90s and stayed away from gangs by breakin.’ He says Hmong B-boys made a name for themselves in Fresno and then spread out to other states.\u003c/p>\n\u003cp>“So they brought that B-boy history over there to start dancing. So now you’ve got B-boys in Sacramento, Minnesota, North Carolina and Wisconsin.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CP_oKLbaHRc'\n title='//www.youtube.com/embed/CP_oKLbaHRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That history and how it influenced future generations is just one of the chapters Fresno State hopes to document next for its oral history archive.\u003c/p>\n\u003cp>As for Popin’ Pete and Boogaloo Sam, they’re still dancing. They travel the world, teaching their dance moves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>With the strong possibility of a big storm over the weekend and with flood watches in place from near the Oregon border down to Bakersfield, our thoughts turn to … history. More specifically, to some of the great accounts we’ve seen of disasters and near-disasters resulting from big winter storms. Here are three selections, ranging from William Brewer’s account of the historic rains and floods of 1861-62 to two more recent stories, from John McPhee and Marc Reisner, that touch on the impact of big winter storms in the 1970s and 1980s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>William Brewer\u003c/strong> was field leader of the Whitney Survey, which traveled throughout California from 1860 through 1864 to document the state’s geological and other resources. Brewer’s letters and journal entries were collected and published in 1930 as “\u003ca href=\"https://books.google.com/books?id=WJKazBEhw2EC\" target=\"_blank\" rel=\"noopener noreferrer\">Up and Down California\u003c/a>.” From San Francisco in January 1862, Brewer recorded the big news of the day: a nearly nonstop deluge that came amid what still stands as the rainiest winter in much of California. Six weeks later, he visited Sacramento, which had suffered devastating damage in the flood.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://upanddowncalifornia.wordpress.com/2012/01/19/january-19-1862-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">January 19, 1862\u003c/a>\u003cbr>\nSan Francisco\u003c/strong>\u003c/p>\n\u003cp>[dropcap]‘T[/dropcap]he rains continue, and since I last wrote the floods have been far worse than before. Sacramento and many other towns and cities have again been overflowed, and after the waters had abated somewhat they are again up. That doomed city is in all probability again under water today.\u003c/p>\n\u003cfigure id=\"attachment_11255512\" class=\"wp-caption alignright\" style=\"max-width: 598px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/sacramento-1862.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11255512\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/sacramento-1862.jpg\" alt=\"Sacramento during the winter of 1861-62, from contemporary newspaper illustrations. \" width=\"598\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-520x350.jpg 520w\" sizes=\"auto, (max-width: 598px) 100vw, 598px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sacramento during the winter of 1861-62, from contemporary newspaper illustrations. \u003ccite>(U)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The amount of rain\u003c/strong> that has fallen is unprecedented in the history of the state. In this city accurate observations have been kept since July, 1853. For the years since, ending with July 1 each year, the amount of rain is known. In New York state—central New York—the average amount is under thirty-eight inches, often not over thirty-three inches, sometimes as low as twenty-eight inches. This includes the melted snow. In this city it has been for the eight years closing last July, 21 3/4 inches, the lowest amount 19 3/4 inches, the highest 23 3/4. Yet this year, since November 6, when the first shower came, to January 18, it is thirty-two and three-quarters inches and it is still raining! But this is not all. Generally twice, sometimes three times, as much falls in the mining districts on the slopes of the Sierra. This year at Sonora, in Tuolumne County, between November 11, 1861, and January 14, 1862, seventy-two inches (six feet) of water has fallen, and in numbers of places over five feet! And that in a period of two months. As much rain as falls in Ithaca in two years has fallen in some places in this state in two months.1\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>The great central valley\u003c/strong> of the state is under water—the Sacramento and San Joaquin valleys—a region 250 to 300 miles long and an average of at least twenty miles wide, a district of five thousand or six thousand square miles, or probably three to three and a half millions of acres! Although much of it is not cultivated, yet a part of it is the garden of the state. Thousands of farms are entirely under water—cattle starving and drowning. …\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://upanddowncalifornia.wordpress.com/2012/03/07/march-7-1862-sacramento/\" target=\"_blank\" rel=\"noopener noreferrer\">March 7, 1862\u003c/a>\u003cbr>\nSacramento\u003c/strong>\u003c/p>\n\u003cp>[dropcap]‘E[/dropcap]arly in the morning I went to a hotel in Sacramento and got my breakfast and brushed up for business. That dispatched, I had some time to look at the city. Such a desolate scene I hope never to see again. Most of the city is still under water, and has been for three months. A part is out of the water, that is, the streets are above water, but every low place is full—cellars and yards are full, houses and walls wet, everything uncomfortable. Over much of the city boats are still the only means of getting about. No description that I can write will give you any adequate conception of the discomfort and wretchedness this must give rise to. I took a boat and two boys, and we rowed about for an hour or two. Houses, stores, stables, everything, were surrounded by water. Yards were ponds enclosed by dilapidated, muddy, slimy fences; household furniture, chairs, tables, sofas, the fragments of houses, were floating in the muddy waters or lodged in nooks and corners—I saw three sofas floating in different yards. The basements of the better class of houses were half full of water, and through the windows one could see chairs, tables, bedsteads, etc., afloat. Through the windows of a schoolhouse I saw the benches and desks afloat.\u003c/p>\n\u003cp>\u003cstrong>It is with the poorer classes\u003c/strong> that this is the worst. Many of the one-story houses are entirely uninhabitable; others, where the floors are above the water are, at best, most wretched places in which to live. The new Capitol is far out in the water—the Governor’s house stands as in a lake—churches, public buildings, private buildings, everything, are wet or in the water. Not a road leading from the city is passable, business is at a dead standstill, everything looks forlorn and wretched. Many houses have partially toppled over; some have been carried from their foundations, several streets (now avenues of water) are blocked up with houses that have floated in them, dead animals lie about here and there—a dreadful picture. I don’t think the city will ever rise from the shock, I don’t see how it can. Yet it has a brighter side. No people can so stand calamity as this people. They are used to it. Everyone is familiar with the history of fortunes quickly made and as quickly lost. It seems here more than elsewhere the natural order of things. I might say, indeed, that the recklessness of the state blunts the keener feelings and takes the edge from this calamity.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Marc Reisner\u003c/strong> published “\u003ca href=\"https://books.google.com/books?id=frvKDY0rpToC\" target=\"_blank\" rel=\"noopener noreferrer\">Cadillac Desert\u003c/a>,” his critical history of water policy in California and the West, in the 1980s. A revised edition came out in 1993, and it included an afterword in which Reisner related the awesome power of a series of big, wet Pacific storms that hit California in February 1986.\u003c/em>\u003c/p>\n\u003cp>[dropcap]‘I[/dropcap] had always had a mordant wish to watch a dam collapse, and this seemed like the best opportunity I might get in my life. I arrived at Oroville Dam just as the storm was beginning to break up. (It took me hours longer than usual to get there, because shallow lakes had formed across Interstate 680, creating instant new refuges for mallards and pintails.) In the previous week and a half, the Feather River watershed had unofficially recorded fifty-five inches of precipitation, most of it as rain, which melted several feet of snow lying on the ground. Tampa gets that much rain in an average year. The spillway at Oroville is a big concrete channel that loops around the right abutment of the immense earthen dam. It was dumping a hundred and fifty thousands cubic feet of water per second, a couple of rivers the size of the Tennessee. That much water in that confined space — the spillway is about as wide as a basketball court — is in a hurry-up mood. My guess is that it was moving thirty or forty miles per hour. Small trees and shrubs lining the spillway fence were bent double under the force of the vortex winds created by so much mass in a rush. A crow, sailing arrogantly a few feet overhead, suddenly executed some frantic maneuvers to avoid being sucked in himself; he too had never seen anything like this before. Where the spillway poured the river back into the river below the dam — it didn’t so much pour in as fly in — a dense plume of mist mushroomed eighty stories high, split by three arching rainbows.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/RQpo3rAvntk\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A dam did actually burst\u003c/strong> during the flood, though I didn’t see it happen. It was a temporary cofferdam built at the prospective site of Auburn Dam, whose construction had been mired in lawsuits and debate for years. The cofferdam held back about a hundred thousand acre-feet of water–thirty-two billion gallons–that merged, almost instantaneously, with a river already swollen to ten times its normal size. The flood-on-a-flood headed into Folsom Lake, which sits twenty miles above Sacramento and has a capacity of about a million acre-feet. Folsom Dam would have to spill the whole reservoir, 320 billion gallons of water, in three or four days in order to absorb the mythic flood pouring in. If it did not, the dam itself would be jeopardized, and if Folsom ended up like Teton Dam [a structure in Idaho that failed catastrophically in 1976] then a lot of Sacramento would float under the Golden Gate Bridge. When I arrived, a whole crowd of disaster buffs was already there, held at bay by dozens of highway patrol. I managed to sneak briefly onto the dam crest anyway; it trembled as a bank might tremble during a hurricane. The spillway at Folsom, a concrete and rock dam, was built into its center; it’s really a man-made, two-hundred-foot waterfall. At the time, it was dumping much more water than Niagara Falls. You couldn’t have heard a jet taking off five hundred feet away; that’s the kind of noise a million pounds of water makes–a million pounds a \u003cem>second\u003c/em>–as it tumbles a couple of hundred feet and crashes into a canyon river bed. (If Folsom was going to be destroyed, it would probably be a consequence of the falling river chewing out the bedrock on which the dam was built.) The waterfall reversed direction about eighty yards downriver and rose up in a towering, backfalling hydraulic wave that raced back and crashed into the dam’s downstream face, as if it wanted a second chance to knock it to smithereens. …\u003c/p>\n\u003cp>\u003cstrong>The Department of Water Resources\u003c/strong> later estimated that ten million acre-feet of runoff–enough for the city of San Francisco for forty years–had poured out the Golden Gate in two weeks. The crew of a freighter miles out to sea that was plowing through huge wave off the Gate said the wash coming across the bow tasted almost like Evian.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>In the 1970s and ’80s, The New Yorker’s \u003cstrong>John McPhee\u003c/strong> wrote a long series of minutely researched and reported feature articles on humanity’s attempt to tame natural forces. The articles, collected and published in a single volume as “\u003ca href=\"https://books.google.com/books?id=qQMFOctR7AoC&dq=the+control+of+nature&source=gbs_navlinks_s\" target=\"_blank\" rel=\"noopener noreferrer\">The Control of Nature\u003c/a>,” included “Los Angeles Against the Mountains.” His two-part L.A. installment focused on attempts to mitigate the effects of alternating fires and floods along the front of the San Gabriel Mountains — an area prone to both kinds of disasters. He opens the article with a 1978 episode involving Bob and Jackie Genofile, who lived with their teenage children, Scott and Kimberlee, on the slopes of the San Gabriels.\u003c/em>\u003c/p>\n\u003cp>[dropcap]‘T[/dropcap]he water was now spreading over the street. It descended in heavy sheets. As the young Genofiles and their mother glimpsed it in the all but total darkness, the scene was suddenly illuminated by a blue electrical flash. In the blue light they saw a massive blackness, moving. It was not a landslide, not a mudslide, not a rock avalanche; nor by any means was it the front of a conventional flood. In Jackie’s words, “It was just one big black thing coming at us, rolling, rolling with a lot of water in front of it, pushing the water, this big black thing. It was just one big black hill coming toward us.”\u003c/p>\n\u003cp>\u003cstrong>In geology,\u003c/strong> it would be known as a debris flow. Debris flows amass in stream valleys and more or less resemble fresh concrete. They consist of water mixed with a good deal of solid material, most of which is above sand size. Some of it is Chevrolet size. Boulders bigger than cars ride long distances in debris flows. Boulders grouped like fish eggs pour downhill in debris flows. The dark material coming toward the Genofiles was not only full of boulders; it was so full of automobiles it was like bread dough mixed with raisins. On its way down Pine Cone Road, it plucked up cars from driveways and the street. When it crashed into the Genofiles house, the shattering of safety glass made terrific explosive sounds. A door burst open. Mud and bould poured into the hall. We’re going to go, Jackie thought. Oh, my God, what a hell of a way for the four of us to die together.\u003c/p>\n\u003cfigure id=\"attachment_11255514\" class=\"wp-caption alignleft\" style=\"max-width: 514px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/genofile1978.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11255514\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/genofile1978.jpg\" alt=\"The Genofile home in Glendale, California, after debris flow.\" width=\"514\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978.jpg 514w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978-375x259.jpg 375w\" sizes=\"auto, (max-width: 514px) 100vw, 514px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Genofile home in Glendale, California, after debris flow. \u003ccite>(\u003ca href=\"http://www.cvhistory.org/meetings/oldmeetings/oct09meeting.htm\" target=\"_blank\">Historical Society of the Crescenta Valley\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>The parents’ bedroom\u003c/strong> was on the far side of the house. Bob Genofile was in there kicking through white satin draperies at the panelled glass, smashing it to provide an outlet for water, when the three others ran in to join him. The walls of the house neither moved nor shook. As a general contractor, Bob had build dams, department stores, hospitals, six schools, seven churches and this house. It was made of concrete block with steel reinforcement, sixteen inches on center. His wife had said it was stronger than any dam in California. His crew had called it “the fort.” In those days, twenty years before, the Genofiles’ acre was close by the edge of the mountain brush, but a developer had come along since then and knocked down thousands of trees and put Pine Cone Road up the slope. Now Bob Genofile was thinking, I hope the roof holds. I hope the roof is strong enough to hold. Debris was flowing over it. He told Scott to shut the bedroom door. No sooner was the door closed than it was battered down and fell into the room. Mud, rock, water poured in. It pushed everybody against the far wall. “Jump on the bed,” Bob said. The bed began to rise. Kneeling on it–on a gold velvet spread–they could soon press their palms against the ceiling. The bed also moved toward the glass wall. The two teen-agers got off, to try to control the motion, and they were pinned between the bed’s brass railing and the wall. Boulders went up against the railing, pressed it into their legs, and held them fast. Bob dived into the muck to try to move the boulders, but he failed. The debris flow, entering through windows as well as doors, continued to rise. Escape was still possible for the parents but not for the children. The parents looked at each other and did not stir. Each reached for and held one of the children. Their mother felt suddenly resigned, sure that her son and daughter would die and she and her husband would quickly follow. The house became buried to the eaves. Boulders sat on the roof. Thirteen automobiles were packed around the building, including five in the pool. A din of rocks kept banging against them. The stuck horn of a buried car was blaring. The family in the darkness in their fixed tableau watched one another by the light of a directional signal, endlessly blinking. The house had filled up in six minutes, and the mud stopped rising near the children’s chins.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the strong possibility of a big storm over the weekend and with flood watches in place from near the Oregon border down to Bakersfield, our thoughts turn to … history. More specifically, to some of the great accounts we’ve seen of disasters and near-disasters resulting from big winter storms. Here are three selections, ranging from William Brewer’s account of the historic rains and floods of 1861-62 to two more recent stories, from John McPhee and Marc Reisner, that touch on the impact of big winter storms in the 1970s and 1980s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>William Brewer\u003c/strong> was field leader of the Whitney Survey, which traveled throughout California from 1860 through 1864 to document the state’s geological and other resources. Brewer’s letters and journal entries were collected and published in 1930 as “\u003ca href=\"https://books.google.com/books?id=WJKazBEhw2EC\" target=\"_blank\" rel=\"noopener noreferrer\">Up and Down California\u003c/a>.” From San Francisco in January 1862, Brewer recorded the big news of the day: a nearly nonstop deluge that came amid what still stands as the rainiest winter in much of California. Six weeks later, he visited Sacramento, which had suffered devastating damage in the flood.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://upanddowncalifornia.wordpress.com/2012/01/19/january-19-1862-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">January 19, 1862\u003c/a>\u003cbr>\nSan Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">‘T\u003c/span>\u003c/p>\u003cp>he rains continue, and since I last wrote the floods have been far worse than before. Sacramento and many other towns and cities have again been overflowed, and after the waters had abated somewhat they are again up. That doomed city is in all probability again under water today.\u003c/p>\n\u003cfigure id=\"attachment_11255512\" class=\"wp-caption alignright\" style=\"max-width: 598px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/sacramento-1862.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11255512\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/sacramento-1862.jpg\" alt=\"Sacramento during the winter of 1861-62, from contemporary newspaper illustrations. \" width=\"598\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/sacramento-1862-520x350.jpg 520w\" sizes=\"auto, (max-width: 598px) 100vw, 598px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sacramento during the winter of 1861-62, from contemporary newspaper illustrations. \u003ccite>(U)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The amount of rain\u003c/strong> that has fallen is unprecedented in the history of the state. In this city accurate observations have been kept since July, 1853. For the years since, ending with July 1 each year, the amount of rain is known. In New York state—central New York—the average amount is under thirty-eight inches, often not over thirty-three inches, sometimes as low as twenty-eight inches. This includes the melted snow. In this city it has been for the eight years closing last July, 21 3/4 inches, the lowest amount 19 3/4 inches, the highest 23 3/4. Yet this year, since November 6, when the first shower came, to January 18, it is thirty-two and three-quarters inches and it is still raining! But this is not all. Generally twice, sometimes three times, as much falls in the mining districts on the slopes of the Sierra. This year at Sonora, in Tuolumne County, between November 11, 1861, and January 14, 1862, seventy-two inches (six feet) of water has fallen, and in numbers of places over five feet! And that in a period of two months. As much rain as falls in Ithaca in two years has fallen in some places in this state in two months.1\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The great central valley\u003c/strong> of the state is under water—the Sacramento and San Joaquin valleys—a region 250 to 300 miles long and an average of at least twenty miles wide, a district of five thousand or six thousand square miles, or probably three to three and a half millions of acres! Although much of it is not cultivated, yet a part of it is the garden of the state. Thousands of farms are entirely under water—cattle starving and drowning. …\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://upanddowncalifornia.wordpress.com/2012/03/07/march-7-1862-sacramento/\" target=\"_blank\" rel=\"noopener noreferrer\">March 7, 1862\u003c/a>\u003cbr>\nSacramento\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">‘E\u003c/span>\u003c/p>\u003cp>arly in the morning I went to a hotel in Sacramento and got my breakfast and brushed up for business. That dispatched, I had some time to look at the city. Such a desolate scene I hope never to see again. Most of the city is still under water, and has been for three months. A part is out of the water, that is, the streets are above water, but every low place is full—cellars and yards are full, houses and walls wet, everything uncomfortable. Over much of the city boats are still the only means of getting about. No description that I can write will give you any adequate conception of the discomfort and wretchedness this must give rise to. I took a boat and two boys, and we rowed about for an hour or two. Houses, stores, stables, everything, were surrounded by water. Yards were ponds enclosed by dilapidated, muddy, slimy fences; household furniture, chairs, tables, sofas, the fragments of houses, were floating in the muddy waters or lodged in nooks and corners—I saw three sofas floating in different yards. The basements of the better class of houses were half full of water, and through the windows one could see chairs, tables, bedsteads, etc., afloat. Through the windows of a schoolhouse I saw the benches and desks afloat.\u003c/p>\n\u003cp>\u003cstrong>It is with the poorer classes\u003c/strong> that this is the worst. Many of the one-story houses are entirely uninhabitable; others, where the floors are above the water are, at best, most wretched places in which to live. The new Capitol is far out in the water—the Governor’s house stands as in a lake—churches, public buildings, private buildings, everything, are wet or in the water. Not a road leading from the city is passable, business is at a dead standstill, everything looks forlorn and wretched. Many houses have partially toppled over; some have been carried from their foundations, several streets (now avenues of water) are blocked up with houses that have floated in them, dead animals lie about here and there—a dreadful picture. I don’t think the city will ever rise from the shock, I don’t see how it can. Yet it has a brighter side. No people can so stand calamity as this people. They are used to it. Everyone is familiar with the history of fortunes quickly made and as quickly lost. It seems here more than elsewhere the natural order of things. I might say, indeed, that the recklessness of the state blunts the keener feelings and takes the edge from this calamity.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Marc Reisner\u003c/strong> published “\u003ca href=\"https://books.google.com/books?id=frvKDY0rpToC\" target=\"_blank\" rel=\"noopener noreferrer\">Cadillac Desert\u003c/a>,” his critical history of water policy in California and the West, in the 1980s. A revised edition came out in 1993, and it included an afterword in which Reisner related the awesome power of a series of big, wet Pacific storms that hit California in February 1986.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">‘I\u003c/span>\u003c/p>\u003cp> had always had a mordant wish to watch a dam collapse, and this seemed like the best opportunity I might get in my life. I arrived at Oroville Dam just as the storm was beginning to break up. (It took me hours longer than usual to get there, because shallow lakes had formed across Interstate 680, creating instant new refuges for mallards and pintails.) In the previous week and a half, the Feather River watershed had unofficially recorded fifty-five inches of precipitation, most of it as rain, which melted several feet of snow lying on the ground. Tampa gets that much rain in an average year. The spillway at Oroville is a big concrete channel that loops around the right abutment of the immense earthen dam. It was dumping a hundred and fifty thousands cubic feet of water per second, a couple of rivers the size of the Tennessee. That much water in that confined space — the spillway is about as wide as a basketball court — is in a hurry-up mood. My guess is that it was moving thirty or forty miles per hour. Small trees and shrubs lining the spillway fence were bent double under the force of the vortex winds created by so much mass in a rush. A crow, sailing arrogantly a few feet overhead, suddenly executed some frantic maneuvers to avoid being sucked in himself; he too had never seen anything like this before. Where the spillway poured the river back into the river below the dam — it didn’t so much pour in as fly in — a dense plume of mist mushroomed eighty stories high, split by three arching rainbows.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/RQpo3rAvntk\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A dam did actually burst\u003c/strong> during the flood, though I didn’t see it happen. It was a temporary cofferdam built at the prospective site of Auburn Dam, whose construction had been mired in lawsuits and debate for years. The cofferdam held back about a hundred thousand acre-feet of water–thirty-two billion gallons–that merged, almost instantaneously, with a river already swollen to ten times its normal size. The flood-on-a-flood headed into Folsom Lake, which sits twenty miles above Sacramento and has a capacity of about a million acre-feet. Folsom Dam would have to spill the whole reservoir, 320 billion gallons of water, in three or four days in order to absorb the mythic flood pouring in. If it did not, the dam itself would be jeopardized, and if Folsom ended up like Teton Dam [a structure in Idaho that failed catastrophically in 1976] then a lot of Sacramento would float under the Golden Gate Bridge. When I arrived, a whole crowd of disaster buffs was already there, held at bay by dozens of highway patrol. I managed to sneak briefly onto the dam crest anyway; it trembled as a bank might tremble during a hurricane. The spillway at Folsom, a concrete and rock dam, was built into its center; it’s really a man-made, two-hundred-foot waterfall. At the time, it was dumping much more water than Niagara Falls. You couldn’t have heard a jet taking off five hundred feet away; that’s the kind of noise a million pounds of water makes–a million pounds a \u003cem>second\u003c/em>–as it tumbles a couple of hundred feet and crashes into a canyon river bed. (If Folsom was going to be destroyed, it would probably be a consequence of the falling river chewing out the bedrock on which the dam was built.) The waterfall reversed direction about eighty yards downriver and rose up in a towering, backfalling hydraulic wave that raced back and crashed into the dam’s downstream face, as if it wanted a second chance to knock it to smithereens. …\u003c/p>\n\u003cp>\u003cstrong>The Department of Water Resources\u003c/strong> later estimated that ten million acre-feet of runoff–enough for the city of San Francisco for forty years–had poured out the Golden Gate in two weeks. The crew of a freighter miles out to sea that was plowing through huge wave off the Gate said the wash coming across the bow tasted almost like Evian.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>In the 1970s and ’80s, The New Yorker’s \u003cstrong>John McPhee\u003c/strong> wrote a long series of minutely researched and reported feature articles on humanity’s attempt to tame natural forces. The articles, collected and published in a single volume as “\u003ca href=\"https://books.google.com/books?id=qQMFOctR7AoC&dq=the+control+of+nature&source=gbs_navlinks_s\" target=\"_blank\" rel=\"noopener noreferrer\">The Control of Nature\u003c/a>,” included “Los Angeles Against the Mountains.” His two-part L.A. installment focused on attempts to mitigate the effects of alternating fires and floods along the front of the San Gabriel Mountains — an area prone to both kinds of disasters. He opens the article with a 1978 episode involving Bob and Jackie Genofile, who lived with their teenage children, Scott and Kimberlee, on the slopes of the San Gabriels.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">‘T\u003c/span>\u003c/p>\u003cp>he water was now spreading over the street. It descended in heavy sheets. As the young Genofiles and their mother glimpsed it in the all but total darkness, the scene was suddenly illuminated by a blue electrical flash. In the blue light they saw a massive blackness, moving. It was not a landslide, not a mudslide, not a rock avalanche; nor by any means was it the front of a conventional flood. In Jackie’s words, “It was just one big black thing coming at us, rolling, rolling with a lot of water in front of it, pushing the water, this big black thing. It was just one big black hill coming toward us.”\u003c/p>\n\u003cp>\u003cstrong>In geology,\u003c/strong> it would be known as a debris flow. Debris flows amass in stream valleys and more or less resemble fresh concrete. They consist of water mixed with a good deal of solid material, most of which is above sand size. Some of it is Chevrolet size. Boulders bigger than cars ride long distances in debris flows. Boulders grouped like fish eggs pour downhill in debris flows. The dark material coming toward the Genofiles was not only full of boulders; it was so full of automobiles it was like bread dough mixed with raisins. On its way down Pine Cone Road, it plucked up cars from driveways and the street. When it crashed into the Genofiles house, the shattering of safety glass made terrific explosive sounds. A door burst open. Mud and bould poured into the hall. We’re going to go, Jackie thought. Oh, my God, what a hell of a way for the four of us to die together.\u003c/p>\n\u003cfigure id=\"attachment_11255514\" class=\"wp-caption alignleft\" style=\"max-width: 514px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/genofile1978.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11255514\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/genofile1978.jpg\" alt=\"The Genofile home in Glendale, California, after debris flow.\" width=\"514\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978.jpg 514w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/genofile1978-375x259.jpg 375w\" sizes=\"auto, (max-width: 514px) 100vw, 514px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Genofile home in Glendale, California, after debris flow. \u003ccite>(\u003ca href=\"http://www.cvhistory.org/meetings/oldmeetings/oct09meeting.htm\" target=\"_blank\">Historical Society of the Crescenta Valley\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The parents’ bedroom\u003c/strong> was on the far side of the house. Bob Genofile was in there kicking through white satin draperies at the panelled glass, smashing it to provide an outlet for water, when the three others ran in to join him. The walls of the house neither moved nor shook. As a general contractor, Bob had build dams, department stores, hospitals, six schools, seven churches and this house. It was made of concrete block with steel reinforcement, sixteen inches on center. His wife had said it was stronger than any dam in California. His crew had called it “the fort.” In those days, twenty years before, the Genofiles’ acre was close by the edge of the mountain brush, but a developer had come along since then and knocked down thousands of trees and put Pine Cone Road up the slope. Now Bob Genofile was thinking, I hope the roof holds. I hope the roof is strong enough to hold. Debris was flowing over it. He told Scott to shut the bedroom door. No sooner was the door closed than it was battered down and fell into the room. Mud, rock, water poured in. It pushed everybody against the far wall. “Jump on the bed,” Bob said. The bed began to rise. Kneeling on it–on a gold velvet spread–they could soon press their palms against the ceiling. The bed also moved toward the glass wall. The two teen-agers got off, to try to control the motion, and they were pinned between the bed’s brass railing and the wall. Boulders went up against the railing, pressed it into their legs, and held them fast. Bob dived into the muck to try to move the boulders, but he failed. The debris flow, entering through windows as well as doors, continued to rise. Escape was still possible for the parents but not for the children. The parents looked at each other and did not stir. Each reached for and held one of the children. Their mother felt suddenly resigned, sure that her son and daughter would die and she and her husband would quickly follow. The house became buried to the eaves. Boulders sat on the roof. Thirteen automobiles were packed around the building, including five in the pool. A din of rocks kept banging against them. The stuck horn of a buried car was blaring. The family in the darkness in their fixed tableau watched one another by the light of a directional signal, endlessly blinking. The house had filled up in six minutes, and the mud stopped rising near the children’s chins.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sutro Tower: The Origins of an 'Eyesore'",
"headTitle": "Sutro Tower: The Origins of an ‘Eyesore’ | KQED",
"content": "\u003cp>\u003cem>When Sutro Tower was first proposed in San Francisco, nearly everybody hated it. How did it get built? \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\">Bay Curious\u003c/a> is a new podcast from KQED that answers your questions about the Bay Area.\u003c/em> This question comes from Craig Rubens, who wanted to know:\u003c/p>\n\u003cp>\u003cstrong>What is the story behind the construction and approval of Sutro Tower?\u003c/strong>\u003c/p>\n\u003cp>Back in the 1960s, San Francisco had \u003cem>really \u003c/em>bad television reception. By many accounts, it was the worst of any city in America.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>Good reception required a clear line of sight from the broadcast tower to your TV antenna, and in hilly San Francisco this was a challenge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Broadcasters began the hunt for a location to build a very tall tower that could send a clear TV signal far and wide.\u003c/p>\n\u003cp>ABC already had a 588-foot tower on top of Mount Sutro, and it started lobbying for the new tower to be built there.\u003c/p>\n\u003cfigure id=\"attachment_10566922\" class=\"wp-caption alignright\" style=\"max-width: 481px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro1.png\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-10566922\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro1.png\" alt=\"Early design renderings of Sutro Tower included a restaurant at the top.\" width=\"481\" height=\"641\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro1.png 481w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro1-400x533.png 400w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early design renderings of Sutro Tower included a restaurant at the top. \u003ccite>(Courtesy of Christine Linnenbach.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Designs were drawn up, and ABC started showing off a tower that looked like a sleek golden Seattle Space Needle. It even included a restaurant at the top.\u003c/p>\n\u003ch3>Scared Into Silence\u003c/h3>\n\u003cp>ABC invited residents around Mount Sutro to discuss the plans during two meetings. Initially, neighbors had concerns over safety, property values and the city skyline.\u003c/p>\n\u003cp>“What the people were told was very simply this: Either you go away and you let us build our tower, or we will make sure the open space around Mount Sutro is torn down and all of the green belt is removed,” says Christine Linnenbach, a lawyer who has fought Sutro Tower Inc. in court and whose childhood home is a few blocks from the tower.\u003c/p>\n\u003cp>Linnenbach says ABC delivered an ultimatum: a tower and a park or no tower and no park.\u003c/p>\n\u003cp>The neighbors didn’t know that this was an empty threat. The park was already included in the city’s plan for a green belt. But their fear of losing the park caused residents to keep quiet, and ABC used the “lack of neighborhood opposition” to help push the Mount Sutro site through.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/131040168?title=0&byline=0\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>Getting Government Approval\u003c/h3>\n\u003cp>Among the loudest opponents of Sutro Tower was the San Francisco Chronicle. Lawyers representing the paper fought the tower at hearings in front of the San Francisco Planning Commission and the San Francisco Board of Supervisors.\u003c/p>\n\u003cp>The paper argued Sutro Tower would ruin the skyline, and it questioned the logic of placing a tower within striking distance of an elementary school, reservoirs and hundreds of homes.\u003c/p>\n\u003cp>But the Chronicle wasn’t an impartial observer. The paper had its own television station and wanted to see the tower built on San Bruno Mountain.\u003c/p>\n\u003cp>Ultimately, the Federal Aviation Authority rejected the proposal because it was too close to the airport.\u003c/p>\n\u003cp>In 1966, the San Francisco Planning Commission approved the site at Mount Sutro, passing the decision on to the San Francisco Board of Supervisors.\u003c/p>\n\u003cp>The supervisors voted 6-to-4 against building the tower, but two more votes were needed to overturn the Planning Commission’s approval.\u003c/p>\n\u003cp>The decision was final; a tower would be built on Mount Sutro.\u003c/p>\n\u003ch3>Designing the Tower\u003c/h3>\n\u003cp>Leading up to construction, the tower’s design underwent huge changes by Los Angeles architecture firm \u003ca href=\"http://www.acmartin.com/\" target=\"_blank\" rel=\"noopener\">AC Martin and Associates\u003c/a>. It became more skeletal-looking with a broader top and waist.\u003c/p>\n\u003cfigure id=\"attachment_10567235\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/image002.png\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10567235 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/image002-400x510.png\" alt=\"Later architectural drawings of the tower show the red and white stripes we've come to know today. \" width=\"400\" height=\"510\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/image002-400x510.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/image002.png 481w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Later architectural drawings of the tower show the red-and-white stripes we’ve come to know today. \u003ccite>(Courtesy of Christine Linnenbach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Dausman, general manager of Sutro Tower, says the architect’s decision to taper the center was entirely aesthetic.\u003c/p>\n\u003cp>“All the engineers since then want to shoot him. It made it a more difficult structure to maintain, and it is a more difficult structure to keep perfectly upright and in a great condition,” says Dausman.\u003c/p>\n\u003cp>The other major change was the color. Original plans showed a tower with a golden hue, but aviation regulations required the tower be painted alternating stripes of red and white to ward off possible plane collisions.\u003c/p>\n\u003ch3>Construction\u003c/h3>\n\u003cp>By the 1970s, public interest in Sutro Tower had ebbed and few news outlets were reporting on it. The tower’s fiercest opponent, the Chronicle, had warmed to the tower after its television station became a partner in building it.\u003c/p>\n\u003cfigure id=\"attachment_10567312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5882.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-10567312\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5882-800x533.jpg\" alt=\"By the time the public was largely aware the tower was being built, it was too late to stop construction.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">By the time the public was largely aware the tower was being built, it was too late to stop construction. \u003ccite>(Adam Grossberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When construction finally began in 1971, the local media were silent. Television stations involved had made a gentleman’s agreement not to report on the tower. Some called it a media blackout.\u003c/p>\n\u003cp>In their defense, the four stations, KTVU, KPIX, KGO and KRON, claimed it was so that nobody would have the jump on advertising the new tower.\u003c/p>\n\u003cp>But an editorial that ran in the San Rafael Daily Independent Journal suggested the group was silent because they knew the tower would be unpopular.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>Fun Facts about Sutro Tower\u003c/h2>\n\u003cul>\n\u003cli>The legs are anchored in 15 million pounds of cement.\u003c/li>\n\u003cli>The tower is composed of 3.5 million pounds of steel.\u003c/li>\n\u003cli>It is 977 feet tall. The highest point is 1811 feet above sea level.\u003c/li>\n\u003cli>Construction cost $4 million in 1971.\u003c/li>\n\u003cli>The tower hasn’t been painted in over 20 years. “The biggest problem with painting is that we also painted a lot of the neighbors’ houses and cars. … The crew is as careful as they can be, but they’re 700, 800, 900 feet in the air, and a drip goes a long way,” says Dausman.\u003cstrong> \u003c/strong>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>When bulldozers began taking out trees on top of Mount Sutro, KQED Newsroom reporter Tom De Vries and cameraman Charles Rudnick hiked up to the construction site.\u003c/p>\n\u003cp>“We started taking pictures and a man came running out of the work office, running towards us saying, ‘You can’t film here! There’s an agreement!’ … Well, the story just got way better,” says De Vries.\u003c/p>\n\u003cp>KQED-TV ran the story, sparking new efforts to stop the tower by University of San Francisco law students and two San Francisco Supervisors.\u003c/p>\n\u003cp>None were successful.\u003c/p>\n\u003ch3>Final Touches\u003c/h3>\n\u003cp>Sutro Tower beamed out its first transmission on July 4, 1973.\u003c/p>\n\u003cp>In designing the tower, engineers realized that the antennas would sway in strong winds, so they added girders and a network of cables to keep it in place.\u003c/p>\n\u003cp>“Unfortunately, one of the byproducts was that wind would rush through these newly created guide wires, and the whole tower would sound like a moaning harp,” says Linnenbach.\u003c/p>\n\u003cp>The cables have since been redesigned and are not as loud.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10567311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5854.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10567311 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5854-800x533.jpg\" alt=\"Reporter Jessica Placzek and Sutro Tower Spokesman Dave Hyams near the top of the tower.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Reporter Jessica Placzek and Sutro Tower spokesman Dave Hyams near the top of the tower. \u003ccite>(Adam Grossberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Sutro Tower Today\u003c/h3>\n\u003cp>Dausman says he understands people who consider the tower an eyesore. If it were up to him, the tower wouldn’t even be here.\u003c/p>\n\u003cp>“This is the wrong place for a broadcast tower to serve all of the Bay Area as it has emerged in the last 40 years,” Dausman says. “It’s not really in the center.”\u003c/p>\n\u003cp>He thinks the ideal spot would be somewhere in Hayward. But at this point, the tower is isn’t going anywhere.\u003c/p>\n\u003cp>These days Sutro Tower is used for more than just television. Emergency responders, traffic control, taxi dispatchers, law enforcement and radio all use the structure.\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>And many residents have come to love Sutro Tower.\u003c/p>\n\u003cp>You can find the icon in boutiques and even tattooed onto people’s bodies. Newcomers use the tower’s prominence to navigate the city, while other San Franciscans profess to love the structure that many tourists find ugly and strange.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>When fog swirls in around the foot of the tower, people describe it as a ship sailing atop the clouds, a ladder to the blue skies always just out of reach in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10568088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro-in-the-clouds.jpeg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10568088 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro-in-the-clouds-800x450.jpeg\" alt=\"sutro in the clouds\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-800x450.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-400x225.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-1440x810.jpeg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-1180x664.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-960x540.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sutro Tower in the fog. \u003ccite>(Olivia Allen-Price/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>When Sutro Tower was first proposed in San Francisco, nearly everybody hated it. How did it get built? \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\">Bay Curious\u003c/a> is a new podcast from KQED that answers your questions about the Bay Area.\u003c/em> This question comes from Craig Rubens, who wanted to know:\u003c/p>\n\u003cp>\u003cstrong>What is the story behind the construction and approval of Sutro Tower?\u003c/strong>\u003c/p>\n\u003cp>Back in the 1960s, San Francisco had \u003cem>really \u003c/em>bad television reception. By many accounts, it was the worst of any city in America.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Good reception required a clear line of sight from the broadcast tower to your TV antenna, and in hilly San Francisco this was a challenge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Broadcasters began the hunt for a location to build a very tall tower that could send a clear TV signal far and wide.\u003c/p>\n\u003cp>ABC already had a 588-foot tower on top of Mount Sutro, and it started lobbying for the new tower to be built there.\u003c/p>\n\u003cfigure id=\"attachment_10566922\" class=\"wp-caption alignright\" style=\"max-width: 481px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro1.png\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-10566922\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro1.png\" alt=\"Early design renderings of Sutro Tower included a restaurant at the top.\" width=\"481\" height=\"641\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro1.png 481w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro1-400x533.png 400w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early design renderings of Sutro Tower included a restaurant at the top. \u003ccite>(Courtesy of Christine Linnenbach.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Designs were drawn up, and ABC started showing off a tower that looked like a sleek golden Seattle Space Needle. It even included a restaurant at the top.\u003c/p>\n\u003ch3>Scared Into Silence\u003c/h3>\n\u003cp>ABC invited residents around Mount Sutro to discuss the plans during two meetings. Initially, neighbors had concerns over safety, property values and the city skyline.\u003c/p>\n\u003cp>“What the people were told was very simply this: Either you go away and you let us build our tower, or we will make sure the open space around Mount Sutro is torn down and all of the green belt is removed,” says Christine Linnenbach, a lawyer who has fought Sutro Tower Inc. in court and whose childhood home is a few blocks from the tower.\u003c/p>\n\u003cp>Linnenbach says ABC delivered an ultimatum: a tower and a park or no tower and no park.\u003c/p>\n\u003cp>The neighbors didn’t know that this was an empty threat. The park was already included in the city’s plan for a green belt. But their fear of losing the park caused residents to keep quiet, and ABC used the “lack of neighborhood opposition” to help push the Mount Sutro site through.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/131040168?title=0&byline=0\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>Getting Government Approval\u003c/h3>\n\u003cp>Among the loudest opponents of Sutro Tower was the San Francisco Chronicle. Lawyers representing the paper fought the tower at hearings in front of the San Francisco Planning Commission and the San Francisco Board of Supervisors.\u003c/p>\n\u003cp>The paper argued Sutro Tower would ruin the skyline, and it questioned the logic of placing a tower within striking distance of an elementary school, reservoirs and hundreds of homes.\u003c/p>\n\u003cp>But the Chronicle wasn’t an impartial observer. The paper had its own television station and wanted to see the tower built on San Bruno Mountain.\u003c/p>\n\u003cp>Ultimately, the Federal Aviation Authority rejected the proposal because it was too close to the airport.\u003c/p>\n\u003cp>In 1966, the San Francisco Planning Commission approved the site at Mount Sutro, passing the decision on to the San Francisco Board of Supervisors.\u003c/p>\n\u003cp>The supervisors voted 6-to-4 against building the tower, but two more votes were needed to overturn the Planning Commission’s approval.\u003c/p>\n\u003cp>The decision was final; a tower would be built on Mount Sutro.\u003c/p>\n\u003ch3>Designing the Tower\u003c/h3>\n\u003cp>Leading up to construction, the tower’s design underwent huge changes by Los Angeles architecture firm \u003ca href=\"http://www.acmartin.com/\" target=\"_blank\" rel=\"noopener\">AC Martin and Associates\u003c/a>. It became more skeletal-looking with a broader top and waist.\u003c/p>\n\u003cfigure id=\"attachment_10567235\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/image002.png\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10567235 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/image002-400x510.png\" alt=\"Later architectural drawings of the tower show the red and white stripes we've come to know today. \" width=\"400\" height=\"510\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/image002-400x510.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/image002.png 481w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Later architectural drawings of the tower show the red-and-white stripes we’ve come to know today. \u003ccite>(Courtesy of Christine Linnenbach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Dausman, general manager of Sutro Tower, says the architect’s decision to taper the center was entirely aesthetic.\u003c/p>\n\u003cp>“All the engineers since then want to shoot him. It made it a more difficult structure to maintain, and it is a more difficult structure to keep perfectly upright and in a great condition,” says Dausman.\u003c/p>\n\u003cp>The other major change was the color. Original plans showed a tower with a golden hue, but aviation regulations required the tower be painted alternating stripes of red and white to ward off possible plane collisions.\u003c/p>\n\u003ch3>Construction\u003c/h3>\n\u003cp>By the 1970s, public interest in Sutro Tower had ebbed and few news outlets were reporting on it. The tower’s fiercest opponent, the Chronicle, had warmed to the tower after its television station became a partner in building it.\u003c/p>\n\u003cfigure id=\"attachment_10567312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5882.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-10567312\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5882-800x533.jpg\" alt=\"By the time the public was largely aware the tower was being built, it was too late to stop construction.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">By the time the public was largely aware the tower was being built, it was too late to stop construction. \u003ccite>(Adam Grossberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When construction finally began in 1971, the local media were silent. Television stations involved had made a gentleman’s agreement not to report on the tower. Some called it a media blackout.\u003c/p>\n\u003cp>In their defense, the four stations, KTVU, KPIX, KGO and KRON, claimed it was so that nobody would have the jump on advertising the new tower.\u003c/p>\n\u003cp>But an editorial that ran in the San Rafael Daily Independent Journal suggested the group was silent because they knew the tower would be unpopular.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>Fun Facts about Sutro Tower\u003c/h2>\n\u003cul>\n\u003cli>The legs are anchored in 15 million pounds of cement.\u003c/li>\n\u003cli>The tower is composed of 3.5 million pounds of steel.\u003c/li>\n\u003cli>It is 977 feet tall. The highest point is 1811 feet above sea level.\u003c/li>\n\u003cli>Construction cost $4 million in 1971.\u003c/li>\n\u003cli>The tower hasn’t been painted in over 20 years. “The biggest problem with painting is that we also painted a lot of the neighbors’ houses and cars. … The crew is as careful as they can be, but they’re 700, 800, 900 feet in the air, and a drip goes a long way,” says Dausman.\u003cstrong> \u003c/strong>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>When bulldozers began taking out trees on top of Mount Sutro, KQED Newsroom reporter Tom De Vries and cameraman Charles Rudnick hiked up to the construction site.\u003c/p>\n\u003cp>“We started taking pictures and a man came running out of the work office, running towards us saying, ‘You can’t film here! There’s an agreement!’ … Well, the story just got way better,” says De Vries.\u003c/p>\n\u003cp>KQED-TV ran the story, sparking new efforts to stop the tower by University of San Francisco law students and two San Francisco Supervisors.\u003c/p>\n\u003cp>None were successful.\u003c/p>\n\u003ch3>Final Touches\u003c/h3>\n\u003cp>Sutro Tower beamed out its first transmission on July 4, 1973.\u003c/p>\n\u003cp>In designing the tower, engineers realized that the antennas would sway in strong winds, so they added girders and a network of cables to keep it in place.\u003c/p>\n\u003cp>“Unfortunately, one of the byproducts was that wind would rush through these newly created guide wires, and the whole tower would sound like a moaning harp,” says Linnenbach.\u003c/p>\n\u003cp>The cables have since been redesigned and are not as loud.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10567311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5854.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10567311 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5854-800x533.jpg\" alt=\"Reporter Jessica Placzek and Sutro Tower Spokesman Dave Hyams near the top of the tower.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Reporter Jessica Placzek and Sutro Tower spokesman Dave Hyams near the top of the tower. \u003ccite>(Adam Grossberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Sutro Tower Today\u003c/h3>\n\u003cp>Dausman says he understands people who consider the tower an eyesore. If it were up to him, the tower wouldn’t even be here.\u003c/p>\n\u003cp>“This is the wrong place for a broadcast tower to serve all of the Bay Area as it has emerged in the last 40 years,” Dausman says. “It’s not really in the center.”\u003c/p>\n\u003cp>He thinks the ideal spot would be somewhere in Hayward. But at this point, the tower is isn’t going anywhere.\u003c/p>\n\u003cp>These days Sutro Tower is used for more than just television. Emergency responders, traffic control, taxi dispatchers, law enforcement and radio all use the structure.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And many residents have come to love Sutro Tower.\u003c/p>\n\u003cp>You can find the icon in boutiques and even tattooed onto people’s bodies. Newcomers use the tower’s prominence to navigate the city, while other San Franciscans profess to love the structure that many tourists find ugly and strange.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When fog swirls in around the foot of the tower, people describe it as a ship sailing atop the clouds, a ladder to the blue skies always just out of reach in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10568088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro-in-the-clouds.jpeg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10568088 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro-in-the-clouds-800x450.jpeg\" alt=\"sutro in the clouds\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-800x450.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-400x225.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-1440x810.jpeg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-1180x664.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-960x540.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sutro Tower in the fog. \u003ccite>(Olivia Allen-Price/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>To describe John Doe, you need a list of titles: musician, songwriter, actor, poet, author and now Grammy nominee. He and co-author Tom DeSavia were recently nominated for a spoken word Grammy for their book, \u003c/i>\u003ca href=\"https://ww2.kqed.org/news/2016/06/01/l-a-s-punk-history-comes-to-light-in-under-the-big-black-sun/\">“Under The Big Black Sun: A Personal History of L.A. Punk.”\u003c/a>\u003ci> The punk scene is where John Doe made his mark with the Los Angeles band X, which is celebrating its 40-year anniversary. He joined The California Report Magazine’s host, Sasha Khokha, in studio, with his guitar.\u003c/i>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/300829667″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cb>I love the description in your book of landing in L.A. in 1976 and smelling the fumes at LAX. I grew up right next to LAX, so I know that smell. It feels like you’re home. There’s this mythical notion of California and the West. It sounds like you still believe in the California Dream.\u003c/b>\u003c/p>\n\u003cp>I do. I think it has a lot to do with the horizon. When you can see a long distance. Growing up on the East Coast, like if you went to the Appalachians, you could see maybe 50 miles if you found a good spot. Here, you can see 200 miles. It’s open. Joshua Tree gives you a different feeling. Going up to the Redwoods, going up to Lake Tahoe, yeah, I still hold onto that.\u003c/p>\n\u003cp>\u003cb>That’s a big theme in your new album, \u003ca href=\"http://www.theejohndoe.com/music/\">“The Westerner.”\u003c/a> You talk about standing on the edge of the ocean, or the Arizona desert. You get the sense of that vast expanse.\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11252176\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/WesternerDoe-800x804.jpg\" alt=\"westernerdoe\" width=\"800\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-520x523.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>A lot of the songs were inspired by my friend Michael Blake, who wrote “Dances with Wolves.” He did have a life that was challenging, cancer battles, and all these things. But he always had this optimism. It was always like “what’s over the next hill?” For that reason, and also to be close to him, we recorded him in Tucson, which has that open space, and has that distance, reverb and economy that you get out of the West and open space.\u003c/p>\n\u003cp>\u003cb>You’ve lived all over California: L.A., the Bay Area and even a stint in the Central Valley. I was really touched by your song, “A Little Help,” about farmworkers.\u003c/b>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2xHsn5ipt2o\u003c/p>\n\u003cp>Maybe I’m Pollyanna, but I see a nobility, and I wish that people realized that every piece of fruit that they eat was touched by a human hand. I wish that people did more hard work in the sun. I think they’d have a different point of view. The song is also about two different ways of getting something done, which is to wrench into place, and to grab it and kill it and make it happen. Or just thinking of something, manifesting and letting something happen.\u003c/p>\n\u003cp>\u003cb>So is there a moment where you say, hey, I want to write a song like this? I want to write a song about people working the land?\u003c/b>\u003c/p>\n\u003cp>No, there’s a moment where I see an image, and it sticks with me. But I don’t go about it as an assignment. It’s a little more mysterious. I just take stuff, and play with some chords. I’ve been trying to do things more intuitively, just let it come out when there’s a good moment.\u003c/p>\n\u003cfigure id=\"attachment_11221917\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11221917\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-800x1291.jpg\" alt=\"Musician John Doe (Photo: Jim Herrington)\" width=\"800\" height=\"1291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-800x1291.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-160x258.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-1020x1646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-1180x1905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-960x1550.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-240x387.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-375x605.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-520x839.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician John Doe (Photo: Jim Herrington)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You’re also very well known for your 40-year legacy with X. Forty years, and you guys are still on the road.\u003c/b>\u003c/p>\n\u003cp>It’s a point at which you can be grateful. Even though you may have had disagreements with band members in the past, we’re all so happy to be playing. We’re playing a different kind of show, some deeper cuts. It’s more like a concert than just a punk rock show.\u003c/p>\n\u003cp>\u003cb>I grew up in L.A. at a time when punk and artists were responding to the Reagan years — AIDS and the first wave of Central American refugees. I wonder how you think about those songs taking on a new life now that California is heading in a different political direction than the rest of the country.\u003c/b>\u003c/p>\n\u003cp>Luckily, we didn’t use the name Reagan in any of our songs. We’re playing “I Must Not Think Bad Thoughts” a lot lately. And “The New World” is still relevant. From the point of view of a hobo, a bum, who wanted to get into his bar at 6 a.m. It was closed, there was some election, some president. He doesn’t even know the president’s name, it’s just “what’s his name.” And then in the second verse, we start talking about the decline of Midwest manufacturing. It’s like, hello, that was written in 1983!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YbEhts7g-4U\u003c/p>\n\u003cp>\u003cb>So what’s next for John Doe in 2017?\u003c/b>\u003c/p>\n\u003cp>X is going to be touring a lot, ‘cuz it’s our 40th anniversary. I’m going to work on another book, an actual memoir. [Working on “Under the Big Black Sun”] was a pretty good experience. We’re really fortunate that [on the audiobook] everybody read their own chapters. In 20 years, that’s going to be kind of a cool document, to hear those voices talking from the early ’80s. It’ll be a pretty good year, I’m pretty sure.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/300826100″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>To describe John Doe, you need a list of titles: musician, songwriter, actor, poet, author and now Grammy nominee. He and co-author Tom DeSavia were recently nominated for a spoken word Grammy for their book, \u003c/i>\u003ca href=\"https://ww2.kqed.org/news/2016/06/01/l-a-s-punk-history-comes-to-light-in-under-the-big-black-sun/\">“Under The Big Black Sun: A Personal History of L.A. Punk.”\u003c/a>\u003ci> The punk scene is where John Doe made his mark with the Los Angeles band X, which is celebrating its 40-year anniversary. He joined The California Report Magazine’s host, Sasha Khokha, in studio, with his guitar.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/300829667″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/300829667″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>I love the description in your book of landing in L.A. in 1976 and smelling the fumes at LAX. I grew up right next to LAX, so I know that smell. It feels like you’re home. There’s this mythical notion of California and the West. It sounds like you still believe in the California Dream.\u003c/b>\u003c/p>\n\u003cp>I do. I think it has a lot to do with the horizon. When you can see a long distance. Growing up on the East Coast, like if you went to the Appalachians, you could see maybe 50 miles if you found a good spot. Here, you can see 200 miles. It’s open. Joshua Tree gives you a different feeling. Going up to the Redwoods, going up to Lake Tahoe, yeah, I still hold onto that.\u003c/p>\n\u003cp>\u003cb>That’s a big theme in your new album, \u003ca href=\"http://www.theejohndoe.com/music/\">“The Westerner.”\u003c/a> You talk about standing on the edge of the ocean, or the Arizona desert. You get the sense of that vast expanse.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11252176\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/WesternerDoe-800x804.jpg\" alt=\"westernerdoe\" width=\"800\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-520x523.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>A lot of the songs were inspired by my friend Michael Blake, who wrote “Dances with Wolves.” He did have a life that was challenging, cancer battles, and all these things. But he always had this optimism. It was always like “what’s over the next hill?” For that reason, and also to be close to him, we recorded him in Tucson, which has that open space, and has that distance, reverb and economy that you get out of the West and open space.\u003c/p>\n\u003cp>\u003cb>You’ve lived all over California: L.A., the Bay Area and even a stint in the Central Valley. I was really touched by your song, “A Little Help,” about farmworkers.\u003c/b>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2xHsn5ipt2o'\n title='//www.youtube.com/embed/2xHsn5ipt2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Maybe I’m Pollyanna, but I see a nobility, and I wish that people realized that every piece of fruit that they eat was touched by a human hand. I wish that people did more hard work in the sun. I think they’d have a different point of view. The song is also about two different ways of getting something done, which is to wrench into place, and to grab it and kill it and make it happen. Or just thinking of something, manifesting and letting something happen.\u003c/p>\n\u003cp>\u003cb>So is there a moment where you say, hey, I want to write a song like this? I want to write a song about people working the land?\u003c/b>\u003c/p>\n\u003cp>No, there’s a moment where I see an image, and it sticks with me. But I don’t go about it as an assignment. It’s a little more mysterious. I just take stuff, and play with some chords. I’ve been trying to do things more intuitively, just let it come out when there’s a good moment.\u003c/p>\n\u003cfigure id=\"attachment_11221917\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11221917\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-800x1291.jpg\" alt=\"Musician John Doe (Photo: Jim Herrington)\" width=\"800\" height=\"1291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-800x1291.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-160x258.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-1020x1646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-1180x1905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-960x1550.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-240x387.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-375x605.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-520x839.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician John Doe (Photo: Jim Herrington)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You’re also very well known for your 40-year legacy with X. Forty years, and you guys are still on the road.\u003c/b>\u003c/p>\n\u003cp>It’s a point at which you can be grateful. Even though you may have had disagreements with band members in the past, we’re all so happy to be playing. We’re playing a different kind of show, some deeper cuts. It’s more like a concert than just a punk rock show.\u003c/p>\n\u003cp>\u003cb>I grew up in L.A. at a time when punk and artists were responding to the Reagan years — AIDS and the first wave of Central American refugees. I wonder how you think about those songs taking on a new life now that California is heading in a different political direction than the rest of the country.\u003c/b>\u003c/p>\n\u003cp>Luckily, we didn’t use the name Reagan in any of our songs. We’re playing “I Must Not Think Bad Thoughts” a lot lately. And “The New World” is still relevant. From the point of view of a hobo, a bum, who wanted to get into his bar at 6 a.m. It was closed, there was some election, some president. He doesn’t even know the president’s name, it’s just “what’s his name.” And then in the second verse, we start talking about the decline of Midwest manufacturing. It’s like, hello, that was written in 1983!\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YbEhts7g-4U'\n title='//www.youtube.com/embed/YbEhts7g-4U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>So what’s next for John Doe in 2017?\u003c/b>\u003c/p>\n\u003cp>X is going to be touring a lot, ‘cuz it’s our 40th anniversary. I’m going to work on another book, an actual memoir. [Working on “Under the Big Black Sun”] was a pretty good experience. We’re really fortunate that [on the audiobook] everybody read their own chapters. In 20 years, that’s going to be kind of a cool document, to hear those voices talking from the early ’80s. It’ll be a pretty good year, I’m pretty sure.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/300826100″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/300826100″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/PPItL6MmTxo\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Tyrus Wong, who arrived at Angel Island as a 10-year-old immigrant from China in 1920 and went on to a career as one of the California's most important modern artists, has died at age 106.\u003c/p>\n\u003cp>The Los Angeles Times \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-tyrus-wong-obit-20161230-story.html\" target=\"_blank\">reports\u003c/a> Wong died Friday of natural causes at his home in Los Angeles. \u003c/p>\n\u003cp>Late in life, Wong became widely known for his landmark work on Walt Disney's 1942 animated feature \"Bambi.\" He was also recognized in Hollywood for his contributions to other landmark films, including \"Rebel Without a Cause\" and \"The Wild Bunch.\" \u003c/p>\n\u003cp>Wong's career received public recognition in the last two decades of his life. That was due in part to a \u003ca href=\"http://camla.org/past-exhibitions/#tyrus-wong-a-retrospective\" target=\"_blank\">2003-04 retrospective\u003c/a> at the Chinese American Museum in Los Angeles and belated attention from the Disney Co. itself. Wong was more recently in the spotlight because of the 2015 documentary \"Tyrus,\" by Los Angeles filmmaker Pamela Tom (see the trailer above). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As recounted in Tom's film, Wong rose in California's art world despite the many obstacles -- both those written into law and those woven into daily life by a society that had long viewed Chinese immigrants with disdain and hostility -- that he encountered upon his arrival as a child. \u003c/p>\n\u003cp>As detailed in \u003ca href=\"http://www.nytimes.com/2016/12/30/movies/tyrus-wong-dies-bambi-disney.html\" target=\"_blank\">The New York Times obituary\u003c/a> by Margalit Fox, the first hurdle Wong had to get over were the barriers imposed by the federal Chinese Exclusion Act, an 1880s-era law that sought to shut off Chinese immigration. \u003c/p>\n\u003cblockquote>\u003cp>In 1920, seeking better economic prospects, Gen Yeo and his father embarked for the United States, leaving his mother and sister behind. Gen Yeo would never see his mother again.\u003c/p>\n\u003cp>They were obliged to travel under false identities — a state of affairs known among Chinese immigrants as being a “paper son” — in the hope of circumventing the Chinese Exclusion Act ...\u003c/p>\n\u003cp>... United States immigration officials put Chinese arrivals through a formidable inquisition to ensure they were who they claimed to be.\u003c/p>\n\u003cp>The questions came like gunfire: In which direction does your village face? How many windows are in your house? Where in the house is the rice bin? How wide is your well? How deep? Are there trees in your village? Are there lakes? What shops can you name?\u003c/p>\n\u003cp>The sponsoring relative was interrogated separately, and the answers had to match. For the new arrival, a major mistake, or a series of smaller ones, could mean deportation.\u003c/p>\n\u003cp>To stand a chance of passing, aspirants memorized rigorous dossiers known as coaching papers. The ensuing interrogation was hard enough for adults. Ten-year-old Gen Yeo would undergo it alone.\u003c/p>\n\u003cp>On Dec. 30, 1920, after a month at sea, the Wongs landed at Angel Island Immigration Station. The elder Mr. Wong was traveling as a merchant named Look Get; his son as Look Tai Yow....\u003c/p>\n\u003cp>... Because Mr. Wong’s father had previously lived in the United States as Look Get, he was able to clear Immigration quickly. But as a new arrival, Gen Yeo was detained on the island for nearly a month, the only child among the immigrants being held there.\u003c/p>\n\u003cp>“I was scared half to death; I just cried,” Mr. Wong recalled in “Tyrus,” an award-winning documentary directed by Pamela Tom, which premiered in 2015. “Every day is just miserable — miserable. I hated that place.”\u003c/p>\n\u003cp>On Jan. 27, 1921, in the presence of an interpreter and a stenographer, young Gen Yeo, posing as Look Tai Yow, was interrogated by three inspectors. His father had already been questioned.\u003c/p>\n\u003cp>Gen Yeo was well prepared and answered without error. In Sacramento, where he joined his father, a schoolteacher Americanized “Tai Yow” to “Tyrus,” and he was known as Tyrus Wong ever after.\n\u003c/p>\u003c/blockquote>\n\u003cp>The Wongs eventually relocated to Los Angeles, where Tyrus Wong began his formal training as an artist. In the mid-1930s, Wong joined the Federal Arts Project, a publicly funded agency that employed artists to create paintings and murals for public buildings. In 1938, Disney's studio hired him as an \"in-betweener,\" someone whose job was essentially to create visual filler in animated films. The Times' Margalit Fox \u003ca href=\"http://www.nytimes.com/2016/12/30/movies/tyrus-wong-dies-bambi-disney.html\" target=\"_blank\">takes up the story from there\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Asians were then a novelty at Hollywood studios, and Mr. Wong was made keenly aware of the fact, first at Disney and later at Warner Brothers. One co-worker flung a racial epithet at him. Another assumed on sight that he worked in the company cafeteria.\u003c/p>\n\u003cp>Then there was the affront of the in-betweener’s job itself: Painstaking, repetitive and for Mr. Wong quickly soul-numbing, it is the assembly-line work of animation. ...\u003c/p>\n\u003cp>... A reprieve came in the late 1930s, when Mr. Wong learned that Disney was adapting “Bambi, a Life in the Woods,” the 1923 novel by the Austrian writer Felix Salten about a fawn whose mother is killed by a hunter.\u003c/p>\n\u003cp>In trying to animate the book, Disney had reached an impasse. The studio had enjoyed great success in 1937 with its animated film “Snow White and the Seven Dwarfs,” a baroque production in which every detail of the backgrounds — every petal on every flower, every leaf on every tree — was meticulously represented.\u003c/p>\n\u003cp>In an attempt to use a similar style for “Bambi,” it found that the ornate backgrounds camouflaged the deer and other forest creatures on which the narrative centered.\u003c/p>\n\u003cp>Mr. Wong spied his chance.\u003c/p>\n\u003cp>“I said, ‘Gee, this is all outdoor scenery,’” he recalled in a video interview years afterward, adding: “I said, ‘Gee, I’m a landscape painter!’”\u003c/p>\n\u003cp>Invoking the exquisite landscape paintings of the Song dynasty (A.D. 960–1279), he rendered in watercolors and pastels a series of nature scenes that were moody, lyrical and atmospheric — at once lush and spare — with backgrounds subtly suggested by a stroke or two of the brush.\u003c/p>\n\u003cp>“Walt Disney went crazy over them,” said John Canemaker, who wrote about Mr. Wong in his book “Before the Animation Begins: The Art and Lives of Disney Inspirational Sketch Artists” (1996). “He said, ‘I love this indefinite quality, the mysterious quality of the forest.’”\u003c/p>\n\u003cp>Mr. Wong was unofficially promoted to the rank of inspirational sketch artist.\u003c/p>\n\u003cp>“But he was more than that,” Mr. Canemaker explained. “He was the designer; he was the person they went to when they had questions about the color, about how to lay something out. He even influenced the music and the special effects: Just by the look of the drawings, he inspired people.”\u003c/p>\n\u003cp>Mr. Wong spent two years painting the illustrations that would inform every aspect of “Bambi.” Throughout the finished film — lent a brooding quality by its stark landscapes; misty, desaturated palette; and figures often seen in silhouette — his influence is unmistakable.\u003c/p>\u003c/blockquote>\n\u003cp>Disney fired Wong in 1941 after a strike at the studio. He went to work at Warner Brothers, retiribng in 1968. Amid many other accomplishments, Wong became known as a creator of striking kites. From \u003ca href=\"http://www.lisasee.com/on-gold-mountain/tyrus-wong-exhibit/\" target=\"_blank\">a catalog for a 2003-04 retrospective\u003c/a> of the \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-fta-tyrus-wong-art-exhibit-20161230-story.html\" target=\"_blank\">artist's work and career\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\"After retirement Wong felt restless. One day his wife, Ruth, said, \"Why don't you go fly a kite?\" Wong rose to the lighthearted domestic challenge by embarking on the traditional and complex art of Chinese kite making. His kites are amazing works of art -- a centipede a hundred feet long, a fluttering swarm of butterflies with individual moving parts, and schools of intricately painted goldfish -- for which he was been inducted into the World Kite Museum and Hall of Fame.\"\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And Wong told the L.A. Times in 1995:\u003c/p>\n\u003cblockquote>\u003cp>“You get a certain satisfaction in making them, and you get a certain satisfaction flying them. Some are attention-getters, but that’s not what I’m after. I used to go fishing a lot, and I love fishing. This is just like fishing, except in fishing you look down. Kite flying, you look up.”\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/PPItL6MmTxo\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Tyrus Wong, who arrived at Angel Island as a 10-year-old immigrant from China in 1920 and went on to a career as one of the California's most important modern artists, has died at age 106.\u003c/p>\n\u003cp>The Los Angeles Times \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-tyrus-wong-obit-20161230-story.html\" target=\"_blank\">reports\u003c/a> Wong died Friday of natural causes at his home in Los Angeles. \u003c/p>\n\u003cp>Late in life, Wong became widely known for his landmark work on Walt Disney's 1942 animated feature \"Bambi.\" He was also recognized in Hollywood for his contributions to other landmark films, including \"Rebel Without a Cause\" and \"The Wild Bunch.\" \u003c/p>\n\u003cp>Wong's career received public recognition in the last two decades of his life. That was due in part to a \u003ca href=\"http://camla.org/past-exhibitions/#tyrus-wong-a-retrospective\" target=\"_blank\">2003-04 retrospective\u003c/a> at the Chinese American Museum in Los Angeles and belated attention from the Disney Co. itself. Wong was more recently in the spotlight because of the 2015 documentary \"Tyrus,\" by Los Angeles filmmaker Pamela Tom (see the trailer above). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As recounted in Tom's film, Wong rose in California's art world despite the many obstacles -- both those written into law and those woven into daily life by a society that had long viewed Chinese immigrants with disdain and hostility -- that he encountered upon his arrival as a child. \u003c/p>\n\u003cp>As detailed in \u003ca href=\"http://www.nytimes.com/2016/12/30/movies/tyrus-wong-dies-bambi-disney.html\" target=\"_blank\">The New York Times obituary\u003c/a> by Margalit Fox, the first hurdle Wong had to get over were the barriers imposed by the federal Chinese Exclusion Act, an 1880s-era law that sought to shut off Chinese immigration. \u003c/p>\n\u003cblockquote>\u003cp>In 1920, seeking better economic prospects, Gen Yeo and his father embarked for the United States, leaving his mother and sister behind. Gen Yeo would never see his mother again.\u003c/p>\n\u003cp>They were obliged to travel under false identities — a state of affairs known among Chinese immigrants as being a “paper son” — in the hope of circumventing the Chinese Exclusion Act ...\u003c/p>\n\u003cp>... United States immigration officials put Chinese arrivals through a formidable inquisition to ensure they were who they claimed to be.\u003c/p>\n\u003cp>The questions came like gunfire: In which direction does your village face? How many windows are in your house? Where in the house is the rice bin? How wide is your well? How deep? Are there trees in your village? Are there lakes? What shops can you name?\u003c/p>\n\u003cp>The sponsoring relative was interrogated separately, and the answers had to match. For the new arrival, a major mistake, or a series of smaller ones, could mean deportation.\u003c/p>\n\u003cp>To stand a chance of passing, aspirants memorized rigorous dossiers known as coaching papers. The ensuing interrogation was hard enough for adults. Ten-year-old Gen Yeo would undergo it alone.\u003c/p>\n\u003cp>On Dec. 30, 1920, after a month at sea, the Wongs landed at Angel Island Immigration Station. The elder Mr. Wong was traveling as a merchant named Look Get; his son as Look Tai Yow....\u003c/p>\n\u003cp>... Because Mr. Wong’s father had previously lived in the United States as Look Get, he was able to clear Immigration quickly. But as a new arrival, Gen Yeo was detained on the island for nearly a month, the only child among the immigrants being held there.\u003c/p>\n\u003cp>“I was scared half to death; I just cried,” Mr. Wong recalled in “Tyrus,” an award-winning documentary directed by Pamela Tom, which premiered in 2015. “Every day is just miserable — miserable. I hated that place.”\u003c/p>\n\u003cp>On Jan. 27, 1921, in the presence of an interpreter and a stenographer, young Gen Yeo, posing as Look Tai Yow, was interrogated by three inspectors. His father had already been questioned.\u003c/p>\n\u003cp>Gen Yeo was well prepared and answered without error. In Sacramento, where he joined his father, a schoolteacher Americanized “Tai Yow” to “Tyrus,” and he was known as Tyrus Wong ever after.\n\u003c/p>\u003c/blockquote>\n\u003cp>The Wongs eventually relocated to Los Angeles, where Tyrus Wong began his formal training as an artist. In the mid-1930s, Wong joined the Federal Arts Project, a publicly funded agency that employed artists to create paintings and murals for public buildings. In 1938, Disney's studio hired him as an \"in-betweener,\" someone whose job was essentially to create visual filler in animated films. The Times' Margalit Fox \u003ca href=\"http://www.nytimes.com/2016/12/30/movies/tyrus-wong-dies-bambi-disney.html\" target=\"_blank\">takes up the story from there\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Asians were then a novelty at Hollywood studios, and Mr. Wong was made keenly aware of the fact, first at Disney and later at Warner Brothers. One co-worker flung a racial epithet at him. Another assumed on sight that he worked in the company cafeteria.\u003c/p>\n\u003cp>Then there was the affront of the in-betweener’s job itself: Painstaking, repetitive and for Mr. Wong quickly soul-numbing, it is the assembly-line work of animation. ...\u003c/p>\n\u003cp>... A reprieve came in the late 1930s, when Mr. Wong learned that Disney was adapting “Bambi, a Life in the Woods,” the 1923 novel by the Austrian writer Felix Salten about a fawn whose mother is killed by a hunter.\u003c/p>\n\u003cp>In trying to animate the book, Disney had reached an impasse. The studio had enjoyed great success in 1937 with its animated film “Snow White and the Seven Dwarfs,” a baroque production in which every detail of the backgrounds — every petal on every flower, every leaf on every tree — was meticulously represented.\u003c/p>\n\u003cp>In an attempt to use a similar style for “Bambi,” it found that the ornate backgrounds camouflaged the deer and other forest creatures on which the narrative centered.\u003c/p>\n\u003cp>Mr. Wong spied his chance.\u003c/p>\n\u003cp>“I said, ‘Gee, this is all outdoor scenery,’” he recalled in a video interview years afterward, adding: “I said, ‘Gee, I’m a landscape painter!’”\u003c/p>\n\u003cp>Invoking the exquisite landscape paintings of the Song dynasty (A.D. 960–1279), he rendered in watercolors and pastels a series of nature scenes that were moody, lyrical and atmospheric — at once lush and spare — with backgrounds subtly suggested by a stroke or two of the brush.\u003c/p>\n\u003cp>“Walt Disney went crazy over them,” said John Canemaker, who wrote about Mr. Wong in his book “Before the Animation Begins: The Art and Lives of Disney Inspirational Sketch Artists” (1996). “He said, ‘I love this indefinite quality, the mysterious quality of the forest.’”\u003c/p>\n\u003cp>Mr. Wong was unofficially promoted to the rank of inspirational sketch artist.\u003c/p>\n\u003cp>“But he was more than that,” Mr. Canemaker explained. “He was the designer; he was the person they went to when they had questions about the color, about how to lay something out. He even influenced the music and the special effects: Just by the look of the drawings, he inspired people.”\u003c/p>\n\u003cp>Mr. Wong spent two years painting the illustrations that would inform every aspect of “Bambi.” Throughout the finished film — lent a brooding quality by its stark landscapes; misty, desaturated palette; and figures often seen in silhouette — his influence is unmistakable.\u003c/p>\u003c/blockquote>\n\u003cp>Disney fired Wong in 1941 after a strike at the studio. He went to work at Warner Brothers, retiribng in 1968. Amid many other accomplishments, Wong became known as a creator of striking kites. From \u003ca href=\"http://www.lisasee.com/on-gold-mountain/tyrus-wong-exhibit/\" target=\"_blank\">a catalog for a 2003-04 retrospective\u003c/a> of the \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-fta-tyrus-wong-art-exhibit-20161230-story.html\" target=\"_blank\">artist's work and career\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\"After retirement Wong felt restless. One day his wife, Ruth, said, \"Why don't you go fly a kite?\" Wong rose to the lighthearted domestic challenge by embarking on the traditional and complex art of Chinese kite making. His kites are amazing works of art -- a centipede a hundred feet long, a fluttering swarm of butterflies with individual moving parts, and schools of intricately painted goldfish -- for which he was been inducted into the World Kite Museum and Hall of Fame.\"\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "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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