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"content": "\u003cp>Iris Alejandra Arcos Cisneros, 18, was nervous. And excited, too.\u003c/p>\n\u003cp>The teen from Daly City was about to climb on top of a white pickup truck that would take her through the streets of Healdsburg. On Thursday, the small town in the heart of Sonoma County held its Twilight Parade, \u003ca href=\"https://www.pressdemocrat.com/article/news/healdsburg-twilight-parade-ffa-fair/\">marking the start of summer festivities that have existed in Wine Country for 75 years\u003c/a>.\u003c/p>\n\u003cp>But Arcos Cisneros was also there to represent her own tradition, bestowed upon her by her family and community.\u003c/p>\n\u003cp>In her right hand, she had a golden staff. On her head, she wore a sparkling crown. She is this year’s Queen of Carnaval Putleco, a title that pays homage to a celebration that has existed for almost two centuries in Putla, a town in the western mountains of Oaxaca, Mexico.\u003c/p>\n\u003cp>“It’s been my dream to be queen since I was a little girl,” she says. “I love to see the reactions of people who have never seen something like Carnaval Putleco before.”\u003c/p>\n\u003cfigure id=\"attachment_11987641\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987641\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-10-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-10-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-10-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-10-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Iris Alejandra Arcos Cisneros, 18, this year’s Carnaval Putleco queen, poses for a photo alongside the group. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11987637\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-03-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-03-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-03-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-03-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-03-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-03-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-03-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Arcos Cisneros debuts as Carnaval Putleco queen atop a float that Amanda Herrera drives during the Twilight Parade. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Someone from Putla is called “putleco” or “putleca,” and in the past two decades, more and more putleco families have migrated to Bay Area cities. Despite Oaxaca and California being thousands of miles apart, putlecos have found each other in the Bay and pooled resources to continue the traditions of Carnaval Putleco — or the Carnaval of Putla — in their new home.\u003c/p>\n\u003cp>One of those traditions is to crown a queen each year who will lead Carnaval Putleco at different events throughout the region, like Healdsburg’s Twilight Festival and \u003ca href=\"https://www.kqed.org/news/11987214/11987214-revision-v1#wheretoseecarnavalsfparade\">the upcoming Grand Parade of San Francisco Carnaval, scheduled for Sunday, May 26\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the truck carrying Arcos Cisneros moves through the streets of Healdsburg, dozens of dancers follow closely behind. Each dancer is wearing a tiliche — an incredibly colorful and elaborate full-body suit made out of hundreds of ribbons that move in all directions as the dancer deftly skips and jumps to the rhythm of the music. When one person dances with a tiliche on, you start noticing more details: a mask made of animal fur and an oversized hat made of palm straw.\u003c/p>\n\u003cp>But seeing many tiliches together at once becomes an experience. Color seamlessly combines with rhythm. The space around them fills with energy as dynamic and graceful as their movements.\u003c/p>\n\u003cfigure id=\"attachment_11987640\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987640\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-07-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-07-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-07-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-07-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Crowds line the streets as Carnaval Putleco dances in the Twilight Parade. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And at every block, they’re greeted by loud cheers.\u003c/p>\n\u003cp>“They’re definitely the highlight of the parade,” says Kate Howell, who lives in Sonoma County and has come to the Twilight Festival her whole life. Her young daughter, Maizey, jumped up as soon as she saw the tiliches and danced along with them. Carnaval Putleco adds something that Healdsburg needs now, Howell says, “the music, the color, the enthusiasm, the costumes, the joy of it all.”\u003c/p>\n\u003cp>Dozens of blocks of nonstop dancing later, Carnaval Putleco finally made it to the end of the parade. They gathered at the house of one of the member families in Healdsburg. As the dancers streamed into the backyard to relax, they removed their masks.\u003c/p>\n\u003cp>Everyone is soaked in sweat. Each tiliche weighs at least 20 pounds, and the more elaborate ones can weigh up to 40 pounds. It’s a serious workout under the hot Sonoma sun.\u003c/p>\n\u003cp>Thankfully, a giant pot of delicious pozole is ready — perfect to replenish body and soul.\u003c/p>\n\u003cfigure id=\"attachment_11987636\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987636\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Left: Grismel Alonso Soto holds ‘el torito’ or little bull as she dances in the Twilight Parade. Right: The group Carnaval Putleco dances through Healdsburg. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11987638\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987638\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-05-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-05-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-05-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-05-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-05-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-05-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-05-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Iván Olivera wears a tiliche made with multicolor ribbons created by Martha Cortés Rojas as he dances with Carnaval Putleco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Today wasn’t just any parade,” says Grismel Alonso Soto, who came all the way from Cloverdale with her 3-year-old son, Francisco, to dance. “All of this has such a deeper meaning.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She shares that her grandmother, who taught her so much about Putla’s traditions, couldn’t make it to the celebrations because her health had been worsening. “I danced for her today,” she says. “When you dance, you connect with all those things you don’t want to forget.”\u003c/span>\u003c/p>\n\u003ch2>\u003cb data-stringify-type=\"bold\">Tiliches: An art, a tradition, a vision\u003c/b>\u003c/h2>\n\u003cfigure id=\"attachment_11987642\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987642\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-05-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-05-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-05-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-05-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-05-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-05-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-05-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Martha Cortés Rojas works alongside her daughter Heather, 15, at their home in Healdsburg on May 15, 2024, to create garments for this year’s Carnaval Putleco parades in Healdsburg and San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Carnaval Putleco started 17 years ago when a group of families from Putla and the communities surrounding it formed Comité Pochtlán, a collective with the goal of promoting putleco culture in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of the members of Comité Pochtlán, Martha Cortés Rojas, who lives in Healdsburg, remembers how she and her husband, Amando Herrera Villa, went to that city’s Twilight Parade in 2007. As they both watched different floats pass by, Herrera Villa turned to her and told her they should join the following year wearing the tiliches they missed seeing so much in Putla.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I agreed,” she says in Spanish, “but I told him we would need to find a way to make our own tiliches.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11987643\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-Diptych.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-Diptych.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-Diptych-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-Diptych-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-Diptych-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-Diptych-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-Diptych-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Left: Martha Cortés Rojas strings beads and ayoyote shells onto a wire to create a tiliche. Right: Rojas shows a stitch she created for a tiliche made of woven palm leaves. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They started calling friends and family members they knew were now living in California. While many were in Sonoma County, others had settled in Daly City, Sunnyvale, San José and as far as Los Angeles.\u003c/p>\n\u003cp>Folks quickly got on board. Despite time and distance, Carnaval is something deeply entrenched in the memories of so many putlecos. In Putla, like other Carnaval celebrations held across Latin America, Carnaval happens right before the start of Lent, when Catholics must focus on prayer and self-control for 40 days.\u003c/p>\n\u003cp>But before Lent, one big party usually takes place — Carnaval, \u003ca href=\"https://www.mexicodesconocido.com.mx/carnaval-putleco.html\">the biggest celebration in Oaxaca after the Guelaguetza\u003c/a>. For three straight days, the streets of Putla fill up with parties, where you’ll see three different types of dances: la danza de los machos, la comparsa de copalas and la danza de los viejos. The last one, danza de los viejos, is where you see the tiliches appear.\u003c/p>\n\u003cp>The name, danza de los viejos, translates to “the dance of the old men,” and traditionally, the tiliches were meant to represent older men and women. The suits would be made up completely of old fabric and ribbons, but in contemporary celebrations, most tiliches are now made up of newer material and represent various characters, including animals, demons and mythical characters.\u003c/p>\n\u003cfigure id=\"attachment_11987645\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-07-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-07-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-07-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-07-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Heather Herrera Cortés, 15, works with her mother, Martha, to paint a mask for this year’s Carnaval Putleco celebrations. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But when Cortés Rojas went about creating a tiliche back in 2007, she stuck close to tradition and designed her suit to look like an old man. It was the first tiliche she had ever made in her life, after all. As a young girl in Putla, she would watch the Carnaval each year but never got involved in the production. Now, as an adult living in Sonoma, she had to figure out the process by herself, using completely different materials. But that challenge proved to be an opportunity for her creativity to take over.\u003c/p>\n\u003cp>“I’m making tiliches in my own way now,” she says. In her backyard, she’s set up several of the tiliches she’s made over the years. She points at a tiliche made completely out of white chiffon ribbons. “This one varies from the traditional style,” she says, “back in Putla, each piece of cloth in the suit has to be of a completely different color from different pieces of clothing.”\u003c/p>\n\u003cp>But a tiliche made of only white ribbons will stand out wherever she says, adding, “White represents purity, and when someone dances with this, it almost looks like they are floating.”\u003c/p>\n\u003cp>With every tiliche she makes, her vision as an artist becomes bolder, and her skill as an artisan has only grown stronger.\u003c/p>\n\u003cp>Instead of pieces of cloth, she covered one tiliche with thousands of braided palm leaves. She didn’t braid the palm leaves herself — she bought them from Mexico readymade — but she sowed each of them one by one on the suit. The final result is a tiliche as vibrant as a traditional one but that responds to the dancer’s movement in a completely distinct way: The braids spring against each other as the dancer moves, giving a lighter and more ecstatic sensation.\u003c/p>\n\u003cp>“All of this represents a lot of time and money we have invested,” she says, adding that it takes her about a year to make one tiliche, “but this makes us happy. … my mind is always full of ideas for new tiliches, new ways to make each one more elaborate, more beautiful, more original.”\u003c/p>\n\u003cp>With only a few days left before Carnaval San Francisco, she’s rushing to finish the tiliche her husband will wear in that parade. This suit could be her most ambitious design yet: a tiliche covered entirely in colorful beads and ayoyotes.\u003c/p>\n\u003cfigure id=\"attachment_11987644\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987644\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-06-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-06-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-06-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-06-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-06-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-06-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-06-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Martha Cortés Rojas hollows out an ayoyote shell to adorn a tiliche. Rojas makes all of her Carnaval Putleco attire by hand. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ayoyotes are the shells of a nut that come from an ayoyote tree. Many dancers throughout Mexico and Central America use ayoyotes to make rattles that they can wear or carry during their performances (Aztec dancers, for example, cover their ankles with them so they make that familiar rattle as they move). Cortés Rojas has to crack open each ayoyote nut, carefully remove the toxic seeds, and drill a hole where she can run the string that will attach it to the suit.\u003c/p>\n\u003cp>“Each suit takes up a couple drops of blood, too,” she jokes but points to her fingertips, where she has poked herself countless times, drilling through ayoyotes. It’s taken almost two years to finish this tiliche. But the wait is absolutely worth it, she says. Nothing like this has ever been attempted before — not even in Oaxaca.\u003c/p>\n\u003cp>“The greatest reward is that someone sees one of my suits and is left in awe by its beauty and the effort that it requires. Everything is handmade,” she says. “When someone sees a tiliche, they know us putlecos are here.”\u003c/p>\n\u003ch2>\u003cstrong>‘¡Que viva Putla!’\u003c/strong>\u003c/h2>\n\u003cp>Perhaps those who have the deepest love for the traditions of Carnaval Putleco are young putlecos who grew up here in California, far away from Putla.\u003c/p>\n\u003cp>Iván Olivera, 33, came to the U.S. when he was 1, brought to Sonoma by his parents. He’s never had the chance to visit Putla, but he grew up hearing family always talk about its traditions. When he turned 17, he joined Carnaval Putleco and donned a tiliche. He hasn’t stopped since.\u003c/p>\n\u003cfigure id=\"attachment_11987652\" class=\"wp-caption alignnone\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987652\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-19-BL-Recovered.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-19-BL-Recovered.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-19-BL-Recovered-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-19-BL-Recovered-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-19-BL-Recovered-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-19-BL-Recovered-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-19-BL-Recovered-1920x1280.jpg 1920w\" sizes=\"(max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Left: Iván Olivera shows the stitches inside his tiliche, which Martha Cortés Rojas created. Right: Olivera puts on a tiliche over a backpack to create the traditional shape. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11987653\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987653\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-26-BL-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-26-BL-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-26-BL-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-26-BL-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-26-BL-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-26-BL-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-26-BL-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Misael Olivera (left) and his brother Iván put on their tiliches at a coronation event for this year’s Carnaval Putleco queen hosted by Comité Pochtlán, a group promoting Oaxacan culture, at the Healdsburg Community Center. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s something from our roots; we love doing it,” he says. His tiliche is perhaps one of the biggest — and heaviest — ones. He’s joined a crossfit class and regularly runs to stay in tiliche-ready shape throughout the year. After dancing for a couple of hours, it can get extremely hot inside the suit, but he says he doesn’t mind the heat.\u003c/p>\n\u003cp>“It’s the crowd — the rhythm of the music, that gets me going,” he says. Dancing with a tiliche, surrounded by other putlecos, with traditional Oaxacan music playing, it gives him a feeling of home and family that he can’t get anywhere else.\u003c/p>\n\u003cp>As he’s gotten older, he’s invited friends who grew up with him in Sonoma to dance with him. His brother, Misael, also dances with the group. The two brothers got to catch up and perform together on April 20 at the Healdsburg Community Center when Carnaval Putleco crowned Arcos Cisneros as the new queen.\u003c/p>\n\u003cfigure id=\"attachment_11987649\" class=\"wp-caption alignnone\" style=\"max-width: 1959px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987649\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych4.jpg\" alt=\"\" width=\"1959\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych4.jpg 1959w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych4-1920x1280.jpg 1920w\" sizes=\"(max-width: 1959px) 100vw, 1959px\">\u003cfigcaption class=\"wp-caption-text\">Left: Cecilia Carlos Montesinos, the 2023 queen, poses for a photo before she passes the crown to Iris Alejandra Arcos Cisneros. Right: Cecilia Carlos Montesinos (left) pins a crown on Arcos Cisneros, this year’s Carnaval Putleco queen, during a coronation ceremony. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arcos Cisneros also grew up in the Bay, but she’s been lucky enough to visit Putla many times. “Growing up, this felt like a big party until I realized the cultural significance of it all,” she says.\u003c/p>\n\u003cp>“Over there, it’s a different \u003cem>ambiente —\u003c/em> everyone knows each other and the traditions,” she says. “Over here, it feels like we’re sharing something new with people.”\u003c/p>\n\u003cp>On Sunday, she will lead Carnaval Putleco through the streets of San Francisco’s Mission District as tens of thousands of people from all over California cheer them on. But this time around, she won’t be on top of the group’s float — instead, she’ll be dancing right along with all the other tiliches.\u003c/p>\n\u003cp>After all, she takes her role as queen seriously. At the end of her coronation ceremony, she told her fellow putlecos, “\u003cem>Es un orgullo para mi representar la comunidad putleca en estas tierras californianas.\u003c/em>” — “It is a great pride for me to represent the putleco community here in California.”\u003c/p>\n\u003cp>“\u003cem>¡Que viva Oaxaca! ¡Que viva Putla y sus comunidades! ¡Y que viva el Carnaval!\u003c/em>” — “Long live Oaxaca! Long live Putla and its surrounding communities! And long live Carnaval!”\u003c/p>\n\u003cfigure id=\"attachment_11987650\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987650\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-01-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-01-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-01-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-01-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-01-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-01-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-01-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Iris Alejandra Arcos Cisneros, 18, this year’s Carnaval Putleco queen, holds ‘el torito’ as she dances during her coronation ceremony at an event hosted by Comité Pochtlán, a group promoting Oaxacan culture at the Healdsburg Community Center. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Families from all over the Bay Area celebrated the tradition of the Putla Carnaval from their hometown of Putla Villa de Guerrero in Oaxaca, Mexico, with music, dance and elaborate costumes.",
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"title": "Carnaval Putleco Brings a Oaxacan Festival of Colors to the Bay Area | KQED",
"description": "Families from all over the Bay Area celebrated the tradition of the Putla Carnaval from their hometown of Putla Villa de Guerrero in Oaxaca, Mexico, with music, dance and elaborate costumes.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Iris Alejandra Arcos Cisneros, 18, was nervous. And excited, too.\u003c/p>\n\u003cp>The teen from Daly City was about to climb on top of a white pickup truck that would take her through the streets of Healdsburg. On Thursday, the small town in the heart of Sonoma County held its Twilight Parade, \u003ca href=\"https://www.pressdemocrat.com/article/news/healdsburg-twilight-parade-ffa-fair/\">marking the start of summer festivities that have existed in Wine Country for 75 years\u003c/a>.\u003c/p>\n\u003cp>But Arcos Cisneros was also there to represent her own tradition, bestowed upon her by her family and community.\u003c/p>\n\u003cp>In her right hand, she had a golden staff. On her head, she wore a sparkling crown. She is this year’s Queen of Carnaval Putleco, a title that pays homage to a celebration that has existed for almost two centuries in Putla, a town in the western mountains of Oaxaca, Mexico.\u003c/p>\n\u003cp>“It’s been my dream to be queen since I was a little girl,” she says. “I love to see the reactions of people who have never seen something like Carnaval Putleco before.”\u003c/p>\n\u003cfigure id=\"attachment_11987641\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987641\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-10-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-10-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-10-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-10-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Iris Alejandra Arcos Cisneros, 18, this year’s Carnaval Putleco queen, poses for a photo alongside the group. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11987637\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-03-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-03-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-03-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-03-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-03-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-03-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-03-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Arcos Cisneros debuts as Carnaval Putleco queen atop a float that Amanda Herrera drives during the Twilight Parade. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Someone from Putla is called “putleco” or “putleca,” and in the past two decades, more and more putleco families have migrated to Bay Area cities. Despite Oaxaca and California being thousands of miles apart, putlecos have found each other in the Bay and pooled resources to continue the traditions of Carnaval Putleco — or the Carnaval of Putla — in their new home.\u003c/p>\n\u003cp>One of those traditions is to crown a queen each year who will lead Carnaval Putleco at different events throughout the region, like Healdsburg’s Twilight Festival and \u003ca href=\"https://www.kqed.org/news/11987214/11987214-revision-v1#wheretoseecarnavalsfparade\">the upcoming Grand Parade of San Francisco Carnaval, scheduled for Sunday, May 26\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the truck carrying Arcos Cisneros moves through the streets of Healdsburg, dozens of dancers follow closely behind. Each dancer is wearing a tiliche — an incredibly colorful and elaborate full-body suit made out of hundreds of ribbons that move in all directions as the dancer deftly skips and jumps to the rhythm of the music. When one person dances with a tiliche on, you start noticing more details: a mask made of animal fur and an oversized hat made of palm straw.\u003c/p>\n\u003cp>But seeing many tiliches together at once becomes an experience. Color seamlessly combines with rhythm. The space around them fills with energy as dynamic and graceful as their movements.\u003c/p>\n\u003cfigure id=\"attachment_11987640\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987640\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-07-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-07-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-07-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-07-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Crowds line the streets as Carnaval Putleco dances in the Twilight Parade. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And at every block, they’re greeted by loud cheers.\u003c/p>\n\u003cp>“They’re definitely the highlight of the parade,” says Kate Howell, who lives in Sonoma County and has come to the Twilight Festival her whole life. Her young daughter, Maizey, jumped up as soon as she saw the tiliches and danced along with them. Carnaval Putleco adds something that Healdsburg needs now, Howell says, “the music, the color, the enthusiasm, the costumes, the joy of it all.”\u003c/p>\n\u003cp>Dozens of blocks of nonstop dancing later, Carnaval Putleco finally made it to the end of the parade. They gathered at the house of one of the member families in Healdsburg. As the dancers streamed into the backyard to relax, they removed their masks.\u003c/p>\n\u003cp>Everyone is soaked in sweat. Each tiliche weighs at least 20 pounds, and the more elaborate ones can weigh up to 40 pounds. It’s a serious workout under the hot Sonoma sun.\u003c/p>\n\u003cp>Thankfully, a giant pot of delicious pozole is ready — perfect to replenish body and soul.\u003c/p>\n\u003cfigure id=\"attachment_11987636\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987636\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Left: Grismel Alonso Soto holds ‘el torito’ or little bull as she dances in the Twilight Parade. Right: The group Carnaval Putleco dances through Healdsburg. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11987638\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987638\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-05-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-05-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-05-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-05-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-05-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-05-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240523-CarnavalPutleco-05-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Iván Olivera wears a tiliche made with multicolor ribbons created by Martha Cortés Rojas as he dances with Carnaval Putleco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Today wasn’t just any parade,” says Grismel Alonso Soto, who came all the way from Cloverdale with her 3-year-old son, Francisco, to dance. “All of this has such a deeper meaning.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She shares that her grandmother, who taught her so much about Putla’s traditions, couldn’t make it to the celebrations because her health had been worsening. “I danced for her today,” she says. “When you dance, you connect with all those things you don’t want to forget.”\u003c/span>\u003c/p>\n\u003ch2>\u003cb data-stringify-type=\"bold\">Tiliches: An art, a tradition, a vision\u003c/b>\u003c/h2>\n\u003cfigure id=\"attachment_11987642\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987642\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-05-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-05-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-05-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-05-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-05-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-05-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-05-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Martha Cortés Rojas works alongside her daughter Heather, 15, at their home in Healdsburg on May 15, 2024, to create garments for this year’s Carnaval Putleco parades in Healdsburg and San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Carnaval Putleco started 17 years ago when a group of families from Putla and the communities surrounding it formed Comité Pochtlán, a collective with the goal of promoting putleco culture in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of the members of Comité Pochtlán, Martha Cortés Rojas, who lives in Healdsburg, remembers how she and her husband, Amando Herrera Villa, went to that city’s Twilight Parade in 2007. As they both watched different floats pass by, Herrera Villa turned to her and told her they should join the following year wearing the tiliches they missed seeing so much in Putla.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I agreed,” she says in Spanish, “but I told him we would need to find a way to make our own tiliches.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11987643\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-Diptych.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-Diptych.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-Diptych-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-Diptych-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-Diptych-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-Diptych-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-Diptych-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Left: Martha Cortés Rojas strings beads and ayoyote shells onto a wire to create a tiliche. Right: Rojas shows a stitch she created for a tiliche made of woven palm leaves. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They started calling friends and family members they knew were now living in California. While many were in Sonoma County, others had settled in Daly City, Sunnyvale, San José and as far as Los Angeles.\u003c/p>\n\u003cp>Folks quickly got on board. Despite time and distance, Carnaval is something deeply entrenched in the memories of so many putlecos. In Putla, like other Carnaval celebrations held across Latin America, Carnaval happens right before the start of Lent, when Catholics must focus on prayer and self-control for 40 days.\u003c/p>\n\u003cp>But before Lent, one big party usually takes place — Carnaval, \u003ca href=\"https://www.mexicodesconocido.com.mx/carnaval-putleco.html\">the biggest celebration in Oaxaca after the Guelaguetza\u003c/a>. For three straight days, the streets of Putla fill up with parties, where you’ll see three different types of dances: la danza de los machos, la comparsa de copalas and la danza de los viejos. The last one, danza de los viejos, is where you see the tiliches appear.\u003c/p>\n\u003cp>The name, danza de los viejos, translates to “the dance of the old men,” and traditionally, the tiliches were meant to represent older men and women. The suits would be made up completely of old fabric and ribbons, but in contemporary celebrations, most tiliches are now made up of newer material and represent various characters, including animals, demons and mythical characters.\u003c/p>\n\u003cfigure id=\"attachment_11987645\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-07-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-07-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-07-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-07-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Heather Herrera Cortés, 15, works with her mother, Martha, to paint a mask for this year’s Carnaval Putleco celebrations. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But when Cortés Rojas went about creating a tiliche back in 2007, she stuck close to tradition and designed her suit to look like an old man. It was the first tiliche she had ever made in her life, after all. As a young girl in Putla, she would watch the Carnaval each year but never got involved in the production. Now, as an adult living in Sonoma, she had to figure out the process by herself, using completely different materials. But that challenge proved to be an opportunity for her creativity to take over.\u003c/p>\n\u003cp>“I’m making tiliches in my own way now,” she says. In her backyard, she’s set up several of the tiliches she’s made over the years. She points at a tiliche made completely out of white chiffon ribbons. “This one varies from the traditional style,” she says, “back in Putla, each piece of cloth in the suit has to be of a completely different color from different pieces of clothing.”\u003c/p>\n\u003cp>But a tiliche made of only white ribbons will stand out wherever she says, adding, “White represents purity, and when someone dances with this, it almost looks like they are floating.”\u003c/p>\n\u003cp>With every tiliche she makes, her vision as an artist becomes bolder, and her skill as an artisan has only grown stronger.\u003c/p>\n\u003cp>Instead of pieces of cloth, she covered one tiliche with thousands of braided palm leaves. She didn’t braid the palm leaves herself — she bought them from Mexico readymade — but she sowed each of them one by one on the suit. The final result is a tiliche as vibrant as a traditional one but that responds to the dancer’s movement in a completely distinct way: The braids spring against each other as the dancer moves, giving a lighter and more ecstatic sensation.\u003c/p>\n\u003cp>“All of this represents a lot of time and money we have invested,” she says, adding that it takes her about a year to make one tiliche, “but this makes us happy. … my mind is always full of ideas for new tiliches, new ways to make each one more elaborate, more beautiful, more original.”\u003c/p>\n\u003cp>With only a few days left before Carnaval San Francisco, she’s rushing to finish the tiliche her husband will wear in that parade. This suit could be her most ambitious design yet: a tiliche covered entirely in colorful beads and ayoyotes.\u003c/p>\n\u003cfigure id=\"attachment_11987644\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987644\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-06-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-06-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-06-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-06-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-06-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-06-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240515-CarnavalPutleco-06-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Martha Cortés Rojas hollows out an ayoyote shell to adorn a tiliche. Rojas makes all of her Carnaval Putleco attire by hand. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ayoyotes are the shells of a nut that come from an ayoyote tree. Many dancers throughout Mexico and Central America use ayoyotes to make rattles that they can wear or carry during their performances (Aztec dancers, for example, cover their ankles with them so they make that familiar rattle as they move). Cortés Rojas has to crack open each ayoyote nut, carefully remove the toxic seeds, and drill a hole where she can run the string that will attach it to the suit.\u003c/p>\n\u003cp>“Each suit takes up a couple drops of blood, too,” she jokes but points to her fingertips, where she has poked herself countless times, drilling through ayoyotes. It’s taken almost two years to finish this tiliche. But the wait is absolutely worth it, she says. Nothing like this has ever been attempted before — not even in Oaxaca.\u003c/p>\n\u003cp>“The greatest reward is that someone sees one of my suits and is left in awe by its beauty and the effort that it requires. Everything is handmade,” she says. “When someone sees a tiliche, they know us putlecos are here.”\u003c/p>\n\u003ch2>\u003cstrong>‘¡Que viva Putla!’\u003c/strong>\u003c/h2>\n\u003cp>Perhaps those who have the deepest love for the traditions of Carnaval Putleco are young putlecos who grew up here in California, far away from Putla.\u003c/p>\n\u003cp>Iván Olivera, 33, came to the U.S. when he was 1, brought to Sonoma by his parents. He’s never had the chance to visit Putla, but he grew up hearing family always talk about its traditions. When he turned 17, he joined Carnaval Putleco and donned a tiliche. He hasn’t stopped since.\u003c/p>\n\u003cfigure id=\"attachment_11987652\" class=\"wp-caption alignnone\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987652\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-19-BL-Recovered.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-19-BL-Recovered.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-19-BL-Recovered-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-19-BL-Recovered-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-19-BL-Recovered-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-19-BL-Recovered-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-19-BL-Recovered-1920x1280.jpg 1920w\" sizes=\"(max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Left: Iván Olivera shows the stitches inside his tiliche, which Martha Cortés Rojas created. Right: Olivera puts on a tiliche over a backpack to create the traditional shape. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11987653\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987653\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-26-BL-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-26-BL-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-26-BL-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-26-BL-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-26-BL-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-26-BL-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-26-BL-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Misael Olivera (left) and his brother Iván put on their tiliches at a coronation event for this year’s Carnaval Putleco queen hosted by Comité Pochtlán, a group promoting Oaxacan culture, at the Healdsburg Community Center. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s something from our roots; we love doing it,” he says. His tiliche is perhaps one of the biggest — and heaviest — ones. He’s joined a crossfit class and regularly runs to stay in tiliche-ready shape throughout the year. After dancing for a couple of hours, it can get extremely hot inside the suit, but he says he doesn’t mind the heat.\u003c/p>\n\u003cp>“It’s the crowd — the rhythm of the music, that gets me going,” he says. Dancing with a tiliche, surrounded by other putlecos, with traditional Oaxacan music playing, it gives him a feeling of home and family that he can’t get anywhere else.\u003c/p>\n\u003cp>As he’s gotten older, he’s invited friends who grew up with him in Sonoma to dance with him. His brother, Misael, also dances with the group. The two brothers got to catch up and perform together on April 20 at the Healdsburg Community Center when Carnaval Putleco crowned Arcos Cisneros as the new queen.\u003c/p>\n\u003cfigure id=\"attachment_11987649\" class=\"wp-caption alignnone\" style=\"max-width: 1959px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987649\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych4.jpg\" alt=\"\" width=\"1959\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych4.jpg 1959w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/CarnavalPutleco-Diptych4-1920x1280.jpg 1920w\" sizes=\"(max-width: 1959px) 100vw, 1959px\">\u003cfigcaption class=\"wp-caption-text\">Left: Cecilia Carlos Montesinos, the 2023 queen, poses for a photo before she passes the crown to Iris Alejandra Arcos Cisneros. Right: Cecilia Carlos Montesinos (left) pins a crown on Arcos Cisneros, this year’s Carnaval Putleco queen, during a coronation ceremony. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arcos Cisneros also grew up in the Bay, but she’s been lucky enough to visit Putla many times. “Growing up, this felt like a big party until I realized the cultural significance of it all,” she says.\u003c/p>\n\u003cp>“Over there, it’s a different \u003cem>ambiente —\u003c/em> everyone knows each other and the traditions,” she says. “Over here, it feels like we’re sharing something new with people.”\u003c/p>\n\u003cp>On Sunday, she will lead Carnaval Putleco through the streets of San Francisco’s Mission District as tens of thousands of people from all over California cheer them on. But this time around, she won’t be on top of the group’s float — instead, she’ll be dancing right along with all the other tiliches.\u003c/p>\n\u003cp>After all, she takes her role as queen seriously. At the end of her coronation ceremony, she told her fellow putlecos, “\u003cem>Es un orgullo para mi representar la comunidad putleca en estas tierras californianas.\u003c/em>” — “It is a great pride for me to represent the putleco community here in California.”\u003c/p>\n\u003cp>“\u003cem>¡Que viva Oaxaca! ¡Que viva Putla y sus comunidades! ¡Y que viva el Carnaval!\u003c/em>” — “Long live Oaxaca! Long live Putla and its surrounding communities! And long live Carnaval!”\u003c/p>\n\u003cfigure id=\"attachment_11987650\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987650\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-01-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-01-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-01-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-01-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-01-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-01-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240420-CarnavalPutleco-01-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Iris Alejandra Arcos Cisneros, 18, this year’s Carnaval Putleco queen, holds ‘el torito’ as she dances during her coronation ceremony at an event hosted by Comité Pochtlán, a group promoting Oaxacan culture at the Healdsburg Community Center. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>If you take a walk around San Francisco, it won’t take long before you see a koi fish. Not a real one, of course, although the bright orange-and-white graffiti art has the fluidity of a real fish hovering in the water. The stenciled koi on our city streets range in size from a foot long to the length of a whale. They float along city sidewalks and up walls as if this urban landscape were their native pond.\u003c/p>\n\u003cp>“They are all over the Bay Area, concentrated in San Francisco,” says \u003ca href=\"https://jeremynovystencils.com/\">Jeremy Novy\u003c/a>, the artist behind the bright carp fish.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>Novy says he’s painted more than 8,000 koi in the Bay Area since he started stenciling them in 2008. Koi imagery inspired him when he traveled to China as a college student in 2006. There, the fish symbolizes prosperity, good fortune and perseverance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While in China, Novy studied the Chinese Cultural Revolution (1966–76), when the communist government tried to purge the culture of the traditional elements. Novy says that to preserve their heritage, people turned to the symbolism in art. They would hide Chinese lucky numbers in koi paintings. He decided to bring the concept back to the United States and marry it with contemporary material — the concrete of the streets.\u003c/p>\n\u003cp>“I stencil koi to create a kind of nature, zen moment in our urban landscape, instead of real water and real fish,” Novy says.\u003c/p>\n\u003cp>When he first started painting koi, he lived in his home state of Wisconsin. After moving to San Francisco, the first koi he painted was in the Mission District, in front of the Women’s Building on 18th Street. He says the power of the mural on the community center inspired him. Next, he took his project to the hidden alleyways of the Tenderloin and, later, began painting koi in front of the businesses he frequented.\u003c/p>\n\u003cfigure id=\"attachment_11987356\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987356\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Koi-1.jpg\" alt=\"Three koi fish swirl in a circle along the corner of a blue residential building.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Koi-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Koi-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Koi-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Koi-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Koi-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">During the pandemic, Novy took commissions from homeowners to paint koi on or near their homes. \u003ccite>(Tamuna Chkareuli /KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Slowly, koi have become somewhat commonplace on the streets of the Bay Area. During the pandemic, Novy took commissions from San Francisco homeowners as a way to cheer people up during the quarantine.\u003c/p>\n\u003cp>“We weren’t able to go to museums and galleries, but we were able to go to the grocery store and do these small activities,” Novy says. “So having art in different neighborhoods and small areas was very important.”\u003c/p>\n\u003cp>His biggest creations, two 75-foot koi, are now swimming on the square between the Asian Art Museum and the San Francisco Library in Fulton Plaza. It took him two months to get permission, but in the end, Novy and his team of volunteers completed the work. It was funded through \u003ca href=\"https://illuminate.org/\">Illuminate\u003c/a>, a donor-funded effort to revitalize San Francisco using large-scale art.\u003c/p>\n\u003cfigure id=\"attachment_11987357\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987357\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/DJI_20240.jpg\" alt=\"An aerial image of a pedestrian plaza, where two large koi fish "swim" around a statue. It's night time and the city lights are on display in surrounding buildings. A block away, San Francisco City Hall is illuminated with red white and blue. \" width=\"793\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/DJI_20240.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/DJI_20240-160x207.jpg 160w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">It took Novy and his team three days to paint the whale-sized koi fish in Fulton Plaza. \u003ccite>(Courtesy of Jeremy Novy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Novy brings Chinese feng shui and numerology ideas to his paintings. There is a hidden meaning within each work, based on the number of koi in the group. For instance, a koi that appears by itself symbolizes overcoming obstacles. According to legend, one stubborn koi spent ninety years trying to jump a waterfall, and when it did, it was gifted a new life as a water dragon.\u003c/p>\n\u003cp>Two koi appearing together symbolize double happiness, and three stand for stages of life, from birth to death. Novy usually skips the number four because it’s an unlucky number and a symbol of death.\u003c/p>\n\u003cp>The number that Novy identifies with most is five, for the transformation that it symbolizes.\u003c/p>\n\u003cp>“If it wasn’t for street art, I think that I would be a little lost in life,” he says. “It’s been a place for me to put my depression, my anxiety and my stress, and also to communicate with people in a beautiful way.”\u003c/p>\n\u003cp>The color of the koi has meaning in Chinese mythology, too. Black koi absorb negativity, according to Novy. Yellow fish are about money and prosperity. The orange and white fish, which are the most numerous here in San Francisco, are a nod to the Giants and our state flower, the California poppy.\u003c/p>\n\u003cp>Rainbow-coloured koi are Novy’s latest creations, which he has stenciled around New Orleans in recent months during an artist-in-residence. He hopes to bring them home to the Bay soon.\u003c/p>\n\u003cp>“It feels very nice that people have recognized what I’m doing as being an important part of the art community and art history,” Novy says.\u003c/p>\n\u003cp>Novy believes art is therapeutic not just for people who make it, but to the viewer. So, he says it’s important to make it accessible to everyone.\u003c/p>\n\u003cp>He hopes the fish make people happy and inspires them to “overcome anything that they may be dealing with.”\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> Wander around the Bay Area long enough, and you are certain to stumble upon one of our most ubiquitous pieces of street art. Schools of playful, graphic koi fish swimming through our urban landscape.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music begins\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Layf Kutschera: \u003c/b>\u003cspan style=\"font-weight: 400\">Maybe the first one I saw was near my house. I’ve lived in two places in San Francisco, and both of them have a koi-like right outside the door. My name is Layf Kutschera. And I am an interior designer and watercolor artist here in San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> Soon after Layf noticed the koi for the first time, he started seeing them everywhere — usually on sidewalks but sometimes on buildings. They’re anywhere for a few inches to a few feet long. And their colors? High contrast…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Layf Kutschera:\u003c/b>\u003cspan style=\"font-weight: 400\"> Vibrant orange, white, black\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> Layf wrote into Bay Curious, wanting to know the backstory behind these fish, which seem to be spawning all over the place. So today on the show, we’ll meet the person behind them, learn what inspired the koi and decode the hidden message within each design. I’m Olivia Allen-Price. We’ll be right back.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">SPONSOR MESSAGE\u003cbr>\n\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> For our question asker Layf Kutschera, the koi stencils often spotted in our region have become a delight\u003c/span>\u003c/p>\n\u003cp>\u003cb>Layf Kutschera:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think it’s just great to see color in our gray cityscape. Once you see one, you kind of keep an eye out for other ones, and then they become a little treat!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> They’re also a treat for Tamuna Chkareuli, a journalism fellow from the Republic of Georgia. She’s been embedded with the Bay Curious team for the last three weeks. She’ll take the story from here…\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sound from a street in San Francisco\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">I couldn’t relate more to our question-asker. It was my first week in San Francisco when I saw 2-foot-long bright orange koi fish stenciled on my street. Then, I saw three more on my morning run. Suddenly, the city was full of hidden ponds! I started to see them everywhere. To me, they felt like a warm welcome in a new place. And these koi swam a really long way to be here — all the way from China.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music begins\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy: \u003c/b>\u003cspan style=\"font-weight: 400\">I got to travel around a lot of China, see a lot of really interesting things that definitely had an influence and an impact on my life. My name is Jeremy Novy. I’m a stencil street artist. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli:\u003c/b>\u003cspan style=\"font-weight: 400\"> Jeremy has been working in the Bay Area for sixteen years, but the inspiration behind his art goes back decades to the Cultural Revolution in China, which started in 1966.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music ends\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy: \u003c/b>\u003cspan style=\"font-weight: 400\">China was told to destroy the old to make way for the new, which meant getting rid of, like, feng shui ideas. And so they became, kind of kind of scared that their history would be lost forever. So they devised a plan that they were going to hide Chinese lucky numbers in koi paintings. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">Jeremy releases his koi to the ponds of concrete in groups. He’ll paint anywhere from one koi fish to as many as nine. And just like in China, there’s a hidden meaning behind the number of koi Jeremy paints.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sound of flowing water begins.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy: \u003c/b>\u003cspan style=\"font-weight: 400\">One symbolizes perseverance, overcoming obstacles and strength. There’s a story of a koi that spent 90 years trying to jump up a waterfall, and it finally jumped up the waterfall, and the gods appeased it by turning it into the Asian water dragon. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sparkley sound effect. Water sound fades. \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy:\u003c/b>\u003cspan style=\"font-weight: 400\"> Two symbolizes double happiness or good things come in pairs. And who doesn’t want to be happy? Not once, but over and over again. Three represents the three stages of life: birth, marriage and death. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">You’re unlikely to see four koi fish painted together. Four is a forbidden number in Chinese, a symbol of death, so he usually skips it.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy: \u003c/b>\u003cspan style=\"font-weight: 400\">Five symbolizes transformation, the story of an emperor coming from peasantry and walking through five gates before becoming emperor. The last one being that of the Forbidden City. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Music begins\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli:\u003c/b>\u003cspan style=\"font-weight: 400\"> And for that reason, a group of five koi is special for Jeremy. It is the transformation he identifies with.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy: \u003c/b>\u003cspan style=\"font-weight: 400\">If it wasn’t for street art, I think that I would be a little bit lost in life. It’s been a place for me to put my depression, my anxiety and my stress. And it’s been a way for me to communicate with people in a very beautiful way.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">Six koi is about entrepreneurship and business. Seven — about the community. If you ever see eight koi swirling around on the sidewalk, it’s your lucky day.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music fades\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy: \u003c/b>\u003cspan style=\"font-weight: 400\">And nine represents the universe and everything in it, including all of the other eight lucky numbers.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music begins\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">The colors Jeremy uses have meaning too. Black absorbs all the negativity, so if you had a bad day and see a black koi — go stand on it! Golden koi are the money fish that bring prosperity into your life. And orange is a nod to the state flower, the California poppy, and the San Francisco Giants. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music ends\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">Jeremy started painting koi in 2008, and he has lost count of how many are out there, but he says there must be at least 8,000 of them all over the Bay Area. He still remembers the first one he made. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy: \u003c/b>\u003cspan style=\"font-weight: 400\">It was exactly across the street from the Women’s Center on 18th Street. I stenciled them there because I really thought that the mural at the Women’s Center was a very beautiful thing. I was very fascinated with some of the symbolism and the empowerment of women that is found in that mural. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music begins\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">From hidden alleyways, the koi swam to more open waters. This year, Jeremy and a team of volunteers painted two whale-sized koi in Fulton Plaza, right near City Hall. It was a lot of work. They made a grid of 5-foot squares, and Jeremy painted koi in those sections, using primer, exterior paint and a sealant. Those koi also carry tiny reflective glass beads in them, like what’s used in lane markings on the highway, so the fish can glow when the light hits them. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s kind of amazing. It somehow feels that, like, what I’m doing is right. And I’ve, before, had to deal with concern about the police arresting me for doing my art without permission. So it feels very nice that people have recognized what I’m doing as being an important part of the art community and art history.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">Once a secretive project, Jeremy’s koi are now a common sight in public spaces. He says that his art is not there to take over the area or make a statement.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy: \u003c/b>\u003cspan style=\"font-weight: 400\">Art is a therapeutic experience for those who make it, but it’s also a hugely therapeutic experience for people that see it. And not everybody has money and galleries to experience art. Whenever I put them out there, it’s just about trying to bring peace to people’s daily life and a little bit of comfort.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">Just like the real koi in a pond would do. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Music ends, signaling the end of the story.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> What I love about this story, Tamuna, is that I’ve been seeing these koi all over the Bay Area for years and never knew the meaning behind them. And now I’m going to see them in a whole new light. I cannot wait until the next time I stumble upon them on the street. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">So Jeremy did commissions during the pandemic when people could just call him and commission to have koi painted in front of their house. So now, when I see koi in front of somebody’s porch, I’m wondering why they picked this number.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> Ooo! Now, if you were to get a commissioned piece, which number would you pick? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">I would go with one. About perseverance. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> Mmm! Why?\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">I think there’s a water dragon inside me.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> (laughing) I love that. Tamuna Chkareuli, thank you so much for this story and for part of the Bay Curious team these past three weeks!\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Tamuna Chkareuli:\u003c/b>\u003cspan style=\"font-weight: 400\"> I had a blast. Thanks for having me! \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> Big thanks to Leif Kutschera for asking this week’s question. If you’ve got a question you’d like to hear answered on Bay Curious, head to BayCurious.org and ask! While you’re there, sign up for our monthly newsletter, where we often answer even more listener questions than we can get to on the podcast. Again, it’s all at BayCurious.org.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> This week, we’d like to offer a special shout-out to our listener, Cassie. Hope you have a magical birthday! From your friend, Ashley.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> The Bay Curious team is taking a breather next week for Memorial Day, so we will not be releasing an episode. But I hope you will listen to our back catalog. There are so many hidden gems in there. So go check it out. We’ll be back the first week of June. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> Bay Curious is made in San Francisco at member-supported KQED. This show was edited by me, Olivia Allen-Price.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pauline Bartolone: \u003c/b>\u003cspan style=\"font-weight: 400\">Produced by me, Pauline Bartolone…\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Everyone saying their own names: …\u003c/b>\u003cspan style=\"font-weight: 400\">Tamuna Chkareuli, Katrina Schwartz and Christopher Beale. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Paul Lancour: \u003c/b>\u003cspan style=\"font-weight: 400\">Additional support from Paul Lancour….\u003c/span>\u003c/p>\n\u003cp>\u003cb>Everyone saying their own names: \u003c/b>\u003cspan style=\"font-weight: 400\">Lusen Mendel, Jen Chien, Katie Sprenger, Cesar Saldana, Maha Sanad, Xorje Olivares, Holly Kernan …\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> And the whole KQED family. I’m Olivia Allen-Price. And if I can, I will grant you eight koi today. It’s your lucky day!\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>If you take a walk around San Francisco, it won’t take long before you see a koi fish. Not a real one, of course, although the bright orange-and-white graffiti art has the fluidity of a real fish hovering in the water. The stenciled koi on our city streets range in size from a foot long to the length of a whale. They float along city sidewalks and up walls as if this urban landscape were their native pond.\u003c/p>\n\u003cp>“They are all over the Bay Area, concentrated in San Francisco,” says \u003ca href=\"https://jeremynovystencils.com/\">Jeremy Novy\u003c/a>, the artist behind the bright carp fish.\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>Novy says he’s painted more than 8,000 koi in the Bay Area since he started stenciling them in 2008. Koi imagery inspired him when he traveled to China as a college student in 2006. There, the fish symbolizes prosperity, good fortune and perseverance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While in China, Novy studied the Chinese Cultural Revolution (1966–76), when the communist government tried to purge the culture of the traditional elements. Novy says that to preserve their heritage, people turned to the symbolism in art. They would hide Chinese lucky numbers in koi paintings. He decided to bring the concept back to the United States and marry it with contemporary material — the concrete of the streets.\u003c/p>\n\u003cp>“I stencil koi to create a kind of nature, zen moment in our urban landscape, instead of real water and real fish,” Novy says.\u003c/p>\n\u003cp>When he first started painting koi, he lived in his home state of Wisconsin. After moving to San Francisco, the first koi he painted was in the Mission District, in front of the Women’s Building on 18th Street. He says the power of the mural on the community center inspired him. Next, he took his project to the hidden alleyways of the Tenderloin and, later, began painting koi in front of the businesses he frequented.\u003c/p>\n\u003cfigure id=\"attachment_11987356\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987356\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Koi-1.jpg\" alt=\"Three koi fish swirl in a circle along the corner of a blue residential building.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Koi-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Koi-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Koi-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Koi-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Koi-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">During the pandemic, Novy took commissions from homeowners to paint koi on or near their homes. \u003ccite>(Tamuna Chkareuli /KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Slowly, koi have become somewhat commonplace on the streets of the Bay Area. During the pandemic, Novy took commissions from San Francisco homeowners as a way to cheer people up during the quarantine.\u003c/p>\n\u003cp>“We weren’t able to go to museums and galleries, but we were able to go to the grocery store and do these small activities,” Novy says. “So having art in different neighborhoods and small areas was very important.”\u003c/p>\n\u003cp>His biggest creations, two 75-foot koi, are now swimming on the square between the Asian Art Museum and the San Francisco Library in Fulton Plaza. It took him two months to get permission, but in the end, Novy and his team of volunteers completed the work. It was funded through \u003ca href=\"https://illuminate.org/\">Illuminate\u003c/a>, a donor-funded effort to revitalize San Francisco using large-scale art.\u003c/p>\n\u003cfigure id=\"attachment_11987357\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987357\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/DJI_20240.jpg\" alt=\"An aerial image of a pedestrian plaza, where two large koi fish "swim" around a statue. It's night time and the city lights are on display in surrounding buildings. A block away, San Francisco City Hall is illuminated with red white and blue. \" width=\"793\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/DJI_20240.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/DJI_20240-160x207.jpg 160w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">It took Novy and his team three days to paint the whale-sized koi fish in Fulton Plaza. \u003ccite>(Courtesy of Jeremy Novy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Novy brings Chinese feng shui and numerology ideas to his paintings. There is a hidden meaning within each work, based on the number of koi in the group. For instance, a koi that appears by itself symbolizes overcoming obstacles. According to legend, one stubborn koi spent ninety years trying to jump a waterfall, and when it did, it was gifted a new life as a water dragon.\u003c/p>\n\u003cp>Two koi appearing together symbolize double happiness, and three stand for stages of life, from birth to death. Novy usually skips the number four because it’s an unlucky number and a symbol of death.\u003c/p>\n\u003cp>The number that Novy identifies with most is five, for the transformation that it symbolizes.\u003c/p>\n\u003cp>“If it wasn’t for street art, I think that I would be a little lost in life,” he says. “It’s been a place for me to put my depression, my anxiety and my stress, and also to communicate with people in a beautiful way.”\u003c/p>\n\u003cp>The color of the koi has meaning in Chinese mythology, too. Black koi absorb negativity, according to Novy. Yellow fish are about money and prosperity. The orange and white fish, which are the most numerous here in San Francisco, are a nod to the Giants and our state flower, the California poppy.\u003c/p>\n\u003cp>Rainbow-coloured koi are Novy’s latest creations, which he has stenciled around New Orleans in recent months during an artist-in-residence. He hopes to bring them home to the Bay soon.\u003c/p>\n\u003cp>“It feels very nice that people have recognized what I’m doing as being an important part of the art community and art history,” Novy says.\u003c/p>\n\u003cp>Novy believes art is therapeutic not just for people who make it, but to the viewer. So, he says it’s important to make it accessible to everyone.\u003c/p>\n\u003cp>He hopes the fish make people happy and inspires them to “overcome anything that they may be dealing with.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> Wander around the Bay Area long enough, and you are certain to stumble upon one of our most ubiquitous pieces of street art. Schools of playful, graphic koi fish swimming through our urban landscape.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music begins\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Layf Kutschera: \u003c/b>\u003cspan style=\"font-weight: 400\">Maybe the first one I saw was near my house. I’ve lived in two places in San Francisco, and both of them have a koi-like right outside the door. My name is Layf Kutschera. And I am an interior designer and watercolor artist here in San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> Soon after Layf noticed the koi for the first time, he started seeing them everywhere — usually on sidewalks but sometimes on buildings. They’re anywhere for a few inches to a few feet long. And their colors? High contrast…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Layf Kutschera:\u003c/b>\u003cspan style=\"font-weight: 400\"> Vibrant orange, white, black\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> Layf wrote into Bay Curious, wanting to know the backstory behind these fish, which seem to be spawning all over the place. So today on the show, we’ll meet the person behind them, learn what inspired the koi and decode the hidden message within each design. I’m Olivia Allen-Price. We’ll be right back.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">SPONSOR MESSAGE\u003cbr>\n\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> For our question asker Layf Kutschera, the koi stencils often spotted in our region have become a delight\u003c/span>\u003c/p>\n\u003cp>\u003cb>Layf Kutschera:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think it’s just great to see color in our gray cityscape. Once you see one, you kind of keep an eye out for other ones, and then they become a little treat!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> They’re also a treat for Tamuna Chkareuli, a journalism fellow from the Republic of Georgia. She’s been embedded with the Bay Curious team for the last three weeks. She’ll take the story from here…\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sound from a street in San Francisco\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">I couldn’t relate more to our question-asker. It was my first week in San Francisco when I saw 2-foot-long bright orange koi fish stenciled on my street. Then, I saw three more on my morning run. Suddenly, the city was full of hidden ponds! I started to see them everywhere. To me, they felt like a warm welcome in a new place. And these koi swam a really long way to be here — all the way from China.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music begins\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy: \u003c/b>\u003cspan style=\"font-weight: 400\">I got to travel around a lot of China, see a lot of really interesting things that definitely had an influence and an impact on my life. My name is Jeremy Novy. I’m a stencil street artist. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli:\u003c/b>\u003cspan style=\"font-weight: 400\"> Jeremy has been working in the Bay Area for sixteen years, but the inspiration behind his art goes back decades to the Cultural Revolution in China, which started in 1966.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music ends\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy: \u003c/b>\u003cspan style=\"font-weight: 400\">China was told to destroy the old to make way for the new, which meant getting rid of, like, feng shui ideas. And so they became, kind of kind of scared that their history would be lost forever. So they devised a plan that they were going to hide Chinese lucky numbers in koi paintings. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">Jeremy releases his koi to the ponds of concrete in groups. He’ll paint anywhere from one koi fish to as many as nine. And just like in China, there’s a hidden meaning behind the number of koi Jeremy paints.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sound of flowing water begins.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy: \u003c/b>\u003cspan style=\"font-weight: 400\">One symbolizes perseverance, overcoming obstacles and strength. There’s a story of a koi that spent 90 years trying to jump up a waterfall, and it finally jumped up the waterfall, and the gods appeased it by turning it into the Asian water dragon. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sparkley sound effect. Water sound fades. \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy:\u003c/b>\u003cspan style=\"font-weight: 400\"> Two symbolizes double happiness or good things come in pairs. And who doesn’t want to be happy? Not once, but over and over again. Three represents the three stages of life: birth, marriage and death. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">You’re unlikely to see four koi fish painted together. Four is a forbidden number in Chinese, a symbol of death, so he usually skips it.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy: \u003c/b>\u003cspan style=\"font-weight: 400\">Five symbolizes transformation, the story of an emperor coming from peasantry and walking through five gates before becoming emperor. The last one being that of the Forbidden City. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Music begins\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli:\u003c/b>\u003cspan style=\"font-weight: 400\"> And for that reason, a group of five koi is special for Jeremy. It is the transformation he identifies with.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy: \u003c/b>\u003cspan style=\"font-weight: 400\">If it wasn’t for street art, I think that I would be a little bit lost in life. It’s been a place for me to put my depression, my anxiety and my stress. And it’s been a way for me to communicate with people in a very beautiful way.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">Six koi is about entrepreneurship and business. Seven — about the community. If you ever see eight koi swirling around on the sidewalk, it’s your lucky day.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music fades\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy: \u003c/b>\u003cspan style=\"font-weight: 400\">And nine represents the universe and everything in it, including all of the other eight lucky numbers.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music begins\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">The colors Jeremy uses have meaning too. Black absorbs all the negativity, so if you had a bad day and see a black koi — go stand on it! Golden koi are the money fish that bring prosperity into your life. And orange is a nod to the state flower, the California poppy, and the San Francisco Giants. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music ends\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">Jeremy started painting koi in 2008, and he has lost count of how many are out there, but he says there must be at least 8,000 of them all over the Bay Area. He still remembers the first one he made. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy: \u003c/b>\u003cspan style=\"font-weight: 400\">It was exactly across the street from the Women’s Center on 18th Street. I stenciled them there because I really thought that the mural at the Women’s Center was a very beautiful thing. I was very fascinated with some of the symbolism and the empowerment of women that is found in that mural. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music begins\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">From hidden alleyways, the koi swam to more open waters. This year, Jeremy and a team of volunteers painted two whale-sized koi in Fulton Plaza, right near City Hall. It was a lot of work. They made a grid of 5-foot squares, and Jeremy painted koi in those sections, using primer, exterior paint and a sealant. Those koi also carry tiny reflective glass beads in them, like what’s used in lane markings on the highway, so the fish can glow when the light hits them. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s kind of amazing. It somehow feels that, like, what I’m doing is right. And I’ve, before, had to deal with concern about the police arresting me for doing my art without permission. So it feels very nice that people have recognized what I’m doing as being an important part of the art community and art history.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">Once a secretive project, Jeremy’s koi are now a common sight in public spaces. He says that his art is not there to take over the area or make a statement.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeremy Novy: \u003c/b>\u003cspan style=\"font-weight: 400\">Art is a therapeutic experience for those who make it, but it’s also a hugely therapeutic experience for people that see it. And not everybody has money and galleries to experience art. Whenever I put them out there, it’s just about trying to bring peace to people’s daily life and a little bit of comfort.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">Just like the real koi in a pond would do. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Music ends, signaling the end of the story.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> What I love about this story, Tamuna, is that I’ve been seeing these koi all over the Bay Area for years and never knew the meaning behind them. And now I’m going to see them in a whole new light. I cannot wait until the next time I stumble upon them on the street. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">So Jeremy did commissions during the pandemic when people could just call him and commission to have koi painted in front of their house. So now, when I see koi in front of somebody’s porch, I’m wondering why they picked this number.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> Ooo! Now, if you were to get a commissioned piece, which number would you pick? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">I would go with one. About perseverance. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> Mmm! Why?\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Tamuna Chkareuli: \u003c/b>\u003cspan style=\"font-weight: 400\">I think there’s a water dragon inside me.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> (laughing) I love that. Tamuna Chkareuli, thank you so much for this story and for part of the Bay Curious team these past three weeks!\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Tamuna Chkareuli:\u003c/b>\u003cspan style=\"font-weight: 400\"> I had a blast. Thanks for having me! \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> Big thanks to Leif Kutschera for asking this week’s question. If you’ve got a question you’d like to hear answered on Bay Curious, head to BayCurious.org and ask! While you’re there, sign up for our monthly newsletter, where we often answer even more listener questions than we can get to on the podcast. Again, it’s all at BayCurious.org.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> This week, we’d like to offer a special shout-out to our listener, Cassie. Hope you have a magical birthday! From your friend, Ashley.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> The Bay Curious team is taking a breather next week for Memorial Day, so we will not be releasing an episode. But I hope you will listen to our back catalog. There are so many hidden gems in there. So go check it out. We’ll be back the first week of June. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> Bay Curious is made in San Francisco at member-supported KQED. This show was edited by me, Olivia Allen-Price.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pauline Bartolone: \u003c/b>\u003cspan style=\"font-weight: 400\">Produced by me, Pauline Bartolone…\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Everyone saying their own names: …\u003c/b>\u003cspan style=\"font-weight: 400\">Tamuna Chkareuli, Katrina Schwartz and Christopher Beale. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Paul Lancour: \u003c/b>\u003cspan style=\"font-weight: 400\">Additional support from Paul Lancour….\u003c/span>\u003c/p>\n\u003cp>\u003cb>Everyone saying their own names: \u003c/b>\u003cspan style=\"font-weight: 400\">Lusen Mendel, Jen Chien, Katie Sprenger, Cesar Saldana, Maha Sanad, Xorje Olivares, Holly Kernan …\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> And the whole KQED family. I’m Olivia Allen-Price. And if I can, I will grant you eight koi today. It’s your lucky day!\u003c/span>\u003c/p>\n\n\u003c/div>"
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"slug": "after-58-years-ccsfs-longest-tenured-professor-nears-landmark-achievement",
"title": "After 58 Years, CCSF Music Chair Closer Than Ever to Realizing Her Dream",
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"headTitle": "After 58 Years, CCSF Music Chair Closer Than Ever to Realizing Her Dream | KQED",
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"content": "\u003cp>After 58 years of sharing her passion for music and the arts with City College of San Francisco students, music department chair Madeline Mueller may finally get what she’s always wanted.\u003c/p>\n\u003cp>As the college’s longest-tenured employee, Mueller is just as committed to advocating for a much overdue performing arts auditorium as she is to using her vast musical knowledge, sharp eye for detail and willingness to do any job to keep the music department running.\u003c/p>\n\u003cp>Only then, Mueller said, will she consider retirement.\u003c/p>\n\u003cp>“I could have retired years ago,” Mueller said. “But I made a promise to myself and to the administration that I wouldn’t retire — I used to say until they built the auditorium.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For Mueller, the issue is simple: City College is an incomplete campus without a proper auditorium to support its performing arts majors, including music and theater.\u003c/p>\n\u003cp>The college has been discussing the project for years and even came close to breaking ground in 2012. However, after budget cuts and state roadblocks, Mueller said she was left feeling more like Charlie Brown from the \u003cem>Peanuts\u003c/em> comic strips.\u003c/p>\n\u003cp>“It’s like Lucy and the football,” Mueller said.\u003c/p>\n\u003cp>Lucy is the state, the administration and budget cuts — everything that has stopped the theater from being built. Mueller is Charlie Brown.\u003c/p>\n\u003cp>However, with renewed plans for the theater to go to the state for approval, City College seems closer than ever to building the performing arts auditorium of Mueller’s dreams. The project has an architect, design plans and a contractor.\u003c/p>\n\u003cfigure id=\"attachment_11986926\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986926\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL.jpg\" alt=\"What appear to be detailed architectural renderings, including mock-up illustrations of an interior space, are displayed in a glass case\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Plans for a new performing arts center hang in the City College of San Francisco music department on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>City College is hopeful the state will approve the plans before the end of 2024, and media reports have the auditorium tentatively \u003ca href=\"https://www.theartnewspaper.com/2023/06/21/new-theatre-building-will-house-famous-diego-rivera-mural-in-san-francisco\">scheduled to open in 2027\u003c/a>.\u003c/p>\n\u003cp>“She’s been working for over 40 years to get our performing arts center designed,” said Steven Brown, horticulture department chair, who sits on the facilities committee with Mueller.\u003c/p>\n\u003cp>But before Mueller started her quest for a major auditorium at City College, she was an aspiring concert pianist, following in Beethoven’s footsteps.\u003c/p>\n\u003ch2>‘She’s a brilliant pianist’\u003c/h2>\n\u003cp>As a girl in Bakersfield, Mueller studied under Ethel McManus Shaver, her link to an illustrious chain of five pianists that stretches back to Beethoven. But like many aspiring performers, Mueller needed a backup plan, and hers was a community college teaching credential.\u003c/p>\n\u003cp>In 1965, two weeks into its fall semester, City College’s band director departed for a new position at San Francisco State, leaving his old post vacant. The music department suddenly needed a full-time substitute teacher.\u003c/p>\n\u003cfigure id=\"attachment_11986922\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL.jpg\" alt=\"A detailed close-up photograph of hands playing a piano\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Music department chair Madeline Mueller plays piano at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mueller stepped into her new teaching role that year. She fell in love with the college immediately.\u003c/p>\n\u003cp>“I was enchanted,” she said. “The school had such diversity. And the students were so smart and appreciative.”\u003c/p>\n\u003cp>Even after she began teaching, Mueller continued to perform — and not just at faculty recitals — at concerts throughout the Bay Area.\u003c/p>\n\u003cp>“She could have gone on to a career as an accompanist,” said Lenny Carlson, a retired City College music professor and jazz musician. “She’s a brilliant pianist.”\u003c/p>\n\u003cp>Carlson often chose Mueller, who’s premiered a lot of modern music as a soloist and as a part of an ensemble, to debut his compositions.\u003c/p>\n\u003cp>“I really enjoy writing music that has humor in it because I know that she will get it, however subtle it is,” Carlson said, who’s an accomplished jazz guitarist and composer.\u003c/p>\n\u003cp>Many of Mueller’s colleagues agree she has been the primary force in shaping the college’s music department over the decades. Her influence, whether teaching music or championing the department’s auditorium, is significant.\u003c/p>\n\u003cp>“This department wouldn’t exist without Madeline,” said Lynette Warfield, the former music department secretary. “And if it did, it would be an empty shell.”\u003c/p>\n\u003cfigure id=\"attachment_11986920\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986920\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL.jpg\" alt=\"An older woman wearing glasses and a pink coat speaks to a younger student as he plays a grand piano\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Music department chair Madeline Mueller works with piano student Francisco Guijarro at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once, Warfield said she witnessed an intradepartmental argument reach what she described as the point of no return — one person accused the other of having a terrible voice.\u003c/p>\n\u003cp>“After they talked to Madeline, the two were singing together,” Warfield said. “When Madeline is in the office, there’s harmony.”\u003c/p>\n\u003cp>For nearly 60 years, Mueller’s advocacy for the performing arts department at City College was witnessed at local gatherings with City College’s Board of Trustees, the Academic Senate and the Facilities Committee. Without fail, Mueller always made it a point to be present, often remaining until she was the sole occupant in the room.\u003c/p>\n\u003cp>“She’s always been an advocate,” Carlson said. “She was one of the founders of the Academic Senate and the Department Chairs’ Council.”\u003c/p>\n\u003cp>Mueller also serves on the Facilities Committee, which has overseen the planning of the new performing arts theater. Now, the project is the top priority on the Facilities Committee’s latest five-year plan and has a $185 million budget. Plans for the new theater are currently in front of the Division of the State Architect — and the committee hopes to have approval by December 2024.\u003c/p>\n\u003ch2>‘We’re clawing back’\u003c/h2>\n\u003cp>As plans slowly inch forward, City College’s lack of an auditorium to support its performing arts majors continues to be a goal Mueller and other faculty members rally around.\u003c/p>\n\u003cp>“We’re the only school in the whole system that doesn’t have an auditorium,” Mueller said. “It’s embarrassing.”\u003c/p>\n\u003cfigure id=\"attachment_11986925\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986925\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Students walk down steps leading to the planned site for a new performing arts center at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music department is not alone.\u003c/p>\n\u003cp>Brown, of the City College horticulture department, recalled a faculty meeting from early in his tenure with such a large number of participants that it couldn’t be hosted at the school’s Diego Rivera Theater.\u003c/p>\n\u003cp>“We had to rent the Riordan auditorium,” Brown said. “The private Catholic high school across the street has a bigger auditorium than City College, even though City College’s student body is 10 times bigger.”\u003c/p>\n\u003cp>During her tenure, Mueller said she’s watched CCSF prioritize other department buildings over the proposed performing arts center.\u003c/p>\n\u003cp>In 2000, Mueller said planning for a new auditorium began in earnest. Yet, after the performing arts and PE departments expressed a need for new facilities in 2001, an internal agreement stipulated that the PE department would prioritize the first portion of the construction.\u003c/p>\n\u003cp>The Wellness Center, which contains new gym facilities, was completed in 2008.\u003c/p>\n\u003cfigure id=\"attachment_11986919\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986919\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Music department chair Madeline Mueller looks through a 2016 issue of Etc Magazine, which features photos of herself at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the following years, the college hired an architecture firm, TEF Design, to draw up plans for the new performing arts center, but it was unable to obtain state-matching funds for several years. Instead, City College prioritized the construction of the new Multi-Use Building (MUB).\u003c/p>\n\u003cp>The MUB was finished in 2012 and cost $77 million.\u003c/p>\n\u003cp>Since 2000, when the initial planning for the performing arts center began, San Francisco voters have passed three propositions to fund new CCSF construction. These propositions in 2000, 2005 and 2020, all called Proposition A, authorized nearly $1.3 billion combined in bond funds for City College.[aside postID=news_11966741 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/11/231101-MusicTherapyHMBFarmworkers-24-BL-KQED-1020x680.jpg']Still, Mueller points to the delays her department has endured over the last 20 years as tantamount to ignoring the will of the voters.\u003c/p>\n\u003cp>“Three times the voters of San Francisco have put up major funding for this project,” Mueller said. “They said: Do it.”\u003c/p>\n\u003cp>But City College hindered its progress, Mueller claims.\u003c/p>\n\u003cp>In 2012, the Accrediting Commission for Community and Junior College (ACCJC) produced a “show-cause” order against CCSF, accusing the college of poor financial management. A show-cause order is a warning that a college is in danger of losing its accreditation unless it changes its practices. City College had to make immediate budget cuts.\u003c/p>\n\u003cp>In a February 2013 interview with \u003cem>The Guardsman\u003c/em>, interim chancellor Thelma Scott-Skillman announced that she asked the board not to move forward with constructing the new performing arts center.\u003c/p>\n\u003cp>Then, in September 2013, special trustee Robert Agrella officially announced that the project would not break ground.\u003c/p>\n\u003cp>“The college has no means to fund this excess cost,” Agrella said in an open letter to the college.\u003c/p>\n\u003cfigure id=\"attachment_11986923\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986923\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL.jpg\" alt=\"An older woman wearing glasses and a pink coat smiles as she leans on a grand piano\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Music department chair Madeline Mueller poses for a portrait at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mueller felt like Charlie Brown once again.\u003c/p>\n\u003cp>“Madeline wasn’t happy about it, but there was nothing she could do,” said Brown, who is also the co-chair of the Facilities Committee.\u003c/p>\n\u003cp>Adding to the frustration, Folsom Lake College, another California community college campus, received what Carlson deemed as “an exact replica of the design” that was meant for CCSF. Folsom’s performing arts theater was completed in 2011 before Agrella announced that CCSF’s project would be delayed.\u003c/p>\n\u003cp>“This was personal,” Carlson said. “This was a thumb in Madeline’s eye by administrators at the state level.”\u003c/p>\n\u003cp>The delay had a financial cost, too.\u003c/p>\n\u003cp>City College had to forfeit $22 million in matching funds from the state that it had planned to use in the construction of the performing arts theater.[aside postID=news_11966749 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-024-BL-qut-1020x680.jpg']In 2017, the ACCJC reaffirmed City College’s accreditation status, restoring some stability to the struggling school. Mueller, who had spent the last four years fighting against budget cuts in the music department, once again started to think about a new performing arts theater.\u003c/p>\n\u003cp>“We’re clawing back,” she said. “We’ve got our band back, we’ve got our choir back, and we’re desperately nagging them to get my orchestra back.”\u003c/p>\n\u003cp>For the first time in years, she’s cautiously optimistic about the future of the performing arts center. In late December, plans for it went before California’s Division of the State Architect, a key part of the approval process.\u003c/p>\n\u003cp>“It’s the first time we’ve had all our ducks in a row,” Mueller said.\u003c/p>\n\u003cp>Talks to build the new theater were restarted in 2020, according to Mueller, the same year San Francisco voters approved \u003ca href=\"https://www.spur.org/voter-guide/2020-03/sf-prop-a-city-college-facilities-bond#:~:text=What%20the%20Measure%20Would%20Do,major%20renovations%20since%20the%201970s.\">Proposition A, an $845 million bond measure for City College\u003c/a>. In 2021, the City College board approved a new design for the Performing Arts Center. Two years later, the architects for the new building, LMN Architects and TEF Design, were officially announced.\u003c/p>\n\u003cp>There was one change to the design: a large glass lobby to hold Diego Rivera’s \u003cem>Pan American Unity\u003c/em> mural, one of City College’s crown jewels.\u003c/p>\n\u003cp>“That was the component we never thought of,” Mueller said. “It did raise the cost, but it will preserve the iconic mural.”\u003c/p>\n\u003cp>With so many projects on her plate, it’s hard to imagine Mueller retiring any time soon.\u003c/p>\n\u003cp>For most of her career, her promise to bow out once the performing arts center was complete was an empty threat. Now, that time may come, after all.\u003c/p>\n\u003cp>“I’ll play it by ear,” she said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "After 58 Years, CCSF Music Chair Closer Than Ever to Realizing Her Dream | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After 58 years of sharing her passion for music and the arts with City College of San Francisco students, music department chair Madeline Mueller may finally get what she’s always wanted.\u003c/p>\n\u003cp>As the college’s longest-tenured employee, Mueller is just as committed to advocating for a much overdue performing arts auditorium as she is to using her vast musical knowledge, sharp eye for detail and willingness to do any job to keep the music department running.\u003c/p>\n\u003cp>Only then, Mueller said, will she consider retirement.\u003c/p>\n\u003cp>“I could have retired years ago,” Mueller said. “But I made a promise to myself and to the administration that I wouldn’t retire — I used to say until they built the auditorium.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Mueller, the issue is simple: City College is an incomplete campus without a proper auditorium to support its performing arts majors, including music and theater.\u003c/p>\n\u003cp>The college has been discussing the project for years and even came close to breaking ground in 2012. However, after budget cuts and state roadblocks, Mueller said she was left feeling more like Charlie Brown from the \u003cem>Peanuts\u003c/em> comic strips.\u003c/p>\n\u003cp>“It’s like Lucy and the football,” Mueller said.\u003c/p>\n\u003cp>Lucy is the state, the administration and budget cuts — everything that has stopped the theater from being built. Mueller is Charlie Brown.\u003c/p>\n\u003cp>However, with renewed plans for the theater to go to the state for approval, City College seems closer than ever to building the performing arts auditorium of Mueller’s dreams. The project has an architect, design plans and a contractor.\u003c/p>\n\u003cfigure id=\"attachment_11986926\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986926\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL.jpg\" alt=\"What appear to be detailed architectural renderings, including mock-up illustrations of an interior space, are displayed in a glass case\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Plans for a new performing arts center hang in the City College of San Francisco music department on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>City College is hopeful the state will approve the plans before the end of 2024, and media reports have the auditorium tentatively \u003ca href=\"https://www.theartnewspaper.com/2023/06/21/new-theatre-building-will-house-famous-diego-rivera-mural-in-san-francisco\">scheduled to open in 2027\u003c/a>.\u003c/p>\n\u003cp>“She’s been working for over 40 years to get our performing arts center designed,” said Steven Brown, horticulture department chair, who sits on the facilities committee with Mueller.\u003c/p>\n\u003cp>But before Mueller started her quest for a major auditorium at City College, she was an aspiring concert pianist, following in Beethoven’s footsteps.\u003c/p>\n\u003ch2>‘She’s a brilliant pianist’\u003c/h2>\n\u003cp>As a girl in Bakersfield, Mueller studied under Ethel McManus Shaver, her link to an illustrious chain of five pianists that stretches back to Beethoven. But like many aspiring performers, Mueller needed a backup plan, and hers was a community college teaching credential.\u003c/p>\n\u003cp>In 1965, two weeks into its fall semester, City College’s band director departed for a new position at San Francisco State, leaving his old post vacant. The music department suddenly needed a full-time substitute teacher.\u003c/p>\n\u003cfigure id=\"attachment_11986922\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL.jpg\" alt=\"A detailed close-up photograph of hands playing a piano\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Music department chair Madeline Mueller plays piano at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mueller stepped into her new teaching role that year. She fell in love with the college immediately.\u003c/p>\n\u003cp>“I was enchanted,” she said. “The school had such diversity. And the students were so smart and appreciative.”\u003c/p>\n\u003cp>Even after she began teaching, Mueller continued to perform — and not just at faculty recitals — at concerts throughout the Bay Area.\u003c/p>\n\u003cp>“She could have gone on to a career as an accompanist,” said Lenny Carlson, a retired City College music professor and jazz musician. “She’s a brilliant pianist.”\u003c/p>\n\u003cp>Carlson often chose Mueller, who’s premiered a lot of modern music as a soloist and as a part of an ensemble, to debut his compositions.\u003c/p>\n\u003cp>“I really enjoy writing music that has humor in it because I know that she will get it, however subtle it is,” Carlson said, who’s an accomplished jazz guitarist and composer.\u003c/p>\n\u003cp>Many of Mueller’s colleagues agree she has been the primary force in shaping the college’s music department over the decades. Her influence, whether teaching music or championing the department’s auditorium, is significant.\u003c/p>\n\u003cp>“This department wouldn’t exist without Madeline,” said Lynette Warfield, the former music department secretary. “And if it did, it would be an empty shell.”\u003c/p>\n\u003cfigure id=\"attachment_11986920\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986920\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL.jpg\" alt=\"An older woman wearing glasses and a pink coat speaks to a younger student as he plays a grand piano\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Music department chair Madeline Mueller works with piano student Francisco Guijarro at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once, Warfield said she witnessed an intradepartmental argument reach what she described as the point of no return — one person accused the other of having a terrible voice.\u003c/p>\n\u003cp>“After they talked to Madeline, the two were singing together,” Warfield said. “When Madeline is in the office, there’s harmony.”\u003c/p>\n\u003cp>For nearly 60 years, Mueller’s advocacy for the performing arts department at City College was witnessed at local gatherings with City College’s Board of Trustees, the Academic Senate and the Facilities Committee. Without fail, Mueller always made it a point to be present, often remaining until she was the sole occupant in the room.\u003c/p>\n\u003cp>“She’s always been an advocate,” Carlson said. “She was one of the founders of the Academic Senate and the Department Chairs’ Council.”\u003c/p>\n\u003cp>Mueller also serves on the Facilities Committee, which has overseen the planning of the new performing arts theater. Now, the project is the top priority on the Facilities Committee’s latest five-year plan and has a $185 million budget. Plans for the new theater are currently in front of the Division of the State Architect — and the committee hopes to have approval by December 2024.\u003c/p>\n\u003ch2>‘We’re clawing back’\u003c/h2>\n\u003cp>As plans slowly inch forward, City College’s lack of an auditorium to support its performing arts majors continues to be a goal Mueller and other faculty members rally around.\u003c/p>\n\u003cp>“We’re the only school in the whole system that doesn’t have an auditorium,” Mueller said. “It’s embarrassing.”\u003c/p>\n\u003cfigure id=\"attachment_11986925\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986925\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Students walk down steps leading to the planned site for a new performing arts center at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music department is not alone.\u003c/p>\n\u003cp>Brown, of the City College horticulture department, recalled a faculty meeting from early in his tenure with such a large number of participants that it couldn’t be hosted at the school’s Diego Rivera Theater.\u003c/p>\n\u003cp>“We had to rent the Riordan auditorium,” Brown said. “The private Catholic high school across the street has a bigger auditorium than City College, even though City College’s student body is 10 times bigger.”\u003c/p>\n\u003cp>During her tenure, Mueller said she’s watched CCSF prioritize other department buildings over the proposed performing arts center.\u003c/p>\n\u003cp>In 2000, Mueller said planning for a new auditorium began in earnest. Yet, after the performing arts and PE departments expressed a need for new facilities in 2001, an internal agreement stipulated that the PE department would prioritize the first portion of the construction.\u003c/p>\n\u003cp>The Wellness Center, which contains new gym facilities, was completed in 2008.\u003c/p>\n\u003cfigure id=\"attachment_11986919\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986919\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Music department chair Madeline Mueller looks through a 2016 issue of Etc Magazine, which features photos of herself at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the following years, the college hired an architecture firm, TEF Design, to draw up plans for the new performing arts center, but it was unable to obtain state-matching funds for several years. Instead, City College prioritized the construction of the new Multi-Use Building (MUB).\u003c/p>\n\u003cp>The MUB was finished in 2012 and cost $77 million.\u003c/p>\n\u003cp>Since 2000, when the initial planning for the performing arts center began, San Francisco voters have passed three propositions to fund new CCSF construction. These propositions in 2000, 2005 and 2020, all called Proposition A, authorized nearly $1.3 billion combined in bond funds for City College.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, Mueller points to the delays her department has endured over the last 20 years as tantamount to ignoring the will of the voters.\u003c/p>\n\u003cp>“Three times the voters of San Francisco have put up major funding for this project,” Mueller said. “They said: Do it.”\u003c/p>\n\u003cp>But City College hindered its progress, Mueller claims.\u003c/p>\n\u003cp>In 2012, the Accrediting Commission for Community and Junior College (ACCJC) produced a “show-cause” order against CCSF, accusing the college of poor financial management. A show-cause order is a warning that a college is in danger of losing its accreditation unless it changes its practices. City College had to make immediate budget cuts.\u003c/p>\n\u003cp>In a February 2013 interview with \u003cem>The Guardsman\u003c/em>, interim chancellor Thelma Scott-Skillman announced that she asked the board not to move forward with constructing the new performing arts center.\u003c/p>\n\u003cp>Then, in September 2013, special trustee Robert Agrella officially announced that the project would not break ground.\u003c/p>\n\u003cp>“The college has no means to fund this excess cost,” Agrella said in an open letter to the college.\u003c/p>\n\u003cfigure id=\"attachment_11986923\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986923\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL.jpg\" alt=\"An older woman wearing glasses and a pink coat smiles as she leans on a grand piano\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Music department chair Madeline Mueller poses for a portrait at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mueller felt like Charlie Brown once again.\u003c/p>\n\u003cp>“Madeline wasn’t happy about it, but there was nothing she could do,” said Brown, who is also the co-chair of the Facilities Committee.\u003c/p>\n\u003cp>Adding to the frustration, Folsom Lake College, another California community college campus, received what Carlson deemed as “an exact replica of the design” that was meant for CCSF. Folsom’s performing arts theater was completed in 2011 before Agrella announced that CCSF’s project would be delayed.\u003c/p>\n\u003cp>“This was personal,” Carlson said. “This was a thumb in Madeline’s eye by administrators at the state level.”\u003c/p>\n\u003cp>The delay had a financial cost, too.\u003c/p>\n\u003cp>City College had to forfeit $22 million in matching funds from the state that it had planned to use in the construction of the performing arts theater.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 2017, the ACCJC reaffirmed City College’s accreditation status, restoring some stability to the struggling school. Mueller, who had spent the last four years fighting against budget cuts in the music department, once again started to think about a new performing arts theater.\u003c/p>\n\u003cp>“We’re clawing back,” she said. “We’ve got our band back, we’ve got our choir back, and we’re desperately nagging them to get my orchestra back.”\u003c/p>\n\u003cp>For the first time in years, she’s cautiously optimistic about the future of the performing arts center. In late December, plans for it went before California’s Division of the State Architect, a key part of the approval process.\u003c/p>\n\u003cp>“It’s the first time we’ve had all our ducks in a row,” Mueller said.\u003c/p>\n\u003cp>Talks to build the new theater were restarted in 2020, according to Mueller, the same year San Francisco voters approved \u003ca href=\"https://www.spur.org/voter-guide/2020-03/sf-prop-a-city-college-facilities-bond#:~:text=What%20the%20Measure%20Would%20Do,major%20renovations%20since%20the%201970s.\">Proposition A, an $845 million bond measure for City College\u003c/a>. In 2021, the City College board approved a new design for the Performing Arts Center. Two years later, the architects for the new building, LMN Architects and TEF Design, were officially announced.\u003c/p>\n\u003cp>There was one change to the design: a large glass lobby to hold Diego Rivera’s \u003cem>Pan American Unity\u003c/em> mural, one of City College’s crown jewels.\u003c/p>\n\u003cp>“That was the component we never thought of,” Mueller said. “It did raise the cost, but it will preserve the iconic mural.”\u003c/p>\n\u003cp>With so many projects on her plate, it’s hard to imagine Mueller retiring any time soon.\u003c/p>\n\u003cp>For most of her career, her promise to bow out once the performing arts center was complete was an empty threat. Now, that time may come, after all.\u003c/p>\n\u003cp>“I’ll play it by ear,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003cbr>\n\u003c/em>\u003cbr>\nFree Key Choir rehearses at St. Paul’s Lutheran Church in Oakland, where\u003ca href=\"https://dereksup.com/\"> Derek Sup\u003c/a> is the musical director. Sup began playing piano at the age of six and has been directing music at the church for the last 10 years.\u003c/p>\n\u003cp>He majored in composition and decided after the pandemic that he wanted to start a choir in October 2022. He was surprised by how quickly the choir grew after they had concerts months later.\u003c/p>\n\u003cp>“It was still like kind of sketchy COVID time, so we were rehearsing outside in the backyard of the church in the dark — because it was October — it was really cold,” he says. “And we would do that every week until the concerts in November. The next day after the concerts, I got like a thousand emails of like, ‘How do I join this group?’ And so, the choir doubled effectively the next day. ”\u003c/p>\n\u003cp>The group has more than 100 members who write all the music performed by the choir.\u003c/p>\n\u003cp>“I think the choir world and the classical world in general has a tendency to be very buttoned up and take itself very seriously,” Sup says. “And in doing so kind of like writes off pop music and music written by amateur musicians for lack of a better word. There’s no reason to discount that music.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Regarding “What’s in a Name,” Sup says musician \u003ca href=\"https://www.instagram.com/judith_horn/?hl=en\">Judith Horn\u003c/a> (his bandmate in a group called \u003ca href=\"https://www.instagram.com/katsyplinebigtime/\">Katsy Pline\u003c/a>) sent him the song that she wrote, sang and played on the acoustic guitar. He thought the melodies were beautiful and could work with a choir. So, he adapted the melodic lines for a five-part harmony and her guitar for a piano.\u003c/p>\n\u003cp>When asked what attracts people to the choir, Sup says when it’s good, choral singing feels like “you are dancing in perfect time — in synchronicity — with another person or a bunch of other people through sound.”\u003c/p>\n\u003cp>“It’s like you can enter your voices in, because of how sound works, if you have the same sound wave, and you lock into that exactly with perfect blending through tuning vowels, basically becoming one voice, then you can feel the universe align around you,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you’d like to hear them live, Free Key Choir will be performing at First Presbyterian Church of Oakland on June 7, 8 and 9.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Regarding “What’s in a Name,” Sup says musician \u003ca href=\"https://www.instagram.com/judith_horn/?hl=en\">Judith Horn\u003c/a> (his bandmate in a group called \u003ca href=\"https://www.instagram.com/katsyplinebigtime/\">Katsy Pline\u003c/a>) sent him the song that she wrote, sang and played on the acoustic guitar. He thought the melodies were beautiful and could work with a choir. So, he adapted the melodic lines for a five-part harmony and her guitar for a piano.\u003c/p>\n\u003cp>When asked what attracts people to the choir, Sup says when it’s good, choral singing feels like “you are dancing in perfect time — in synchronicity — with another person or a bunch of other people through sound.”\u003c/p>\n\u003cp>“It’s like you can enter your voices in, because of how sound works, if you have the same sound wave, and you lock into that exactly with perfect blending through tuning vowels, basically becoming one voice, then you can feel the universe align around you,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you’d like to hear them live, Free Key Choir will be performing at First Presbyterian Church of Oakland on June 7, 8 and 9.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>The band, Uncle Chris, started in 2018 when three members met on their first day at the University of San Francisco.\u003c/p>\n\u003cp>“We realized that we all played instruments, so we decided to have a little jam session,” said Sue-Ling Kaiser, who plays keys and does vocals. “We’ve been going ever since.”\u003c/p>\n\u003cp>Alex Wolfert, who plays bass, said they started as an instrumental, jazz-inspired band. Now they’re more on the indie side, and Kaiser added they also pull from acid jazz, indie pop, and alternative. Each band member has their own musical influences, but Kaiser said their first project was very jazz-influenced.\u003c/p>\n\u003cp>Their song, “Dove on the Ocean,” was a true collaboration. It’s about accepting the feeling, after a breakup, that you’re going to see that person “everywhere and in everything and just riding that wave,” Kaiser said. She wanted people to interpret it for themselves, but it can also be understood as “getting over anything.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As for starting their band in San Francisco, “There is just no other place like this city,” Wolfert said. “In terms of the music that’s happening here … and how one lives their life in this city, I feel like we’re just surrounded by constant beauty.”\u003c/p>\n\u003cp>He said there’s a “different kind of energy within the people here that feels much more open and inspiring.” This openness has impacted the band’s sound.\u003c/p>\n\u003cp>The band members include Sue-Ling Kaiser, Alex Wolfert, Patrick Madden, Seref Ha’Qol, Liam Craddock, and Ely Klem. “Dove on the Ocean” also features Gabriel True on the drums.\u003c/p>\n\u003cp>Follow \u003ca href=\"https://www.instagram.com/uncle.twist/\">Uncle Chris on Instagram\u003c/a>. They’re working on a four-song EP that will be released later this year and are planning a California tour at the end of September.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Uncle Chris will be performing at \u003ca href=\"https://rickshawstop.com/\">Rickshaw Stop\u003c/a> in San Francisco on May 17.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for starting their band in San Francisco, “There is just no other place like this city,” Wolfert said. “In terms of the music that’s happening here … and how one lives their life in this city, I feel like we’re just surrounded by constant beauty.”\u003c/p>\n\u003cp>He said there’s a “different kind of energy within the people here that feels much more open and inspiring.” This openness has impacted the band’s sound.\u003c/p>\n\u003cp>The band members include Sue-Ling Kaiser, Alex Wolfert, Patrick Madden, Seref Ha’Qol, Liam Craddock, and Ely Klem. “Dove on the Ocean” also features Gabriel True on the drums.\u003c/p>\n\u003cp>Follow \u003ca href=\"https://www.instagram.com/uncle.twist/\">Uncle Chris on Instagram\u003c/a>. They’re working on a four-song EP that will be released later this year and are planning a California tour at the end of September.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Uncle Chris will be performing at \u003ca href=\"https://rickshawstop.com/\">Rickshaw Stop\u003c/a> in San Francisco on May 17.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Apple Pancake as Big as a Pie? At This '50s L.A. Diner, It's True",
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"headTitle": "An Apple Pancake as Big as a Pie? At This ’50s L.A. Diner, It’s True | KQED",
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"content": "\u003cp>\u003cem>Editor’s Note: Classic Los Angeles diner Dinah’s closed its doors at its original location on April 30, following news that a developer with ambitious plans for new construction bought the site near the LA airport that the restaurant had rented for nearly 65 years.\u003c/em>\u003c/p>\n\u003cp>\u003cem>This week, Dinah’s reopened as “Dinah’s Kitchen” in Culver City, without the original \u003ca href=\"https://www.smithsonianmag.com/history/googie-architecture-of-the-space-age-122837470/\">Googie architecture\u003c/a> and some of the 1950s menu classics. The owners are revamping the dinner menu to focus on fresh, locally sourced produce. But they’ll still serve up their famous apple pancake for breakfast.\u003c/em>\u003c/p>\n\u003cp>\u003cem>This story originally ran in August 2019 as part of The California Report Magazine’s Hidden Gems series. We’re re-airing it this week to mark the end of Dinah’s long tenure in its original location, which served as a backdrop for a number of films and TV shows.\u003c/em>\u003c/p>\n\u003cp>\u003cb>Original story, Aug. 10, 2019:\u003c/b>\u003c/p>\n\u003cp>[dropcap]I[/dropcap] grew up just a mile from Los Angeles International Airport, and for 40 years, my family has been guarding a neighborhood secret.\u003c/p>\n\u003cp>One that involves a giant scoop of butter melting across a crispy, cinnamon-sugar crust.\u003c/p>\n\u003cp>I’m talking about the apple pancake at \u003ca href=\"http://www.dinahsrestaurant.com/\" target=\"_blank\" rel=\"noopener\">Dinah’s\u003c/a>, a family diner right under the LAX flight path, just off Sepulveda Boulevard.\u003c/p>\n\u003cp>It opened in 1959, with Googie-style architecture. Think “The Jetsons” — big stucco orbs jutting from the ceiling, fake rock walls and vinyl booths.\u003c/p>\n\u003cp>My little brother, Akash, and I have been fighting over what to order here for decades. The breakfast menu is endless: chicken and waffles, chocolate waffles, even a bacon-and-cheese waffle. But in the end, I win out, insisting that we order our family staple: the apple pancake that’s more like eating a giant apple pie for breakfast.\u003c/p>\n\u003cfigure id=\"attachment_11766323\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11766323\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/family-pic-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Khokha and her family at Dinah’s, with longtime server Carla Maraveles and “Uncle Salome” the apple pancake chef, standing behind their booth. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It takes 20 minutes, but it’s worth it,” warns our server. “You can’t find it anywhere else, and it makes your day better!”\u003c/p>\n\u003cp>Twenty minutes is a long time to wait at a diner where everything else arrives in minutes: eggs, toast and even decent coffee.\u003c/p>\n\u003cp>While we’re waiting, I chat with owner Teri Ernst. She started here as a waitress in 1972, wearing a white dress with a red apron, and a “funny little hat.”\u003c/p>\n\u003cp>“I had never worked at a place that was so busy. On Mondays, we had all-you-can-eat chicken, and there would be a line out the door,” Ernst says.\u003c/p>\n\u003cfigure id=\"attachment_11766502\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11766502\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/Dinahsmenu-160x248.jpg\" alt=\"\" width=\"250\" height=\"388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Dinahsmenu-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Dinahsmenu-800x1242.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Dinahsmenu-773x1200.jpg 773w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Dinahsmenu.jpg 1000w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">The apple pancake is the star of Sasha Khokha’s heart, but many come here for another beloved dish, the fried chicken. \u003ccite>(Courtesy of Dinah's)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After that came the ’70s polyester bell bottom pantsuits. But the all-you-can eat chicken special continues to this day.\u003c/p>\n\u003cp>Eventually Ernst married the son of the owner, and she’s been managing the place since 1989. I ask her where Dinah’s got its name. She says her in-laws were looking for something that sounded Southern, and got the idea from the song “Someone’s in the Kitchen with Dinah.”\u003c/p>\n\u003cp>“This is definitely a place where time has stood still,” Carla Maraveles says. Like many of the staff here, she’s worked at Dinah’s for decades. “I mean we have food here, lots of the traditional plates that nobody makes anymore. Meatloaf. Imagine that! Who makes liver and onions nowadays? Fried chicken gizzards?”\u003c/p>\n\u003cp>Maraveles says everything here is made from scratch, from the Southern-style gravy and mashed potatoes to the biscuits. She knows all the regulars, and where to seat them in their favorite booths.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>People like Ellis Smith, who eats here three or four times a week.\u003c/p>\n\u003cp>“My wife and I usually come to breakfast, and my uncle and I, we come to breakfast, and dinner every Thursday evening,” Ellis says.\u003c/p>\n\u003cp>Thursday is chicken night. The fried chicken is what draws many regulars to Dinah’s. It’s breaded the day before, and \u003cem>broasted\u003c/em> in a special machine that seals in the flavor, called a Henny Penny.\u003c/p>\n\u003cp>Dinah’s has a big chicken bucket up on a pole outside its takeout department. Ernst says the guy who pioneered the design went on to take the idea to Kentucky Fried Chicken.\u003c/p>\n\u003cp>Their ’50s decor has been used as a Hollywood backdrop in shows like “Modern Family” and “Malcolm in the Middle.” Its signature red-and-white chicken bucket was also featured in the film “Little Miss Sunshine.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tZ561uh3tSA\u003c/p>\n\u003cp>Hollywood has helped draw in a new generation of customers looking for a hip, classic diner. People like Pete Giovine, who drives here many mornings from West Hollywood.\u003c/p>\n\u003cp>“I’m from New Jersey originally,” he tells me. “If there’s one thing we take seriously, it’s diners. This building was almost like a siren, calling to me. It reminds me of all these old-school diners back in Jersey.”\u003c/p>\n\u003cp>Pete’s nursing a cup of coffee and a Denver omelet at the counter, writing in a notebook. He’s a comedian working on his routine. He says he gets way better material here than sitting at a Starbucks.\u003c/p>\n\u003cfigure id=\"attachment_11766319\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11766319 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Pete Giovine comes to Dinah’s to write. He says he gets better material here than at a Starbucks. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You actually get to the realest people,” he says. It makes him think of when presidential candidates tour Iowa during the state’s caucuses. “They always go to these small-town diners and you get that feeling of like, ‘Oh, this is where the community gathers.’ Dinah’s actually is that. It just happens to be in the center of a major city.”\u003c/p>\n\u003cp>Back at my table, my brother Akash is telling my 8-year old about eating at Dinah’s when he was the same age.\u003c/p>\n\u003cp>“I used to have tee ball practice down at the park. I hated sports and I hated practice,” Akash grins. “But your grandmother would bribe me with a fried chicken box if I finished practice. It was my favorite thing — this delicious-smelling red-and-white box. Like opening a Christmas present. Fried chicken with a biscuit and a side. I’d start digging into the box before we even got home.”\u003c/p>\n\u003cp>After hearing stories like this, we are ravenous. And after the 20-minute wait, the apple pancake is finally here.\u003c/p>\n\u003cfigure id=\"attachment_11766327\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11766327\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/apple-pancake-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Each Dinah’s apple pancake is made from scratch, in a cast iron skillet. \u003ccite>(Akash Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just as I’m biting into the hot layers of apple and cinnamon, Maraveles invites me into the kitchen to see how they are made.\u003c/p>\n\u003cp>“You get to meet Tio [Uncle] Salome,” she gushes. “He’s amazing. He’s been here 47 years. Everybody loves him, everybody calls him uncle. We just adore the dude.”\u003c/p>\n\u003cp>I head to the kitchen to see a tall man in a tall chef’s hat pouring pounds of peeled and sliced apples into a skillet of sizzling butter.\u003c/p>\n\u003cfigure id=\"attachment_11766330\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11766330 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/apples-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Each apple pancake involves pounds of peeled and cored apples, sizzled in butter. \u003ccite>(Akash Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salome Jimenez is 73 years old. He’s from Jalisco, Mexico, and he comes out of retirement on the weekends to whip up the apple pancakes for the crowd. He’s faster than anybody else.\u003c/p>\n\u003cp>In Spanish, he tells me that this is the only place in California that makes these pancakes individually — each the size of a pie, baked in a cast iron skillet. Dinah’s makes 4,500 each month. I watch as Jimenez pours a flour and egg mixture over the apples, then sprinkles huge scoops of cinnamon and sugar over the top.\u003c/p>\n\u003cp>He slides it in the oven for 10–15 minutes. When it comes out, he flips the pancake so the apples sit on top of the cinnamon sugar dough.\u003c/p>\n\u003cp>I am ecstatic. I am watching the apple pancake master reveal the secrets of my childhood comfort food.\u003c/p>\n\u003cp>In line to pay our bill, I’m practically gloating to all the other customers about my behind-the-scenes tour.\u003c/p>\n\u003cp>“Wow! I would have loved that!” Gail Galanter says. She’s at Dinah’s to celebrate her wedding anniversary with her husband, Dennis, over a chile relleno and an apple pancake.\u003c/p>\n\u003cp>“Are you going to be able to make those delicious pancakes now that you’ve seen how it’s done?” Gail asks.\u003c/p>\n\u003cp>“Oh no,” I tell her. “It’s more complicated than I ever imagined. The chef makes each one of those apple pancakes by hand.”\u003c/p>\n\u003cp>“A national treasure!” she exclaims.\u003c/p>\n\u003cp>This summer, Dinah’s marked its 60th anniversary with a blast-from- the-past event where they lowered all their prices to match the menu from 1959. No apple pancakes, but you could get a breakfast special — bacon or sausage, eggs and two regular pancakes for $1.25.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: Classic Los Angeles diner Dinah’s closed its doors at its original location on April 30, following news that a developer with ambitious plans for new construction bought the site near the LA airport that the restaurant had rented for nearly 65 years.\u003c/em>\u003c/p>\n\u003cp>\u003cem>This week, Dinah’s reopened as “Dinah’s Kitchen” in Culver City, without the original \u003ca href=\"https://www.smithsonianmag.com/history/googie-architecture-of-the-space-age-122837470/\">Googie architecture\u003c/a> and some of the 1950s menu classics. The owners are revamping the dinner menu to focus on fresh, locally sourced produce. But they’ll still serve up their famous apple pancake for breakfast.\u003c/em>\u003c/p>\n\u003cp>\u003cem>This story originally ran in August 2019 as part of The California Report Magazine’s Hidden Gems series. We’re re-airing it this week to mark the end of Dinah’s long tenure in its original location, which served as a backdrop for a number of films and TV shows.\u003c/em>\u003c/p>\n\u003cp>\u003cb>Original story, Aug. 10, 2019:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp> grew up just a mile from Los Angeles International Airport, and for 40 years, my family has been guarding a neighborhood secret.\u003c/p>\n\u003cp>One that involves a giant scoop of butter melting across a crispy, cinnamon-sugar crust.\u003c/p>\n\u003cp>I’m talking about the apple pancake at \u003ca href=\"http://www.dinahsrestaurant.com/\" target=\"_blank\" rel=\"noopener\">Dinah’s\u003c/a>, a family diner right under the LAX flight path, just off Sepulveda Boulevard.\u003c/p>\n\u003cp>It opened in 1959, with Googie-style architecture. Think “The Jetsons” — big stucco orbs jutting from the ceiling, fake rock walls and vinyl booths.\u003c/p>\n\u003cp>My little brother, Akash, and I have been fighting over what to order here for decades. The breakfast menu is endless: chicken and waffles, chocolate waffles, even a bacon-and-cheese waffle. But in the end, I win out, insisting that we order our family staple: the apple pancake that’s more like eating a giant apple pie for breakfast.\u003c/p>\n\u003cfigure id=\"attachment_11766323\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11766323\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/family-pic-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/family-pic.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Khokha and her family at Dinah’s, with longtime server Carla Maraveles and “Uncle Salome” the apple pancake chef, standing behind their booth. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It takes 20 minutes, but it’s worth it,” warns our server. “You can’t find it anywhere else, and it makes your day better!”\u003c/p>\n\u003cp>Twenty minutes is a long time to wait at a diner where everything else arrives in minutes: eggs, toast and even decent coffee.\u003c/p>\n\u003cp>While we’re waiting, I chat with owner Teri Ernst. She started here as a waitress in 1972, wearing a white dress with a red apron, and a “funny little hat.”\u003c/p>\n\u003cp>“I had never worked at a place that was so busy. On Mondays, we had all-you-can-eat chicken, and there would be a line out the door,” Ernst says.\u003c/p>\n\u003cfigure id=\"attachment_11766502\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11766502\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/Dinahsmenu-160x248.jpg\" alt=\"\" width=\"250\" height=\"388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Dinahsmenu-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Dinahsmenu-800x1242.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Dinahsmenu-773x1200.jpg 773w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Dinahsmenu.jpg 1000w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">The apple pancake is the star of Sasha Khokha’s heart, but many come here for another beloved dish, the fried chicken. \u003ccite>(Courtesy of Dinah's)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After that came the ’70s polyester bell bottom pantsuits. But the all-you-can eat chicken special continues to this day.\u003c/p>\n\u003cp>Eventually Ernst married the son of the owner, and she’s been managing the place since 1989. I ask her where Dinah’s got its name. She says her in-laws were looking for something that sounded Southern, and got the idea from the song “Someone’s in the Kitchen with Dinah.”\u003c/p>\n\u003cp>“This is definitely a place where time has stood still,” Carla Maraveles says. Like many of the staff here, she’s worked at Dinah’s for decades. “I mean we have food here, lots of the traditional plates that nobody makes anymore. Meatloaf. Imagine that! Who makes liver and onions nowadays? Fried chicken gizzards?”\u003c/p>\n\u003cp>Maraveles says everything here is made from scratch, from the Southern-style gravy and mashed potatoes to the biscuits. She knows all the regulars, and where to seat them in their favorite booths.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>People like Ellis Smith, who eats here three or four times a week.\u003c/p>\n\u003cp>“My wife and I usually come to breakfast, and my uncle and I, we come to breakfast, and dinner every Thursday evening,” Ellis says.\u003c/p>\n\u003cp>Thursday is chicken night. The fried chicken is what draws many regulars to Dinah’s. It’s breaded the day before, and \u003cem>broasted\u003c/em> in a special machine that seals in the flavor, called a Henny Penny.\u003c/p>\n\u003cp>Dinah’s has a big chicken bucket up on a pole outside its takeout department. Ernst says the guy who pioneered the design went on to take the idea to Kentucky Fried Chicken.\u003c/p>\n\u003cp>Their ’50s decor has been used as a Hollywood backdrop in shows like “Modern Family” and “Malcolm in the Middle.” Its signature red-and-white chicken bucket was also featured in the film “Little Miss Sunshine.”\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/tZ561uh3tSA'\n title='//www.youtube.com/embed/tZ561uh3tSA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hollywood has helped draw in a new generation of customers looking for a hip, classic diner. People like Pete Giovine, who drives here many mornings from West Hollywood.\u003c/p>\n\u003cp>“I’m from New Jersey originally,” he tells me. “If there’s one thing we take seriously, it’s diners. This building was almost like a siren, calling to me. It reminds me of all these old-school diners back in Jersey.”\u003c/p>\n\u003cp>Pete’s nursing a cup of coffee and a Denver omelet at the counter, writing in a notebook. He’s a comedian working on his routine. He says he gets way better material here than sitting at a Starbucks.\u003c/p>\n\u003cfigure id=\"attachment_11766319\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11766319 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/RS38429_comedian-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Pete Giovine comes to Dinah’s to write. He says he gets better material here than at a Starbucks. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You actually get to the realest people,” he says. It makes him think of when presidential candidates tour Iowa during the state’s caucuses. “They always go to these small-town diners and you get that feeling of like, ‘Oh, this is where the community gathers.’ Dinah’s actually is that. It just happens to be in the center of a major city.”\u003c/p>\n\u003cp>Back at my table, my brother Akash is telling my 8-year old about eating at Dinah’s when he was the same age.\u003c/p>\n\u003cp>“I used to have tee ball practice down at the park. I hated sports and I hated practice,” Akash grins. “But your grandmother would bribe me with a fried chicken box if I finished practice. It was my favorite thing — this delicious-smelling red-and-white box. Like opening a Christmas present. Fried chicken with a biscuit and a side. I’d start digging into the box before we even got home.”\u003c/p>\n\u003cp>After hearing stories like this, we are ravenous. And after the 20-minute wait, the apple pancake is finally here.\u003c/p>\n\u003cfigure id=\"attachment_11766327\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11766327\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/apple-pancake-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apple-pancake.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Each Dinah’s apple pancake is made from scratch, in a cast iron skillet. \u003ccite>(Akash Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just as I’m biting into the hot layers of apple and cinnamon, Maraveles invites me into the kitchen to see how they are made.\u003c/p>\n\u003cp>“You get to meet Tio [Uncle] Salome,” she gushes. “He’s amazing. He’s been here 47 years. Everybody loves him, everybody calls him uncle. We just adore the dude.”\u003c/p>\n\u003cp>I head to the kitchen to see a tall man in a tall chef’s hat pouring pounds of peeled and sliced apples into a skillet of sizzling butter.\u003c/p>\n\u003cfigure id=\"attachment_11766330\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11766330 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/apples-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/apples-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Each apple pancake involves pounds of peeled and cored apples, sizzled in butter. \u003ccite>(Akash Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salome Jimenez is 73 years old. He’s from Jalisco, Mexico, and he comes out of retirement on the weekends to whip up the apple pancakes for the crowd. He’s faster than anybody else.\u003c/p>\n\u003cp>In Spanish, he tells me that this is the only place in California that makes these pancakes individually — each the size of a pie, baked in a cast iron skillet. Dinah’s makes 4,500 each month. I watch as Jimenez pours a flour and egg mixture over the apples, then sprinkles huge scoops of cinnamon and sugar over the top.\u003c/p>\n\u003cp>He slides it in the oven for 10–15 minutes. When it comes out, he flips the pancake so the apples sit on top of the cinnamon sugar dough.\u003c/p>\n\u003cp>I am ecstatic. I am watching the apple pancake master reveal the secrets of my childhood comfort food.\u003c/p>\n\u003cp>In line to pay our bill, I’m practically gloating to all the other customers about my behind-the-scenes tour.\u003c/p>\n\u003cp>“Wow! I would have loved that!” Gail Galanter says. She’s at Dinah’s to celebrate her wedding anniversary with her husband, Dennis, over a chile relleno and an apple pancake.\u003c/p>\n\u003cp>“Are you going to be able to make those delicious pancakes now that you’ve seen how it’s done?” Gail asks.\u003c/p>\n\u003cp>“Oh no,” I tell her. “It’s more complicated than I ever imagined. The chef makes each one of those apple pancakes by hand.”\u003c/p>\n\u003cp>“A national treasure!” she exclaims.\u003c/p>\n\u003cp>This summer, Dinah’s marked its 60th anniversary with a blast-from- the-past event where they lowered all their prices to match the menu from 1959. No apple pancakes, but you could get a breakfast special — bacon or sausage, eggs and two regular pancakes for $1.25.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Inside Sutro Baths, San Francisco's Once Grand Bathing Palace",
"headTitle": "Inside Sutro Baths, San Francisco’s Once Grand Bathing Palace | KQED",
"content": "\u003cp>\u003ca href=\"#episode-transcript\">View the full episode transcript.\u003c/a>\u003c/p>\n\u003cp>Standing at the Lands’ End parking lot, overlooking the ruins of Sutro Baths, it feels like the edge of the world. To the left, Point Lobos Road winds down towards the straight stretch of Ocean Beach, past the Cliff House restaurant perched atop an overlook. And out in front is the wild Pacific Ocean, crashing against a man-made seawall stretching across the bottom of the cove. A faint outline of square pools can still be seen, but it looks more like a playland for the ducks and cormorants than a place humans would want to swim.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>It’s hard to tell now, but Sutro Baths was \u003ci>the place to be\u003c/i> at the turn of the 19th century. Seven massive baths were built into the cove, each filled with seawater and heated to different temperatures. A beautiful glass pavilion covered the pools to shield swimmers from the wind and fog. So, what happened to the grand establishment? How did it go from a glittering bathing palace to wild ruins?\u003c/p>\n\u003cp>To understand the history of Sutro Baths, we first need to learn about the man for whom they are named — Adolph Sutro.\u003c/p>\n\u003cfigure id=\"attachment_11985364\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11985364\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Baths-6_qut.jpg\" alt=\"A black cormorant spreads its wings on the remnants of a wall. The ocean crashes in the distance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Baths-6_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Baths-6_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Baths-6_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Baths-6_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Baths-6_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Seagulls, cormorants and ducks have made the remnants of the Sutro Baths their home now. The ruins are a beautiful place to explore and imagine what once stood here. \u003ccite>(Tamuna Chkareuli/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>A self-made man\u003c/b>\u003c/h2>\n\u003cp>Born in 1830, Adolph Sutro was a German Jewish immigrant to San Francisco. He arrived in 1850, at the height of the Gold Rush, and set up a shop selling dry goods — mostly tobacco. When news of a silver deposit in Nevada hit the newspapers, he dropped everything and headed out to work on the Comstock Lode. First, he ran a refining mill but kept thinking about one of mining’s biggest problems — surface water. It would seep down from above, sometimes drowning miners deep below the earth’s surface.\u003c/p>\n\u003cfigure id=\"attachment_11985371\" class=\"wp-caption aligncenter\" style=\"max-width: 394px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11985371\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/adolph-sutro-cropped.jpg\" alt=\"Black and white portrait of a white man with white hair and mutton chops whiskers.\" width=\"394\" height=\"444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/adolph-sutro-cropped.jpg 394w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/adolph-sutro-cropped-160x180.jpg 160w\" sizes=\"(max-width: 394px) 100vw, 394px\">\u003cfigcaption class=\"wp-caption-text\">Adolph Sutro, 1830–98. He served as mayor of San Francisco from 1895–97. \u003ccite>(\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A143030?solr_nav%5Bid%5D=50b41f01b154203e6a0f&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=0\">San Francisco History Center/San Francisco Public Library\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sutro’s solution was to build a big tunnel that would carry water away from workers, making the conditions much safer. He opened his Sutro Tunnel in 1878 to much acclaim. Not only did it make mining safer, but it also offered an easier way to extract the silver ore and offered another escape route for miners in an emergency.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He was able to eventually patent this and became kind of a mythical figure among the silver miners in that part of Nevada,” said Hector Falero, a former education manager for the Golden Gate National Recreation Area, \u003ca href=\"https://www.nps.gov/goga/learn/historyculture/upload/sutro_history.pdf\">the National Park that manages the Sutro Baths site now\u003c/a>.\u003c/p>\n\u003cp>Sutro returned to San Francisco a rich man and began investing in real estate. He loved the “Outside Lands” at the far western edge of the city, \u003ca href=\"https://www.foundsf.org/index.php?title=How_Many_Cliff_Houses%3F\">near the Cliff House\u003c/a>, and bought close to 22 acres of oceanfront property overlooking a nearby cove. He built his mansion there at Sutro Heights and began planning for a grand attraction in the cove itself. Just a few years later, he also bought the Cliff House and started planning to redesign it.\u003c/p>\n\u003cfigure id=\"attachment_11985365\" class=\"wp-caption aligncenter\" style=\"max-width: 1423px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11985365\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutros-cliff-house.png\" alt=\"Black and white photo of a massive Victorian-era structure perched on a cliff overlooking the ocean.\" width=\"1423\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutros-cliff-house.png 1423w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutros-cliff-house-800x313.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutros-cliff-house-1020x399.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutros-cliff-house-160x63.png 160w\" sizes=\"(max-width: 1423px) 100vw, 1423px\">\u003cfigcaption class=\"wp-caption-text\">After purchasing the Cliff House, Sutro rebuilt it in grand style. Soon after it opened, a fire destroyed it. \u003ccite>(\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A129779?solr_nav%5Bid%5D=6afb3a4aaad152445a8c&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=5\">San Francisco History Center/San Francisco Public Library\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Building Sutro Baths\u003c/b>\u003c/h2>\n\u003cp>Before Sutro got hold of it, the cove below the Cliff House was a quiet little beach surrounded by steep cliffs. Sutro was fascinated by marine life and loved watching sea lions play on the rocks. Legend has it, that’s what gave him the idea of creating an aquarium in the cove. He first built a circular pool on the northwest end that would be filled by seawater rushing in from a large tunnel he bore through the rock. He planned to fill the aquarium pool with ocean water and sea creatures — like a man-made tidepool — and then, as the water gradually seeped through a drainage canal he built, the sea creatures would be left behind and easy to view.\u003c/p>\n\u003cp>The tunnel and pool worked so well that Sutro kept building. He refocused his efforts on building an attraction for saltwater swimming, which was booming in popularity. The round aquarium pool became a settling tank, a place for any sediment from the ocean water to separate out. He added a seawall to protect the cove from the waves and built a massive swimming pool across the entire cove. It was subdivided into seven pools, each holding water of a different temperature. Cold seawater would rush through the tunnel, past a boiler house where it would mix with very hot water, and then stream down through the various pools, getting cooler as it went. The largest pool was the coldest — the temperature of the sea.\u003c/p>\n\u003cfigure id=\"attachment_11985373\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11985373\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutro-interior-baths-OpenSF.jpg\" alt=\"Huge glass and steel structure covers a bathing facility with seven pools.\" width=\"700\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutro-interior-baths-OpenSF.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutro-interior-baths-OpenSF-160x125.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Inside Sutro Baths circa 1910 looking north towards the promenade. \u003ccite>(\u003ca href=\"https://opensfhistory.org/Display/wnp4/wnp4.0211.jpg\">OpenSFHistory / wnp4/wnp4.0211\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A prospectus from the San Francisco-based Floating Sea-Bath Company touted the positive effects of seawater bathing:\u003c/p>\n\u003cblockquote>\u003cp>\u003ci>Pleasure is an essential item of the real bath, and among the most active of its beneficial forces. There can be no doubt that a great number of our citizens would seek to enjoy the tonic effects of sea bathing, but for the low temperatures of the water.\u003c/i>\u003c/p>\u003c/blockquote>\n\u003cp>Sutro solved that problem. And he didn’t stop there. He built a massive pavilion over the baths to protect swimmers from cold sea air and fog. Made of iron girders, wood and glass, it was a giant white building with a 3-acre footprint. Visitors entered from above, off Point Lobos Avenue, and descended a grand stairway to the baths below.\u003c/p>\n\u003cp>Sutro Baths wasn’t just a swimming facility — it was a place to be seen. There were several levels to stop and promenade, restaurants, bars, and a museum of curios Sutro had collected while traveling all over the world, including some rare mummies. For 25 cents, visitors could enter the baths, rent a bathing suit and towel, use the changing rooms and swim all day.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8o4JS0d_qyY\u003c/p>\n\u003cp>Sutro knew getting people out to his new attraction would be challenging since the neighborhoods near Golden Gate Park were not built up yet, and most people lived much further east. So, he waged war with the railroad companies to keep the streetcar fares low, enabling the average working person to afford a visit to the baths. This egalitarian fight won him a lot of goodwill with San Franciscans, who eventually elected him mayor in 1895. For a while, there was even a train that went along the cliff at Lands’ End, offering spectacular views of the Bay.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9qgapRWmiUY\u003c/p>\n\u003ch3>\u003cb>Sutro Baths officially open in 1896\u003c/b>\u003c/h3>\n\u003cp>After more than a decade of construction, the baths officially opened in 1896. They were an immediate hit. The space was big enough for an orchestra to play, and Sutro regularly hosted large events at the baths. There were competitions, concerts and diving displays.\u003c/p>\n\u003cfigure id=\"attachment_11985382\" class=\"wp-caption aligncenter\" style=\"max-width: 1423px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11985382\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/aerial-view-sutros-history-center.png\" alt=\"Black and white aerial view of the massive Sutro Baths pavilion.\" width=\"1423\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/aerial-view-sutros-history-center.png 1423w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/aerial-view-sutros-history-center-800x313.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/aerial-view-sutros-history-center-1020x399.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/aerial-view-sutros-history-center-160x63.png 160w\" sizes=\"(max-width: 1423px) 100vw, 1423px\">\u003cfigcaption class=\"wp-caption-text\">An aerial view shows just how massive the baths and pavilion were when finished. \u003ccite>(\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A130128?solr_nav%5Bid%5D=950123d10c91ec349686&solr_nav%5Bpage%5D=2&solr_nav%5Boffset%5D=8\">San Francisco History Center/San Francisco Public Library\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Site of an early civil rights lawsuit\u003c/b>\u003c/h2>\n\u003cp>Sutro Baths advertised itself as a place for \u003ci>all San Franciscans\u003c/i> to enjoy the salubrious effects of sea bathing, but that wasn’t actually true.\u003c/p>\n\u003cp>On July 4, 1897, just a few months after the baths officially opened, John Harris, an African American waiter, paid to enter the baths with a group of his white friends. He was told he was not allowed to swim because of the color of his skin. A week later, he tried again and was once again rebuffed. So, he sued the Sutro family.\u003c/p>\n\u003cp>“To challenge the former mayor of San Francisco really took a lot of chutzpah, bravado,” said historian and writer Elaine Elinson. \u003ca href=\"https://www.nps.gov/goga/learn/historyculture/john-harris-civil-rights.htm\">She researched John Harris’ story for the National Park Service. \u003c/a>\u003c/p>\n\u003cp>Just a year before, \u003ca href=\"https://www.nps.gov/goga/learn/historyculture/john-harris-civil-rights.htm\">California passed the Dibble Civil Rights Act, the first of its kind in the state\u003c/a>, which made it illegal to discriminate in public places based on race. Harris used the new law to challenge his treatment at Sutro Baths.\u003c/p>\n\u003cfigure id=\"attachment_11985391\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11985391\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/opensfhistory_wnp4_wnp4.0298.jpg\" alt=\"Large group of white swimmers in old fashioned swim suits.\" width=\"750\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/opensfhistory_wnp4_wnp4.0298.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/opensfhistory_wnp4_wnp4.0298-160x128.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of all-white swimmers at Sutro Baths, circa 1910. \u003ccite>(\u003ca href=\"https://opensfhistory.org/Display/wnp4/wnp4.0298.jpg\">OpenSFHistory / wnp4/wnp4.0298\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A group of Black activists, known as the African American Assembly, supported Harris’ suit by paying his legal fees. They hoped this early test of the new civil rights law would give it teeth.\u003c/p>\n\u003ch2>\u003cb>A deeper history of Black activism in California\u003c/b>\u003c/h2>\n\u003cp>The Dibble Civil Rights Act was the result of many years of organizing by California’s Black residents.\u003c/p>\n\u003cp>“A lot of the people who ended up as civic leaders or church leaders were already highly experienced and skilled in the abolitionist movement,” said Susan Anderson, the history curator at the \u003ca href=\"https://caamuseum.org/\">African American Museum in Los Angeles\u003c/a>. She’s writing a book about how Black Californians have influenced civic culture and institutions going back to before statehood.\u003c/p>\n\u003cp>“It was significant to Black people to have their rights enshrined,” Anderson said. “They worked together to influence Assembly Member [Henry Clay] Dibble to sponsor the Dibble Act, California’s first civil rights act, in 1896.”\u003c/p>\n\u003cp>It’s likely Black activists wrote the law, Anderson said and lobbied other legislators to pass it. At a time when racist attitudes and policies limited Black Californians to only the most menial jobs — porters, waiters, clerks — this was a tremendous feat. Black people used the connections they made through these serving jobs to push the causes important to them, Anderson said.\u003c/p>\n\u003cp id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8581019303&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003cp>“So if you’re a porter or clerk in a court, and you’re an activist, you find comrades and allies and people you can network with who are powerful for your cause,” Anderson said.\u003c/p>\n\u003cp>She points out that the African American organizations of the time were very organized. Members across California met once a year to set their agenda, and then local chapters worked to implement them. Before California even became a state, they worked on issues like the right to vote, the right to testify in court, equal access to education and, of course, anti-discrimination laws.\u003c/p>\n\u003cp>After the Dibble Civil Rights Law passed in 1896, local groups, like the African American Assembly Club in San Francisco, started testing the law. That’s what John Harris did at Sutro Baths.\u003c/p>\n\u003cp>“John Harris won his case, but he only earned $100 for the two times he was refused entrance to the baths,” said Elaine Elinson. “So it wasn’t a monetary victory, but it was a very, very important civil rights victory.”\u003c/p>\n\u003cp>Despite this historic victory, very little changed at Sutro Baths. \u003ca href=\"http://www.outsidelands.org/sutro-baths-segregation.php\">It remained segregated in practice, if not by law\u003c/a>, until the Civil Rights era of the 1950s and ‘60s. There are cases of other non-white San Franciscans being denied entry, too, including members of the city’s large Chinese American community.\u003c/p>\n\u003cp>“It is interesting to see that these cases [were] challenged and won, but often did not change public attitudes or public policy,” Elinson said.\u003c/p>\n\u003ch2>\u003cb>Sutro Baths’ slow decline\u003c/b>\u003c/h2>\n\u003cfigure id=\"attachment_11985394\" class=\"wp-caption aligncenter\" style=\"max-width: 1423px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11985394\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/inside-sutros-tropical-history-center.png\" alt=\"Black and white photo of cabanas with straw roofs inside a large glass pavilion.\" width=\"1423\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/inside-sutros-tropical-history-center.png 1423w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/inside-sutros-tropical-history-center-800x313.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/inside-sutros-tropical-history-center-1020x399.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/inside-sutros-tropical-history-center-160x63.png 160w\" sizes=\"(max-width: 1423px) 100vw, 1423px\">\u003cfigcaption class=\"wp-caption-text\">The Sutro family revamped the interior of the baths several times, including this tropical version circa 1935. \u003ccite>(\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A130193?solr_nav%5Bid%5D=5c559fc2d23fe6107f55&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=5\">San Francisco History Center/San Francisco Public Library\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adolph Sutro died just a few years after the baths officially opened in 1898. He was 68 years old and left Sutro Baths to his children. They continued to operate the site, even though it didn’t make much money. Sutro had sunk a lot of cash into constructing the grand facility, costing a fortune to run.\u003c/p>\n\u003cp>In the 1930s, when the Great Depression hit, many San Franciscans didn’t have the money for a leisure day out, and the baths began to fall into disrepair. Adolph Sutro’s grandson tried revamping the business in 1936 by covering some of the pools and building an ice skating rink. That was a popular move but it didn’t do enough to save the business. Eventually, in 1952, the Sutros announced they would close the facility. That’s when one of their competitors — George Whitney — swooped in and bought it for a bargain.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JklqpaDdYX0\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Whitney owned \u003ca href=\"https://www.kqed.org/news/11925112/idora-park-and-playland-at-the-beach-bay-area-amusement-parks-of-a-bygone-era\">Playland-at-the-Beach, a popular amusement park on Ocean Beach\u003c/a>. He thought he could squeeze a little more money out of Sutros and use the space to house his collection of mechanical oddities. But his family couldn’t make a go of it either and ended up selling the property to a developer who planned to build condominiums on the site.\u003c/p>\n\u003cp>Sutros finally closed for good in 1966. Just a few months later, a fire burned the grand structure to the ground. People from the neighborhood came out and watched the iconic building burn. The police suspected arson but could never prove it.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11985395\" class=\"wp-caption aligncenter\" style=\"max-width: 1423px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11985395\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutro-fire-history-center.png\" alt=\"Smoke billows from the skeleton of a building built on a cliff overlooking the ocean.\" width=\"1423\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutro-fire-history-center.png 1423w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutro-fire-history-center-800x313.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutro-fire-history-center-1020x399.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutro-fire-history-center-160x63.png 160w\" sizes=\"(max-width: 1423px) 100vw, 1423px\">\u003cfigcaption class=\"wp-caption-text\">The Sutro Baths pavilion burned to the ground in 1966. Neighbors came out to watch the iconic building burn. \u003ccite>(\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A130156?solr_nav%5Bid%5D=2fad4a0f6ccdbd8148f8&solr_nav%5Bpage%5D=6&solr_nav%5Boffset%5D=14\">San Francisco History Center/San Francisco Public Library\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>About a decade later, the National Park Service bought the property for open space. The community didn’t want the park to build interpretive services at the site of the old baths, instead preferring its current state — a set of ruins that hearken back to a grand past but that are free and open for all to explore.\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>Sounds of birds, distant waves crashing, people talking, wind\u003c/i>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene):\u003c/b> Wow. Okay, so I’ve been to this place a few times, but never on a day quite like today. It is a stunner out here.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene):\u003c/b> Beautiful weather, perfect May day.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene): \u003c/b>Hey, everyone. Olivia Allen-Price here with Katrina Schwartz, producer extraordinaire of Bay Curious.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene): \u003c/b>Hello.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene): \u003c/b>And we are at Sutro Baths. So right at the entrance of Land’s End, the hiking trail, if you’ve done that. We’re looking at the Cliff House to our left, a long-time-running restaurant, currently not running, but hopefully will come back again soon. But down in this cove is really why we are here. There is something pretty interesting down there.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene): \u003c/b>It looks like a massive pool, except the edges of it are more like a pond with moss growing and ducks and seagulls. People are walking out on that retaining wall, but it has this air of mystery because you can tell something was once here, but now nature is reclaiming it.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> Today on Bay Curious, we’re going on a field trip to a spot many of you have been requesting over the years! We’ll learn why and how Sutro Baths were built, what visiting would have felt like back in the day, and while researching this story, we stumbled upon a lesser known piece of civil rights history — so we’ll be sharing that. This story first appeared in the Bay Curious book — available now wherever books are sold. We’re diving in — literally — just ahead on Bay Curious.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> San Francisco has a lot of historic places, many of which have been rebuilt or repurposed in modern ways. But the ruins of Sutro Baths remain wild and untouched. Bay Curious editor and producer Katrina Schwartz brings us the story of the rise and fall of this iconic bathing palace.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz:\u003c/b> To understand why these somewhat sparse ruins have captivated the imaginations of locals and visitors alike, we need to learn a bit more about the man behind them. Adolph Sutro.\u003c/p>\n\u003cp>\u003cb>Hector Falero: \u003c/b>He was born in Germany in 1830 to a Jewish family.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Hector Falero is a former education manager for the Golden Gate Recreation Area — the National Park that manages the Sutro Baths site now. He says Sutro arrived in San Francisco as a young man in 1850, right as the Gold Rush was kicking off.\u003c/p>\n\u003cp>\u003cb>Hector Falero: \u003c/b>He’s living in San Francisco and mostly selling tobacco.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Many of his customers were miners, and he learned as much as he could about the business. When news of a massive silver discovery in Nevada hit the papers, he decided to join the fray and try to make his fortune on the Comstock Lode. He first opened a refining mill, but he’d long been thinking about one of mining’s biggest problems — surface water. It would seep down, sometimes drowning miners. Adolph Sutro’s solution was to build a huge tunnel deep in the mine that ran downhill and carried water away from the workmen. The Sutro Tunnel.\u003c/p>\n\u003cp>\u003cb>Hector Falero: \u003c/b>He was able to eventually patent this and became kind of like a mythical figure among the silver miners in that part of Nevada.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Sutro made millions on his invention. He returned to San Francisco a rich man and began investing in real estate. He especially liked the wind-swept “Outside Lands” near the Pacific Ocean. Not many people lived out there yet, but Sutro wanted to change that. In 1881, he bought 22 acres of oceanfront property overlooking the Cliff House, which was already operating as an inn and restaurant. Sutro would buy the Cliff House just a few years later and incorporate it into his grand vision for the area.\u003c/p>\n\u003cp>\u003cb>Hector Falero: \u003c/b>Where he saw a gap was in bathing or swimming.\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>In the late 1800s, most people lived crowded into boarding houses and rented rooms in downtown San Francisco. Saltwater swimming was all the rage, a welcome respite from these cramped interiors.\u003c/p>\n\u003cp>\u003cb>Hector Falero: \u003c/b>There was some sort of like concept of health associated with Pacific waters. But it’s very cold. And so the need that Adolfo Sutro saw was, hey, I would love to create some baths and I would love to create them to be sort of temperature controlled.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Sutro put his engineering brain to work designing a series of pools and tunnels that would harness the tides to create a swimming facility.\u003c/p>\n\u003cp>The first problem to solve was how to bring seawater into a protected pool away from crashing ocean waves. So, Sutro did what he did best. He built a massive tunnel.\u003c/p>\n\u003cp>\u003cb>Hector Falero: \u003c/b>The water would rush in at high tide and be able to fill the pools almost instantly. This was one of the technological aspects that was incredible.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>He demonstrated the system to reporters nearly a decade \u003ci>before\u003c/i> the baths would officially open. An article in the \u003cem>San Francisco Chronicle\u003c/em> reads:\u003c/p>\n\u003cp>\u003cb>Voice-over reads newspaper clipping: \u003c/b>At great expense, a tunnel was excavated, 8 feet high and 15 feet long, through the solid rock. It is through this tunnel that the water comes at extreme high tide and for about two hours before and after.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Over the next many years, Sutro transformed this quiet cove into a massive engineering project. He built a seawall across the entire span to keep the waves out.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>He lined most of the cove with concrete.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>John Martini is the author of \u003ci>Sutro’s Glass Palace: The Story of Sutro Baths.\u003c/i> He presented his research to the San Francisco Historical Society.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>So he literally subdivided the cove into what he called swimming tanks. We’d call ‘em pools.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>There were seven pools in all. Seawater would rush in through the tunnel and mix with extremely hot water coming out of a boiler house. Then, the rush of water would flow into the pools, each a different temperature.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>The warmest pool was about 85, 86 degrees, maybe up to 90. And then they were sequentially cooler until the biggest pool that was ocean temperature. They didn’t bother to heat it.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>But that’s not all. Anyone who’s been out to Lands End knows how cold and windy it can be, so Sutro decided to build a huge glass pavilion to cover the pools.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>So, instead of an open-air swimming establishment, you ended up with the world’s largest indoor swimming complex.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>When it was finished, the baths had a footprint of 3 acres, about the same size as the ferry building — 10,000 people could pack inside.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>People entered, and they descended a flight of stairs. The first level that you hit is called a promenade level, and the promenade level is where a lot of the museum displays were. You walked under a giant vestibule and then down a grand staircase that led you all the way down to the water on either side.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>After more than a decade of construction, the baths formally opened in 1896. The \u003cem>San Francisco Examiner\u003c/em> described the event.\u003c/p>\n\u003cp>\u003cb>Voice over reading newspaper excerpt: \u003c/b>Nearly 7,000 people gathered at the immense pavilion yesterday to witness the dedication of the magnificent structure, which Adolph Sutro has built on his land near the ocean.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>There were restaurants and bars, curiosities from around the world — like mummies and a stuffed polar — space for a large band to play, an amphitheater and lots of areas to promenade. It was a place to be seen.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>Those were colored panes of glass in the domes overhead so that sunlight gave multicolored, rippling effects on the water, especially when thousands and thousands of people at a time, making waves in the water, kids screams, music playing. It was an overwhelming sensation.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Sutro wanted the working classes to be able to enjoy a day at his leisure palace. … and to spend their money there. … so he pushed the railroads to keep the streetcar fares to Outside Lands low.\u003c/p>\n\u003cp>\u003cb>Hector Falero: He had this sort of egalitarian slant.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Hector Falero says his populist streak made him popular with the people. They even elected him mayor!\u003c/p>\n\u003cp>\u003cb>Hector Falero:\u003c/b> He wanted people Of various class backgrounds to be able to access the place equitably.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>For 25 cents, visitors could rent a bathing suit, use the lockers, visit the attractions, swim and stay all day. Advertising campaigns at the time said Sutro Baths welcomed ALL San Franciscans.\u003c/p>\n\u003cp>But that wasn’t actually true.\u003c/p>\n\u003cp>\u003ci>Somber music starts\u003c/i>\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>One day, a group of friends took the streetcar from downtown out to enjoy a day at the new attraction. It was the fourth of July 1897, just a few months after the baths officially opened.\u003c/p>\n\u003cp>\u003cb>Elaine Ellnson: \u003c/b>John Harris, who is an African American man, went with his several white friends to the baths.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Writer and historian Elaine Elinson researched this history for the National Park Service.\u003c/p>\n\u003cp>\u003cb>Elaine Elinson: \u003c/b>He was a waiter in San Francisco, and he paid his $0.25. And his white friends got their bathing suits and went in the pools. And he was told he could not go into the pools. Only his white friends could go into the pools.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz:\u003c/b> John Harris tried to enter the baths again a week later. Again, he was not allowed to swim because of the color of his skin. So, he sued the Sutro family.\u003c/p>\n\u003cp>\u003cb>Elaine Elinson: \u003c/b>To challenge the former mayor of San Francisco really took a lot of chutzpah, bravado.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>John Harris used a new California law called The Dibble Civil Rights Act to challenge his treatment at the baths. The law prohibited discrimination in public places based on race.\u003c/p>\n\u003cp>\u003cb>Susan Anderson: \u003c/b>That all came out of black California.\u003c/p>\n\u003cp>Susan Anderson is the history curator for the California African American Museum.\u003c/p>\n\u003cp>\u003cb>Susan Anderson: \u003c/b>It was significant to black people to have their rights enshrined. They worked together to influence Assembly Member Dibble to sponsor the Dibble Act, California’s first civil rights act, in 1896.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Many Black migrants to California were already skilled leaders in the abolitionist movement. Racist policies and attitudes limited them to low-paying jobs — hotel waiters, railroad porters, clerks — but through their work, they got to know powerful men like Dibble.\u003c/p>\n\u003cp>\u003cb>Susan Anderson: \u003c/b>Enterprising people make the most of it. So, if you’re a porter or clerk in a court. And you’re an activist; you find comrades and allies and people you can network with people who are powerful for your cause.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Black activists likely \u003ci>wrote\u003c/i> the Dibble Civil Rights Act and lobbied other legislators to pass it. Then, local groups like the African American Assembly in San Francisco tested the law, trying to give it teeth. That’s what John Harris did at Sutro Baths.\u003c/p>\n\u003cp>\u003cb>Elaine Elinson: \u003c/b>We don’t have any exact testimony from John Harris himself.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Historian Elaine Elinson again. She says the court records burned in the 1906 fire. And mainstream newspapers of the day didn’t bother interviewing the central figure in the case, John Harris himself.\u003c/p>\n\u003cp>\u003cb>Elaine Ellinson: \u003c/b>I have to say that the mainstream press was really vitriolic against John Harris and the judge.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Elaine pieced together her account from lawyers’ notes, newspaper articles and personal letters. She says the African American Assembly paid Harris’ legal fees.\u003c/p>\n\u003cp>\u003cb>Elaine Elinson: \u003c/b>John Harris won his case, but, you know, he only earned $100 for the two times he was refused entrance to the baths. So it wasn’t a monetary victory, but it was a very, very important civil rights victory.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>The Sutro family and Bath managers were unrepentant. They continued to make racist remarks that the mainstream newspapers published.\u003c/p>\n\u003cp>\u003cb>Elaine Elinson: \u003c/b>It is interesting to see that these cases challenged and won but often did not change public attitudes or public policy.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Two years after Sutro Baths opened, Adolph Sutro died. He was 68. He left his estate and properties to his children, who continued to run the baths. And the attraction remained incredibly popular, but the Sutro family was ready to unload the property.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>They kept trying to sell it. No one wanted to buy it.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>John Martini says Sutro sunk a lot of cash into constructing the baths, and they cost a fortune to run. His children wanted to recoup that investment.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>In 1913, the family tried to get the city to buy it. No dice. The city turned it down.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Then, in the ’30s, the Great Depression hit. Many San Franciscans didn’t have money for a leisure day at the baths, and slowly, the facilities began to fall into disrepair. Adolph Sutro’s grandson was in charge at the time.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>He decided to rebuild part of the baths and turn it into an indoor ice skating rink, and it opened in 1936 and it was immensely popular. Immediately popular.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>John Martini remembers going there as a kid in the 1950s.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>The ice rink was actually quite dark inside. It turned out that all that great glass. It tended to melt the ice. So, they intentionally blanked out the glass roof over the ice skating rink.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>In 1952, the Sutro family announced they were closing the facility. It just cost too much to run. That’s when one of their competitors, George Whitney, swooped in and bought it for a bargain. Whitney owned Playland-at-the-Beach, the popular amusement park on Ocean Beach.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>George Whitney revamped the baths one more time. He recognized that there was still a few nickels to be made out of the old place, and that he would be the perfect place for him to display all of his personal collections.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Antique carriages, historic photographs, pinball machines and other novelties that can now be found in the Musee Mecanique started out at Sutros.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>Much of what was in Sutro still exists. It’s just moved all over the world now.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Sutros finally closed for good in the 1960s. A \u003cem>San Francisco Examiner\u003c/em> article marks the occasion:\u003c/p>\n\u003cp>\u003cb>Voice over reading newspaper excerpt: \u003c/b>The second half of the 20th century at last caught up with an old San Francisco legend. Sutro Baths, created 70 years ago, closed forever.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>The Whitney family sold the Sutro Bath property to a developer who planned to build condominiums on the site.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>Demolition began in early June of 1966. And on June 26, 1966, a very convenient fire broke out that, in one long afternoon, destroyed the building.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Police suspected arson but could never prove it. In any case, the fire destroyed the building much faster than work crews ever could. People from the neighborhood came out to watch as the iconic white pavilion burned to the ground. Sutros creation up in smoke.\u003c/p>\n\u003cp>\u003ci>Sounds of waves, birds singing, the crunching of footsteps\u003c/i>\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene): \u003c/b>Honestly, I can almost imagine what it looked like to Sutro when he came here.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene):\u003c/b> Yeah?\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene): \u003c/b>Yeah, like, with the beach out past the retaining wall and the big rock out there, you can almost imagine him, like, walking on the beach. More than 100 years ago.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene):\u003c/b> I mean, I can definitely understand how somebody would see this. And if you had the money to buy it, think this must be mine! Once you kind of get down closer to the baths, as you look up, you can really get a sense of where the rest of the building used to be. If you look up at the hillside that’s kind of underneath the Cliff house, there’s a number of just like slabs of concrete that probably indicate different levels of what was once here.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene): \u003c/b>Clearly man-made.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene): \u003c/b>Yeah. All right. So we’ve made it down to the ruins, and we’re standing on the retaining wall. That really is a wall between two worlds. On one side, we have the wild Pacific battering the coastline. And on the other side of the wall, the world that Sutro built, which these days looks more like a home for the birds.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene): \u003c/b>Yeah, this may be a swimming hole for the birds now, but standing here on the wall, you could almost imagine diving in, back in the 1920s, in your really heavy bathing suit, with a slide.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene): \u003c/b>And how majestic it would have been to be able to swim and also look at the ocean at the same time. But it was a complicated story. This wasn’t an amazing space for everyone.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene): \u003c/b>Right. It’s got a nostalgic element to it for some people, a lot of happy memories. But for other people, this place is a symbol of pain and rejection.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene): \u003c/b>Now I can’t help but notice. But there are not condominiums here, as was once the plan. What happened with that?\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene): \u003c/b>Well, so after the fire, the property kind of just languished for about a decade. Then, the National Park Service bought it, and they turned it into open space. And they asked San Franciscans what they wanted done with the new park. And people basically said they wanted to leave it as it was — ruins. Something that they could explore on their own terms, not interpreted with any park signs or pathways or anything like that. Just a place you could explore, which is what we’re doing right now.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene): \u003c/b>In a way, that’s really the most perfect ending for this story, because it’s still an attraction people come to for its beauty, for the experience of being here. But now it’s a truly public space that’s free and open for everyone.\u003c/p>\n\u003cp>\u003ci>Music starts\u003c/i>\u003c/p>\n\u003cp>This episode of Bay Curious was made by…\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene): \u003c/b>Katrina Schwartz\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene): \u003c/b>Our engineer, Christopher Beale, and me, Olivia Ellen Price. Extra special thanks to our field recording team this week…\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli (in scene):\u003c/b> Tamuna Chkareuli\u003c/p>\n\u003cp>\u003cb>Lusen Mendel (in scene):\u003c/b> Lusen Mendel\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene):\u003c/b> Katrina Schwartz\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene):\u003c/b> And me, Olivia Allen-Price. We had a blast at Sutro Baths. If you haven’t been, go check it out.\u003c/p>\n\u003cp>Bay Curious is made in San Francisco at member-supported KQED. Lots of folks to thank this week, including the San Francisco Historical Society, for letting us use John Martini’s presentation. The people behind this podcast include:\u003c/p>\n\u003cp>\u003cb>Jen Chien:\u003c/b> Jen Chien\u003c/p>\n\u003cp>\u003cb>Cesar Saldaña:\u003c/b> Cesar Saldaña\u003c/p>\n\u003cp>\u003cb>Katie Sprenger:\u003c/b> Katie Sprenger\u003c/p>\n\u003cp>\u003cb>Maha Sanad:\u003c/b> Maha Sanad\u003c/p>\n\u003cp>\u003cb>Holly Kernan:\u003c/b> Holly Kernan\u003c/p>\n\u003cp>\u003cb>Crowd:\u003c/b> And the whole KQED family.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> This story first appeared in the Bay Curious Book, which has just celebrated its one-year birthday of being out in the world. To celebrate, we’ve got a sweet deal for listeners of this podcast for the month of May. You can buy the e-book for $1.99. I mean, that’s almost free, right? We’ll pop some links in our show notes on how you can get that deal, or you can always drop by your local bookstore and pick up the beautiful, colorful paperback copy. Whichever you choose, we love you for it. Thanks. Have a great week!\u003c/p>\n\n",
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"excerpt": "On San Francisco’s far western edge, Sutro Baths was once one of the city’s hottest destinations. But it was also the site of a little-known civil rights battle.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">View the full episode transcript.\u003c/a>\u003c/p>\n\u003cp>Standing at the Lands’ End parking lot, overlooking the ruins of Sutro Baths, it feels like the edge of the world. To the left, Point Lobos Road winds down towards the straight stretch of Ocean Beach, past the Cliff House restaurant perched atop an overlook. And out in front is the wild Pacific Ocean, crashing against a man-made seawall stretching across the bottom of the cove. A faint outline of square pools can still be seen, but it looks more like a playland for the ducks and cormorants than a place humans would want to swim.\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>It’s hard to tell now, but Sutro Baths was \u003ci>the place to be\u003c/i> at the turn of the 19th century. Seven massive baths were built into the cove, each filled with seawater and heated to different temperatures. A beautiful glass pavilion covered the pools to shield swimmers from the wind and fog. So, what happened to the grand establishment? How did it go from a glittering bathing palace to wild ruins?\u003c/p>\n\u003cp>To understand the history of Sutro Baths, we first need to learn about the man for whom they are named — Adolph Sutro.\u003c/p>\n\u003cfigure id=\"attachment_11985364\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11985364\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Baths-6_qut.jpg\" alt=\"A black cormorant spreads its wings on the remnants of a wall. The ocean crashes in the distance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Baths-6_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Baths-6_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Baths-6_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Baths-6_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Baths-6_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Seagulls, cormorants and ducks have made the remnants of the Sutro Baths their home now. The ruins are a beautiful place to explore and imagine what once stood here. \u003ccite>(Tamuna Chkareuli/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>A self-made man\u003c/b>\u003c/h2>\n\u003cp>Born in 1830, Adolph Sutro was a German Jewish immigrant to San Francisco. He arrived in 1850, at the height of the Gold Rush, and set up a shop selling dry goods — mostly tobacco. When news of a silver deposit in Nevada hit the newspapers, he dropped everything and headed out to work on the Comstock Lode. First, he ran a refining mill but kept thinking about one of mining’s biggest problems — surface water. It would seep down from above, sometimes drowning miners deep below the earth’s surface.\u003c/p>\n\u003cfigure id=\"attachment_11985371\" class=\"wp-caption aligncenter\" style=\"max-width: 394px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11985371\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/adolph-sutro-cropped.jpg\" alt=\"Black and white portrait of a white man with white hair and mutton chops whiskers.\" width=\"394\" height=\"444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/adolph-sutro-cropped.jpg 394w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/adolph-sutro-cropped-160x180.jpg 160w\" sizes=\"(max-width: 394px) 100vw, 394px\">\u003cfigcaption class=\"wp-caption-text\">Adolph Sutro, 1830–98. He served as mayor of San Francisco from 1895–97. \u003ccite>(\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A143030?solr_nav%5Bid%5D=50b41f01b154203e6a0f&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=0\">San Francisco History Center/San Francisco Public Library\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sutro’s solution was to build a big tunnel that would carry water away from workers, making the conditions much safer. He opened his Sutro Tunnel in 1878 to much acclaim. Not only did it make mining safer, but it also offered an easier way to extract the silver ore and offered another escape route for miners in an emergency.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He was able to eventually patent this and became kind of a mythical figure among the silver miners in that part of Nevada,” said Hector Falero, a former education manager for the Golden Gate National Recreation Area, \u003ca href=\"https://www.nps.gov/goga/learn/historyculture/upload/sutro_history.pdf\">the National Park that manages the Sutro Baths site now\u003c/a>.\u003c/p>\n\u003cp>Sutro returned to San Francisco a rich man and began investing in real estate. He loved the “Outside Lands” at the far western edge of the city, \u003ca href=\"https://www.foundsf.org/index.php?title=How_Many_Cliff_Houses%3F\">near the Cliff House\u003c/a>, and bought close to 22 acres of oceanfront property overlooking a nearby cove. He built his mansion there at Sutro Heights and began planning for a grand attraction in the cove itself. Just a few years later, he also bought the Cliff House and started planning to redesign it.\u003c/p>\n\u003cfigure id=\"attachment_11985365\" class=\"wp-caption aligncenter\" style=\"max-width: 1423px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11985365\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutros-cliff-house.png\" alt=\"Black and white photo of a massive Victorian-era structure perched on a cliff overlooking the ocean.\" width=\"1423\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutros-cliff-house.png 1423w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutros-cliff-house-800x313.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutros-cliff-house-1020x399.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutros-cliff-house-160x63.png 160w\" sizes=\"(max-width: 1423px) 100vw, 1423px\">\u003cfigcaption class=\"wp-caption-text\">After purchasing the Cliff House, Sutro rebuilt it in grand style. Soon after it opened, a fire destroyed it. \u003ccite>(\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A129779?solr_nav%5Bid%5D=6afb3a4aaad152445a8c&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=5\">San Francisco History Center/San Francisco Public Library\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Building Sutro Baths\u003c/b>\u003c/h2>\n\u003cp>Before Sutro got hold of it, the cove below the Cliff House was a quiet little beach surrounded by steep cliffs. Sutro was fascinated by marine life and loved watching sea lions play on the rocks. Legend has it, that’s what gave him the idea of creating an aquarium in the cove. He first built a circular pool on the northwest end that would be filled by seawater rushing in from a large tunnel he bore through the rock. He planned to fill the aquarium pool with ocean water and sea creatures — like a man-made tidepool — and then, as the water gradually seeped through a drainage canal he built, the sea creatures would be left behind and easy to view.\u003c/p>\n\u003cp>The tunnel and pool worked so well that Sutro kept building. He refocused his efforts on building an attraction for saltwater swimming, which was booming in popularity. The round aquarium pool became a settling tank, a place for any sediment from the ocean water to separate out. He added a seawall to protect the cove from the waves and built a massive swimming pool across the entire cove. It was subdivided into seven pools, each holding water of a different temperature. Cold seawater would rush through the tunnel, past a boiler house where it would mix with very hot water, and then stream down through the various pools, getting cooler as it went. The largest pool was the coldest — the temperature of the sea.\u003c/p>\n\u003cfigure id=\"attachment_11985373\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11985373\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutro-interior-baths-OpenSF.jpg\" alt=\"Huge glass and steel structure covers a bathing facility with seven pools.\" width=\"700\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutro-interior-baths-OpenSF.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutro-interior-baths-OpenSF-160x125.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Inside Sutro Baths circa 1910 looking north towards the promenade. \u003ccite>(\u003ca href=\"https://opensfhistory.org/Display/wnp4/wnp4.0211.jpg\">OpenSFHistory / wnp4/wnp4.0211\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A prospectus from the San Francisco-based Floating Sea-Bath Company touted the positive effects of seawater bathing:\u003c/p>\n\u003cblockquote>\u003cp>\u003ci>Pleasure is an essential item of the real bath, and among the most active of its beneficial forces. There can be no doubt that a great number of our citizens would seek to enjoy the tonic effects of sea bathing, but for the low temperatures of the water.\u003c/i>\u003c/p>\u003c/blockquote>\n\u003cp>Sutro solved that problem. And he didn’t stop there. He built a massive pavilion over the baths to protect swimmers from cold sea air and fog. Made of iron girders, wood and glass, it was a giant white building with a 3-acre footprint. Visitors entered from above, off Point Lobos Avenue, and descended a grand stairway to the baths below.\u003c/p>\n\u003cp>Sutro Baths wasn’t just a swimming facility — it was a place to be seen. There were several levels to stop and promenade, restaurants, bars, and a museum of curios Sutro had collected while traveling all over the world, including some rare mummies. For 25 cents, visitors could enter the baths, rent a bathing suit and towel, use the changing rooms and swim all day.\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/8o4JS0d_qyY'\n title='//www.youtube.com/embed/8o4JS0d_qyY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sutro knew getting people out to his new attraction would be challenging since the neighborhoods near Golden Gate Park were not built up yet, and most people lived much further east. So, he waged war with the railroad companies to keep the streetcar fares low, enabling the average working person to afford a visit to the baths. This egalitarian fight won him a lot of goodwill with San Franciscans, who eventually elected him mayor in 1895. For a while, there was even a train that went along the cliff at Lands’ End, offering spectacular views of the Bay.\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/9qgapRWmiUY'\n title='//www.youtube.com/embed/9qgapRWmiUY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cb>Sutro Baths officially open in 1896\u003c/b>\u003c/h3>\n\u003cp>After more than a decade of construction, the baths officially opened in 1896. They were an immediate hit. The space was big enough for an orchestra to play, and Sutro regularly hosted large events at the baths. There were competitions, concerts and diving displays.\u003c/p>\n\u003cfigure id=\"attachment_11985382\" class=\"wp-caption aligncenter\" style=\"max-width: 1423px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11985382\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/aerial-view-sutros-history-center.png\" alt=\"Black and white aerial view of the massive Sutro Baths pavilion.\" width=\"1423\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/aerial-view-sutros-history-center.png 1423w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/aerial-view-sutros-history-center-800x313.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/aerial-view-sutros-history-center-1020x399.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/aerial-view-sutros-history-center-160x63.png 160w\" sizes=\"(max-width: 1423px) 100vw, 1423px\">\u003cfigcaption class=\"wp-caption-text\">An aerial view shows just how massive the baths and pavilion were when finished. \u003ccite>(\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A130128?solr_nav%5Bid%5D=950123d10c91ec349686&solr_nav%5Bpage%5D=2&solr_nav%5Boffset%5D=8\">San Francisco History Center/San Francisco Public Library\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Site of an early civil rights lawsuit\u003c/b>\u003c/h2>\n\u003cp>Sutro Baths advertised itself as a place for \u003ci>all San Franciscans\u003c/i> to enjoy the salubrious effects of sea bathing, but that wasn’t actually true.\u003c/p>\n\u003cp>On July 4, 1897, just a few months after the baths officially opened, John Harris, an African American waiter, paid to enter the baths with a group of his white friends. He was told he was not allowed to swim because of the color of his skin. A week later, he tried again and was once again rebuffed. So, he sued the Sutro family.\u003c/p>\n\u003cp>“To challenge the former mayor of San Francisco really took a lot of chutzpah, bravado,” said historian and writer Elaine Elinson. \u003ca href=\"https://www.nps.gov/goga/learn/historyculture/john-harris-civil-rights.htm\">She researched John Harris’ story for the National Park Service. \u003c/a>\u003c/p>\n\u003cp>Just a year before, \u003ca href=\"https://www.nps.gov/goga/learn/historyculture/john-harris-civil-rights.htm\">California passed the Dibble Civil Rights Act, the first of its kind in the state\u003c/a>, which made it illegal to discriminate in public places based on race. Harris used the new law to challenge his treatment at Sutro Baths.\u003c/p>\n\u003cfigure id=\"attachment_11985391\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11985391\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/opensfhistory_wnp4_wnp4.0298.jpg\" alt=\"Large group of white swimmers in old fashioned swim suits.\" width=\"750\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/opensfhistory_wnp4_wnp4.0298.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/opensfhistory_wnp4_wnp4.0298-160x128.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of all-white swimmers at Sutro Baths, circa 1910. \u003ccite>(\u003ca href=\"https://opensfhistory.org/Display/wnp4/wnp4.0298.jpg\">OpenSFHistory / wnp4/wnp4.0298\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A group of Black activists, known as the African American Assembly, supported Harris’ suit by paying his legal fees. They hoped this early test of the new civil rights law would give it teeth.\u003c/p>\n\u003ch2>\u003cb>A deeper history of Black activism in California\u003c/b>\u003c/h2>\n\u003cp>The Dibble Civil Rights Act was the result of many years of organizing by California’s Black residents.\u003c/p>\n\u003cp>“A lot of the people who ended up as civic leaders or church leaders were already highly experienced and skilled in the abolitionist movement,” said Susan Anderson, the history curator at the \u003ca href=\"https://caamuseum.org/\">African American Museum in Los Angeles\u003c/a>. She’s writing a book about how Black Californians have influenced civic culture and institutions going back to before statehood.\u003c/p>\n\u003cp>“It was significant to Black people to have their rights enshrined,” Anderson said. “They worked together to influence Assembly Member [Henry Clay] Dibble to sponsor the Dibble Act, California’s first civil rights act, in 1896.”\u003c/p>\n\u003cp>It’s likely Black activists wrote the law, Anderson said and lobbied other legislators to pass it. At a time when racist attitudes and policies limited Black Californians to only the most menial jobs — porters, waiters, clerks — this was a tremendous feat. Black people used the connections they made through these serving jobs to push the causes important to them, Anderson said.\u003c/p>\n\u003cp id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8581019303&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003cp>“So if you’re a porter or clerk in a court, and you’re an activist, you find comrades and allies and people you can network with who are powerful for your cause,” Anderson said.\u003c/p>\n\u003cp>She points out that the African American organizations of the time were very organized. Members across California met once a year to set their agenda, and then local chapters worked to implement them. Before California even became a state, they worked on issues like the right to vote, the right to testify in court, equal access to education and, of course, anti-discrimination laws.\u003c/p>\n\u003cp>After the Dibble Civil Rights Law passed in 1896, local groups, like the African American Assembly Club in San Francisco, started testing the law. That’s what John Harris did at Sutro Baths.\u003c/p>\n\u003cp>“John Harris won his case, but he only earned $100 for the two times he was refused entrance to the baths,” said Elaine Elinson. “So it wasn’t a monetary victory, but it was a very, very important civil rights victory.”\u003c/p>\n\u003cp>Despite this historic victory, very little changed at Sutro Baths. \u003ca href=\"http://www.outsidelands.org/sutro-baths-segregation.php\">It remained segregated in practice, if not by law\u003c/a>, until the Civil Rights era of the 1950s and ‘60s. There are cases of other non-white San Franciscans being denied entry, too, including members of the city’s large Chinese American community.\u003c/p>\n\u003cp>“It is interesting to see that these cases [were] challenged and won, but often did not change public attitudes or public policy,” Elinson said.\u003c/p>\n\u003ch2>\u003cb>Sutro Baths’ slow decline\u003c/b>\u003c/h2>\n\u003cfigure id=\"attachment_11985394\" class=\"wp-caption aligncenter\" style=\"max-width: 1423px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11985394\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/inside-sutros-tropical-history-center.png\" alt=\"Black and white photo of cabanas with straw roofs inside a large glass pavilion.\" width=\"1423\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/inside-sutros-tropical-history-center.png 1423w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/inside-sutros-tropical-history-center-800x313.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/inside-sutros-tropical-history-center-1020x399.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/inside-sutros-tropical-history-center-160x63.png 160w\" sizes=\"(max-width: 1423px) 100vw, 1423px\">\u003cfigcaption class=\"wp-caption-text\">The Sutro family revamped the interior of the baths several times, including this tropical version circa 1935. \u003ccite>(\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A130193?solr_nav%5Bid%5D=5c559fc2d23fe6107f55&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=5\">San Francisco History Center/San Francisco Public Library\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adolph Sutro died just a few years after the baths officially opened in 1898. He was 68 years old and left Sutro Baths to his children. They continued to operate the site, even though it didn’t make much money. Sutro had sunk a lot of cash into constructing the grand facility, costing a fortune to run.\u003c/p>\n\u003cp>In the 1930s, when the Great Depression hit, many San Franciscans didn’t have the money for a leisure day out, and the baths began to fall into disrepair. Adolph Sutro’s grandson tried revamping the business in 1936 by covering some of the pools and building an ice skating rink. That was a popular move but it didn’t do enough to save the business. Eventually, in 1952, the Sutros announced they would close the facility. That’s when one of their competitors — George Whitney — swooped in and bought it for a bargain.\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/JklqpaDdYX0'\n title='//www.youtube.com/embed/JklqpaDdYX0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Whitney owned \u003ca href=\"https://www.kqed.org/news/11925112/idora-park-and-playland-at-the-beach-bay-area-amusement-parks-of-a-bygone-era\">Playland-at-the-Beach, a popular amusement park on Ocean Beach\u003c/a>. He thought he could squeeze a little more money out of Sutros and use the space to house his collection of mechanical oddities. But his family couldn’t make a go of it either and ended up selling the property to a developer who planned to build condominiums on the site.\u003c/p>\n\u003cp>Sutros finally closed for good in 1966. Just a few months later, a fire burned the grand structure to the ground. People from the neighborhood came out and watched the iconic building burn. The police suspected arson but could never prove it.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11985395\" class=\"wp-caption aligncenter\" style=\"max-width: 1423px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11985395\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutro-fire-history-center.png\" alt=\"Smoke billows from the skeleton of a building built on a cliff overlooking the ocean.\" width=\"1423\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutro-fire-history-center.png 1423w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutro-fire-history-center-800x313.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutro-fire-history-center-1020x399.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/Sutro-fire-history-center-160x63.png 160w\" sizes=\"(max-width: 1423px) 100vw, 1423px\">\u003cfigcaption class=\"wp-caption-text\">The Sutro Baths pavilion burned to the ground in 1966. Neighbors came out to watch the iconic building burn. \u003ccite>(\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A130156?solr_nav%5Bid%5D=2fad4a0f6ccdbd8148f8&solr_nav%5Bpage%5D=6&solr_nav%5Boffset%5D=14\">San Francisco History Center/San Francisco Public Library\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>About a decade later, the National Park Service bought the property for open space. The community didn’t want the park to build interpretive services at the site of the old baths, instead preferring its current state — a set of ruins that hearken back to a grand past but that are free and open for all to explore.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>Sounds of birds, distant waves crashing, people talking, wind\u003c/i>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene):\u003c/b> Wow. Okay, so I’ve been to this place a few times, but never on a day quite like today. It is a stunner out here.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene):\u003c/b> Beautiful weather, perfect May day.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene): \u003c/b>Hey, everyone. Olivia Allen-Price here with Katrina Schwartz, producer extraordinaire of Bay Curious.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene): \u003c/b>Hello.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene): \u003c/b>And we are at Sutro Baths. So right at the entrance of Land’s End, the hiking trail, if you’ve done that. We’re looking at the Cliff House to our left, a long-time-running restaurant, currently not running, but hopefully will come back again soon. But down in this cove is really why we are here. There is something pretty interesting down there.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene): \u003c/b>It looks like a massive pool, except the edges of it are more like a pond with moss growing and ducks and seagulls. People are walking out on that retaining wall, but it has this air of mystery because you can tell something was once here, but now nature is reclaiming it.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> Today on Bay Curious, we’re going on a field trip to a spot many of you have been requesting over the years! We’ll learn why and how Sutro Baths were built, what visiting would have felt like back in the day, and while researching this story, we stumbled upon a lesser known piece of civil rights history — so we’ll be sharing that. This story first appeared in the Bay Curious book — available now wherever books are sold. We’re diving in — literally — just ahead on Bay Curious.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> San Francisco has a lot of historic places, many of which have been rebuilt or repurposed in modern ways. But the ruins of Sutro Baths remain wild and untouched. Bay Curious editor and producer Katrina Schwartz brings us the story of the rise and fall of this iconic bathing palace.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz:\u003c/b> To understand why these somewhat sparse ruins have captivated the imaginations of locals and visitors alike, we need to learn a bit more about the man behind them. Adolph Sutro.\u003c/p>\n\u003cp>\u003cb>Hector Falero: \u003c/b>He was born in Germany in 1830 to a Jewish family.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Hector Falero is a former education manager for the Golden Gate Recreation Area — the National Park that manages the Sutro Baths site now. He says Sutro arrived in San Francisco as a young man in 1850, right as the Gold Rush was kicking off.\u003c/p>\n\u003cp>\u003cb>Hector Falero: \u003c/b>He’s living in San Francisco and mostly selling tobacco.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Many of his customers were miners, and he learned as much as he could about the business. When news of a massive silver discovery in Nevada hit the papers, he decided to join the fray and try to make his fortune on the Comstock Lode. He first opened a refining mill, but he’d long been thinking about one of mining’s biggest problems — surface water. It would seep down, sometimes drowning miners. Adolph Sutro’s solution was to build a huge tunnel deep in the mine that ran downhill and carried water away from the workmen. The Sutro Tunnel.\u003c/p>\n\u003cp>\u003cb>Hector Falero: \u003c/b>He was able to eventually patent this and became kind of like a mythical figure among the silver miners in that part of Nevada.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Sutro made millions on his invention. He returned to San Francisco a rich man and began investing in real estate. He especially liked the wind-swept “Outside Lands” near the Pacific Ocean. Not many people lived out there yet, but Sutro wanted to change that. In 1881, he bought 22 acres of oceanfront property overlooking the Cliff House, which was already operating as an inn and restaurant. Sutro would buy the Cliff House just a few years later and incorporate it into his grand vision for the area.\u003c/p>\n\u003cp>\u003cb>Hector Falero: \u003c/b>Where he saw a gap was in bathing or swimming.\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>In the late 1800s, most people lived crowded into boarding houses and rented rooms in downtown San Francisco. Saltwater swimming was all the rage, a welcome respite from these cramped interiors.\u003c/p>\n\u003cp>\u003cb>Hector Falero: \u003c/b>There was some sort of like concept of health associated with Pacific waters. But it’s very cold. And so the need that Adolfo Sutro saw was, hey, I would love to create some baths and I would love to create them to be sort of temperature controlled.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Sutro put his engineering brain to work designing a series of pools and tunnels that would harness the tides to create a swimming facility.\u003c/p>\n\u003cp>The first problem to solve was how to bring seawater into a protected pool away from crashing ocean waves. So, Sutro did what he did best. He built a massive tunnel.\u003c/p>\n\u003cp>\u003cb>Hector Falero: \u003c/b>The water would rush in at high tide and be able to fill the pools almost instantly. This was one of the technological aspects that was incredible.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>He demonstrated the system to reporters nearly a decade \u003ci>before\u003c/i> the baths would officially open. An article in the \u003cem>San Francisco Chronicle\u003c/em> reads:\u003c/p>\n\u003cp>\u003cb>Voice-over reads newspaper clipping: \u003c/b>At great expense, a tunnel was excavated, 8 feet high and 15 feet long, through the solid rock. It is through this tunnel that the water comes at extreme high tide and for about two hours before and after.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Over the next many years, Sutro transformed this quiet cove into a massive engineering project. He built a seawall across the entire span to keep the waves out.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>He lined most of the cove with concrete.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>John Martini is the author of \u003ci>Sutro’s Glass Palace: The Story of Sutro Baths.\u003c/i> He presented his research to the San Francisco Historical Society.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>So he literally subdivided the cove into what he called swimming tanks. We’d call ‘em pools.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>There were seven pools in all. Seawater would rush in through the tunnel and mix with extremely hot water coming out of a boiler house. Then, the rush of water would flow into the pools, each a different temperature.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>The warmest pool was about 85, 86 degrees, maybe up to 90. And then they were sequentially cooler until the biggest pool that was ocean temperature. They didn’t bother to heat it.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>But that’s not all. Anyone who’s been out to Lands End knows how cold and windy it can be, so Sutro decided to build a huge glass pavilion to cover the pools.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>So, instead of an open-air swimming establishment, you ended up with the world’s largest indoor swimming complex.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>When it was finished, the baths had a footprint of 3 acres, about the same size as the ferry building — 10,000 people could pack inside.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>People entered, and they descended a flight of stairs. The first level that you hit is called a promenade level, and the promenade level is where a lot of the museum displays were. You walked under a giant vestibule and then down a grand staircase that led you all the way down to the water on either side.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>After more than a decade of construction, the baths formally opened in 1896. The \u003cem>San Francisco Examiner\u003c/em> described the event.\u003c/p>\n\u003cp>\u003cb>Voice over reading newspaper excerpt: \u003c/b>Nearly 7,000 people gathered at the immense pavilion yesterday to witness the dedication of the magnificent structure, which Adolph Sutro has built on his land near the ocean.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>There were restaurants and bars, curiosities from around the world — like mummies and a stuffed polar — space for a large band to play, an amphitheater and lots of areas to promenade. It was a place to be seen.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>Those were colored panes of glass in the domes overhead so that sunlight gave multicolored, rippling effects on the water, especially when thousands and thousands of people at a time, making waves in the water, kids screams, music playing. It was an overwhelming sensation.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Sutro wanted the working classes to be able to enjoy a day at his leisure palace. … and to spend their money there. … so he pushed the railroads to keep the streetcar fares to Outside Lands low.\u003c/p>\n\u003cp>\u003cb>Hector Falero: He had this sort of egalitarian slant.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Hector Falero says his populist streak made him popular with the people. They even elected him mayor!\u003c/p>\n\u003cp>\u003cb>Hector Falero:\u003c/b> He wanted people Of various class backgrounds to be able to access the place equitably.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>For 25 cents, visitors could rent a bathing suit, use the lockers, visit the attractions, swim and stay all day. Advertising campaigns at the time said Sutro Baths welcomed ALL San Franciscans.\u003c/p>\n\u003cp>But that wasn’t actually true.\u003c/p>\n\u003cp>\u003ci>Somber music starts\u003c/i>\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>One day, a group of friends took the streetcar from downtown out to enjoy a day at the new attraction. It was the fourth of July 1897, just a few months after the baths officially opened.\u003c/p>\n\u003cp>\u003cb>Elaine Ellnson: \u003c/b>John Harris, who is an African American man, went with his several white friends to the baths.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Writer and historian Elaine Elinson researched this history for the National Park Service.\u003c/p>\n\u003cp>\u003cb>Elaine Elinson: \u003c/b>He was a waiter in San Francisco, and he paid his $0.25. And his white friends got their bathing suits and went in the pools. And he was told he could not go into the pools. Only his white friends could go into the pools.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz:\u003c/b> John Harris tried to enter the baths again a week later. Again, he was not allowed to swim because of the color of his skin. So, he sued the Sutro family.\u003c/p>\n\u003cp>\u003cb>Elaine Elinson: \u003c/b>To challenge the former mayor of San Francisco really took a lot of chutzpah, bravado.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>John Harris used a new California law called The Dibble Civil Rights Act to challenge his treatment at the baths. The law prohibited discrimination in public places based on race.\u003c/p>\n\u003cp>\u003cb>Susan Anderson: \u003c/b>That all came out of black California.\u003c/p>\n\u003cp>Susan Anderson is the history curator for the California African American Museum.\u003c/p>\n\u003cp>\u003cb>Susan Anderson: \u003c/b>It was significant to black people to have their rights enshrined. They worked together to influence Assembly Member Dibble to sponsor the Dibble Act, California’s first civil rights act, in 1896.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Many Black migrants to California were already skilled leaders in the abolitionist movement. Racist policies and attitudes limited them to low-paying jobs — hotel waiters, railroad porters, clerks — but through their work, they got to know powerful men like Dibble.\u003c/p>\n\u003cp>\u003cb>Susan Anderson: \u003c/b>Enterprising people make the most of it. So, if you’re a porter or clerk in a court. And you’re an activist; you find comrades and allies and people you can network with people who are powerful for your cause.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Black activists likely \u003ci>wrote\u003c/i> the Dibble Civil Rights Act and lobbied other legislators to pass it. Then, local groups like the African American Assembly in San Francisco tested the law, trying to give it teeth. That’s what John Harris did at Sutro Baths.\u003c/p>\n\u003cp>\u003cb>Elaine Elinson: \u003c/b>We don’t have any exact testimony from John Harris himself.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Historian Elaine Elinson again. She says the court records burned in the 1906 fire. And mainstream newspapers of the day didn’t bother interviewing the central figure in the case, John Harris himself.\u003c/p>\n\u003cp>\u003cb>Elaine Ellinson: \u003c/b>I have to say that the mainstream press was really vitriolic against John Harris and the judge.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Elaine pieced together her account from lawyers’ notes, newspaper articles and personal letters. She says the African American Assembly paid Harris’ legal fees.\u003c/p>\n\u003cp>\u003cb>Elaine Elinson: \u003c/b>John Harris won his case, but, you know, he only earned $100 for the two times he was refused entrance to the baths. So it wasn’t a monetary victory, but it was a very, very important civil rights victory.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>The Sutro family and Bath managers were unrepentant. They continued to make racist remarks that the mainstream newspapers published.\u003c/p>\n\u003cp>\u003cb>Elaine Elinson: \u003c/b>It is interesting to see that these cases challenged and won but often did not change public attitudes or public policy.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Two years after Sutro Baths opened, Adolph Sutro died. He was 68. He left his estate and properties to his children, who continued to run the baths. And the attraction remained incredibly popular, but the Sutro family was ready to unload the property.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>They kept trying to sell it. No one wanted to buy it.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>John Martini says Sutro sunk a lot of cash into constructing the baths, and they cost a fortune to run. His children wanted to recoup that investment.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>In 1913, the family tried to get the city to buy it. No dice. The city turned it down.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Then, in the ’30s, the Great Depression hit. Many San Franciscans didn’t have money for a leisure day at the baths, and slowly, the facilities began to fall into disrepair. Adolph Sutro’s grandson was in charge at the time.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>He decided to rebuild part of the baths and turn it into an indoor ice skating rink, and it opened in 1936 and it was immensely popular. Immediately popular.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>John Martini remembers going there as a kid in the 1950s.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>The ice rink was actually quite dark inside. It turned out that all that great glass. It tended to melt the ice. So, they intentionally blanked out the glass roof over the ice skating rink.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>In 1952, the Sutro family announced they were closing the facility. It just cost too much to run. That’s when one of their competitors, George Whitney, swooped in and bought it for a bargain. Whitney owned Playland-at-the-Beach, the popular amusement park on Ocean Beach.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>George Whitney revamped the baths one more time. He recognized that there was still a few nickels to be made out of the old place, and that he would be the perfect place for him to display all of his personal collections.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Antique carriages, historic photographs, pinball machines and other novelties that can now be found in the Musee Mecanique started out at Sutros.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>Much of what was in Sutro still exists. It’s just moved all over the world now.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Sutros finally closed for good in the 1960s. A \u003cem>San Francisco Examiner\u003c/em> article marks the occasion:\u003c/p>\n\u003cp>\u003cb>Voice over reading newspaper excerpt: \u003c/b>The second half of the 20th century at last caught up with an old San Francisco legend. Sutro Baths, created 70 years ago, closed forever.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>The Whitney family sold the Sutro Bath property to a developer who planned to build condominiums on the site.\u003c/p>\n\u003cp>\u003cb>John Martini: \u003c/b>Demolition began in early June of 1966. And on June 26, 1966, a very convenient fire broke out that, in one long afternoon, destroyed the building.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Police suspected arson but could never prove it. In any case, the fire destroyed the building much faster than work crews ever could. People from the neighborhood came out to watch as the iconic white pavilion burned to the ground. Sutros creation up in smoke.\u003c/p>\n\u003cp>\u003ci>Sounds of waves, birds singing, the crunching of footsteps\u003c/i>\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene): \u003c/b>Honestly, I can almost imagine what it looked like to Sutro when he came here.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene):\u003c/b> Yeah?\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene): \u003c/b>Yeah, like, with the beach out past the retaining wall and the big rock out there, you can almost imagine him, like, walking on the beach. More than 100 years ago.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene):\u003c/b> I mean, I can definitely understand how somebody would see this. And if you had the money to buy it, think this must be mine! Once you kind of get down closer to the baths, as you look up, you can really get a sense of where the rest of the building used to be. If you look up at the hillside that’s kind of underneath the Cliff house, there’s a number of just like slabs of concrete that probably indicate different levels of what was once here.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene): \u003c/b>Clearly man-made.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene): \u003c/b>Yeah. All right. So we’ve made it down to the ruins, and we’re standing on the retaining wall. That really is a wall between two worlds. On one side, we have the wild Pacific battering the coastline. And on the other side of the wall, the world that Sutro built, which these days looks more like a home for the birds.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene): \u003c/b>Yeah, this may be a swimming hole for the birds now, but standing here on the wall, you could almost imagine diving in, back in the 1920s, in your really heavy bathing suit, with a slide.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene): \u003c/b>And how majestic it would have been to be able to swim and also look at the ocean at the same time. But it was a complicated story. This wasn’t an amazing space for everyone.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene): \u003c/b>Right. It’s got a nostalgic element to it for some people, a lot of happy memories. But for other people, this place is a symbol of pain and rejection.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene): \u003c/b>Now I can’t help but notice. But there are not condominiums here, as was once the plan. What happened with that?\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene): \u003c/b>Well, so after the fire, the property kind of just languished for about a decade. Then, the National Park Service bought it, and they turned it into open space. And they asked San Franciscans what they wanted done with the new park. And people basically said they wanted to leave it as it was — ruins. Something that they could explore on their own terms, not interpreted with any park signs or pathways or anything like that. Just a place you could explore, which is what we’re doing right now.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene): \u003c/b>In a way, that’s really the most perfect ending for this story, because it’s still an attraction people come to for its beauty, for the experience of being here. But now it’s a truly public space that’s free and open for everyone.\u003c/p>\n\u003cp>\u003ci>Music starts\u003c/i>\u003c/p>\n\u003cp>This episode of Bay Curious was made by…\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene): \u003c/b>Katrina Schwartz\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene): \u003c/b>Our engineer, Christopher Beale, and me, Olivia Ellen Price. Extra special thanks to our field recording team this week…\u003c/p>\n\u003cp>\u003cb>Tamuna Chkareuli (in scene):\u003c/b> Tamuna Chkareuli\u003c/p>\n\u003cp>\u003cb>Lusen Mendel (in scene):\u003c/b> Lusen Mendel\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz (in scene):\u003c/b> Katrina Schwartz\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price (in scene):\u003c/b> And me, Olivia Allen-Price. We had a blast at Sutro Baths. If you haven’t been, go check it out.\u003c/p>\n\u003cp>Bay Curious is made in San Francisco at member-supported KQED. Lots of folks to thank this week, including the San Francisco Historical Society, for letting us use John Martini’s presentation. The people behind this podcast include:\u003c/p>\n\u003cp>\u003cb>Jen Chien:\u003c/b> Jen Chien\u003c/p>\n\u003cp>\u003cb>Cesar Saldaña:\u003c/b> Cesar Saldaña\u003c/p>\n\u003cp>\u003cb>Katie Sprenger:\u003c/b> Katie Sprenger\u003c/p>\n\u003cp>\u003cb>Maha Sanad:\u003c/b> Maha Sanad\u003c/p>\n\u003cp>\u003cb>Holly Kernan:\u003c/b> Holly Kernan\u003c/p>\n\u003cp>\u003cb>Crowd:\u003c/b> And the whole KQED family.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> This story first appeared in the Bay Curious Book, which has just celebrated its one-year birthday of being out in the world. To celebrate, we’ve got a sweet deal for listeners of this podcast for the month of May. You can buy the e-book for $1.99. I mean, that’s almost free, right? We’ll pop some links in our show notes on how you can get that deal, or you can always drop by your local bookstore and pick up the beautiful, colorful paperback copy. Whichever you choose, we love you for it. Thanks. Have a great week!\u003c/p>\n\n\u003c/div>"
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Vocalist and guitarist Ellie Stokes of the San Francisco-based “cabaret dream psych band” Grooblen found her true love for rock when she was able to participate in the SF Rock Project, a nonprofit music school for youth.\u003c/p>\n\u003cp>“I was introduced to so many people in the music community — just intergenerationally — from a very young age because we played a lot of, like, street festivals, like Sunday streets, we played a lot of community events,” Stokes said.\u003c/p>\n\u003cp>Stokes formed the band initially with her brother and a family friend, who played songs she had written over the years. Eventually, they went to college and Stokes began volunteering at a community radio station during the pandemic. She met her friend and drummer Sean Aaron there, and the two began performing as a duo. The other band members would later join through connections at the radio station and other friends.\u003c/p>\n\u003cp>Stokes also runs a small nonprofit organization called Big Leap Collective that throws accessible community concerts within the Bay Area and beyond. There’s also an educational program for people to learn skills in production management and more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We feature a lot of like independent local artists and touring bands as well that don’t really have as much of a financial backing,” she said.\u003c/p>\n\u003cp>The song “Egg Freeze” was written after Stokes experienced chronic pain and consulted with her gynecologist.\u003c/p>\n\u003cp>“She was like, ‘Well, the only real way to basically stop the suffering is to get a hysterectomy.’ And I was like, that certainly can’t be true,” Stokes said. “That was the launch pad, and this was kind of written, like, what if that was the only option? If I wanted to have this option in the future, if I wanted to have children, I’d have to get my eggs frozen.”\u003c/p>\n\u003cp>She was able to have a different procedure done instead that helped her manage her pain.\u003c/p>\n\u003cp>“I know they’re just, there’s so many people out there who don’t have that access, and it just feels like they aren’t getting listened to,” she said. “Everyone deserves a chance to be able to feel good in their body.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band’s members include Sean Aaron, Alejandro Lara-Agraz, Spencer Lay, Eva Gogas and Jack Lillian. If you’d like to hear them live, Grooblen will be performing at \u003ca href=\"https://www.neckofthewoodssf.com/tm-event/swiss-grooblen-loolowningentoyko-aaron-space-and-his-terrestrial-underlings/\">Neck of the Woods\u003c/a> in San Francisco on May 22.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We feature a lot of like independent local artists and touring bands as well that don’t really have as much of a financial backing,” she said.\u003c/p>\n\u003cp>The song “Egg Freeze” was written after Stokes experienced chronic pain and consulted with her gynecologist.\u003c/p>\n\u003cp>“She was like, ‘Well, the only real way to basically stop the suffering is to get a hysterectomy.’ And I was like, that certainly can’t be true,” Stokes said. “That was the launch pad, and this was kind of written, like, what if that was the only option? If I wanted to have this option in the future, if I wanted to have children, I’d have to get my eggs frozen.”\u003c/p>\n\u003cp>She was able to have a different procedure done instead that helped her manage her pain.\u003c/p>\n\u003cp>“I know they’re just, there’s so many people out there who don’t have that access, and it just feels like they aren’t getting listened to,” she said. “Everyone deserves a chance to be able to feel good in their body.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band’s members include Sean Aaron, Alejandro Lara-Agraz, Spencer Lay, Eva Gogas and Jack Lillian. If you’d like to hear them live, Grooblen will be performing at \u003ca href=\"https://www.neckofthewoodssf.com/tm-event/swiss-grooblen-loolowningentoyko-aaron-space-and-his-terrestrial-underlings/\">Neck of the Woods\u003c/a> in San Francisco on May 22.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Songwriter and guitarist Christina Busler of the Oakland-based band Christina’s Trip describes their music as alternative 90s rock-inspired with elements of distortion pop.\u003c/p>\n\u003cp>“We try to be like a little bit edgy but and have that distortion, but I definitely write like very poppy melodies and lyrics and stuff, and I kind of like to weave it all together,” Busler says. “If I were to define it, [distortion pop] comes from that kind of sound of dissonance and fuzz. So distortion is when it comes to like the sound quality of everything. So pairing that with pop and pop chord progressions and pop sounds.”\u003c/p>\n\u003cp>Regarding the origins of the band, Busler says the name comes from two references in indie rock: the band Sonic Youth and their song “Eric’s Trip.”\u003c/p>\n\u003cp>“I’m obsessed with both Sonic Youth and ‘Eric’s Trip,'” she says. “And so I decided Christina’s Trip. My name’s Christina. I decided that would be the band name.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’ll Take It” will be featured on the band’s upcoming album \u003cem>Forever After\u003c/em> and released on Cherub Dream Records. Busler says it’s a love song about “when you like someone, and you might not get a lot of time with them, but you’re saying, ‘I’ll take what I can get.'”\u003c/p>\n\u003cp>Hailing from Moraga, Busler met drummer Alec Moore (from Lafayette) in high school. The two became friends after they graduated and started playing together around 2020 before deciding to add more members to the band. Busler says that whenever she is unsure about whether people will like the lyrics she’s written, she brings the song to the band for reassurance and to decide if it’s worth playing in front of an audience.\u003c/p>\n\u003cp>“I hope that the audience, if they were listening to the lyrics, kind of feel their heart like swelling a little bit, like, thinking of someone that they feel the same way about that,” Busler says. “Like, ‘I’ll take what I can get, whatever you give me, I love you.’ Like that kind of feeling, I guess.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band members also include JB Lenar, Christina Miyagi and Alec Moore. Christina’s Trip will be performing at Little Hill Lounge in El Cerrito on May 4, so you can go hear them live.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ll Take It” will be featured on the band’s upcoming album \u003cem>Forever After\u003c/em> and released on Cherub Dream Records. Busler says it’s a love song about “when you like someone, and you might not get a lot of time with them, but you’re saying, ‘I’ll take what I can get.'”\u003c/p>\n\u003cp>Hailing from Moraga, Busler met drummer Alec Moore (from Lafayette) in high school. The two became friends after they graduated and started playing together around 2020 before deciding to add more members to the band. Busler says that whenever she is unsure about whether people will like the lyrics she’s written, she brings the song to the band for reassurance and to decide if it’s worth playing in front of an audience.\u003c/p>\n\u003cp>“I hope that the audience, if they were listening to the lyrics, kind of feel their heart like swelling a little bit, like, thinking of someone that they feel the same way about that,” Busler says. “Like, ‘I’ll take what I can get, whatever you give me, I love you.’ Like that kind of feeling, I guess.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band members also include JB Lenar, Christina Miyagi and Alec Moore. Christina’s Trip will be performing at Little Hill Lounge in El Cerrito on May 4, so you can go hear them live.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>The Oakland-based rock and roll band B. Hamilton makes humorous music about different subjects. Their song “Hey Sunshine” from the EP \u003cem>\u003ca href=\"https://bhamilton.bandcamp.com/album/the-freest-speech-ever-attempted-without-disintegrating-2024\">The Freest Speech Ever Attempted Without Disintegrating,\u003c/a>\u003c/em> released on March 24, is a character study on Elon Musk, Tesla CEO and owner of X, formerly known as Twitter.\u003c/p>\n\u003cp>“Elon Musk is just this character in the [Bay Area]; he seems so close, and yet he’s so far,” said Ryan Parks, B. Hamilton’s songwriter, vocalist, and guitarist. “It’s just a lot of moving parts…and it just seemed like he was unraveling or something. The song ‘Hey Sunshine’ is kind of that cocksure, manic kind of state he can get into.”\u003c/p>\n\u003cp>“He is not a very savory character, so being able to find the humanity in him is important to me as a writer because we’re all human,” said Parks. “And I think he’s probably very smart, but that can be isolating.”\u003c/p>\n\u003cp>He says he grew tired of writing sad and depressing songs, which weren’t as much of a challenge to him as writing humor. Parks is from Orange County and moved to the Bay Area for school. His father was a machinist with several musical instruments who allowed him to play at night in large warehouses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The origins of the band’s name comes from Tom Hamilton, the landlord of his father’s machine shop. “Then I just slapped ‘banana’ on the front of it,” said Parks. “So [laughs] it’s horrible. And each year it gets worse. … it’s this thing that just kind of exists from my twenties.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band’s members also include Raj Kumar Ojha and Ian Miller. If you’d like to hear B. Hamilton live, the band will be performing at \u003ca href=\"https://littlehillelcerrito.com/event/easy-ride-4/\">Little Hill Lounge\u003c/a> in El Cerrito on Tuesday, April 23, at 7:30 p.m.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>The Oakland-based rock and roll band B. Hamilton makes humorous music about different subjects. Their song “Hey Sunshine” from the EP \u003cem>\u003ca href=\"https://bhamilton.bandcamp.com/album/the-freest-speech-ever-attempted-without-disintegrating-2024\">The Freest Speech Ever Attempted Without Disintegrating,\u003c/a>\u003c/em> released on March 24, is a character study on Elon Musk, Tesla CEO and owner of X, formerly known as Twitter.\u003c/p>\n\u003cp>“Elon Musk is just this character in the [Bay Area]; he seems so close, and yet he’s so far,” said Ryan Parks, B. Hamilton’s songwriter, vocalist, and guitarist. “It’s just a lot of moving parts…and it just seemed like he was unraveling or something. The song ‘Hey Sunshine’ is kind of that cocksure, manic kind of state he can get into.”\u003c/p>\n\u003cp>“He is not a very savory character, so being able to find the humanity in him is important to me as a writer because we’re all human,” said Parks. “And I think he’s probably very smart, but that can be isolating.”\u003c/p>\n\u003cp>He says he grew tired of writing sad and depressing songs, which weren’t as much of a challenge to him as writing humor. Parks is from Orange County and moved to the Bay Area for school. His father was a machinist with several musical instruments who allowed him to play at night in large warehouses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The origins of the band’s name comes from Tom Hamilton, the landlord of his father’s machine shop. “Then I just slapped ‘banana’ on the front of it,” said Parks. “So [laughs] it’s horrible. And each year it gets worse. … it’s this thing that just kind of exists from my twenties.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band’s members also include Raj Kumar Ojha and Ian Miller. If you’d like to hear B. Hamilton live, the band will be performing at \u003ca href=\"https://littlehillelcerrito.com/event/easy-ride-4/\">Little Hill Lounge\u003c/a> in El Cerrito on Tuesday, April 23, at 7:30 p.m.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Black student leaders and social justice icon Angela Y. Davis took the stage of a mostly full 1,800-seat auditorium at Alameda High School Friday night for a conversation on everything from joy in social movements and hair to reparations and racism. The Black Student Unions at Alameda High School and Castro Valley High School hosted the author and former UC Santa Cruz professor for a free, two-hour event.\u003c/p>\n\u003cp>“I’m so happy to be here,” Davis told the multigenerational crowd. Davis recalled how she used to ride past Alameda High School often when she was part of the \u003ca href=\"https://oaklandyellowjackets.wildapricot.org/\">Oakland Yellow Jackets Bicycle Club\u003c/a>, but it was her first time being inside the building. “Thank you so much for inviting me,” she added.\u003c/p>\n\u003cfigure id=\"attachment_11983593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983593\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A packed theater listens to Angela Davis speak at Alameda High School on April 19, 2024, during an event organized by students from Alameda High School and Castro Valley High School. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davis was invited to speak after Naomi Melak, a junior at Castro Valley High School and vice president of the school’s BSU, was inspired by seeing Davis’ appearance in the documentary \u003ca href=\"https://www.youtube.com/watch?v=tfCupHW8W44\">\u003cem>13th\u003c/em>\u003c/a>. She thought: “What if the BSU could put on an event with Davis?” Encouraged by her English teacher to pursue the idea seriously, Melak and her classmate, Diego De La Rosa Laday, president of the BSU, started a GoFundMe in November to raise $10,000 for Davis’ speaking fee through an agency.\u003c/p>\n\u003cp>They sent it around to other East Bay high school BSUs, and students at Alameda High School’s BSU joined the effort to organize an event. The fundraising effort moved slowly, though. When the request eventually made its way to Davis in January, her scheduler relayed that she would do the event for free, and they could invest any funds they’d raised so far back into their BSUs.\u003c/p>\n\u003cfigure id=\"attachment_11983579\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983579\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Melak (left) and Diego De La Rosa Laday, both students at Castro Valley High School, ask a question to Angela Davis. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking to KQED prior to the event, student organizers said that they wanted to host Davis to help inspire change in their school communities, where hate speech and racist microaggressions towards Black students are an ongoing issue.\u003c/p>\n\u003cp>“It affects people mentally. It’s a continuous problem and a lack of response from teachers, as well,” said De La Rosa Laday. “We want someone [like Davis] who can inspire the community and who people can look up to, to build that courage to overcome these challenges and make change.”\u003c/p>\n\u003cp>For Naomi Abraham, a senior at Alameda High School and co-president of the BSU there, the event was a way to say that Black students on campus have a voice despite \u003ca href=\"https://www.ktvu.com/news/whites-only-and-blacks-only-tagged-in-alameda-high-restroom-principal-reacts\">the racist incidents they’ve faced\u003c/a>. “I want to leave a legacy at our school and show that it’s a place where Black students are just as much a part of the community as any other student,” Abraham said.\u003c/p>\n\u003cp>When the event got underway, Davis was introduced by Abraham and Melak. The two-part program with intermission saw a panel of four students, including Melak and De La Rosa Laday, take turns asking Davis questions on a range of topics.\u003c/p>\n\u003cfigure id=\"attachment_11983581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983581\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Political activist Angela Davis speaks at Alameda High School. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the topics were Davis’ thoughts on her prison abolition activism, reparations, “I can’t think about reparations for Black people without thinking about reparations for Indigenous people” and reparations “should involve the transformation of the entire society”; the relationship between racism and capitalism; and education, “there is no liberation without education.”\u003c/p>\n\u003cp>Students also asked a pre-submitted audience question inquiring about her thoughts on the war in Gaza. “Don’t let anyone tell you that to be for the freedom of people in Palestine is equivalent to anti-Semitism. It is not,” Davis said.\u003c/p>\n\u003cp>The students mixed in some lighter points of conversation, as well — like when Alameda High School senior Heran Girma, who has curly hair, asked about Davis’ hair care routine. After an answer lasting a few minutes (that focused mainly on discussing the social mission behind her product of choice), Davis said, “This is the longest hair conversation I’ve had in public,” to laughter from the crowd.\u003c/p>\n\u003cfigure id=\"attachment_11983583\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeannette Brantley (center) listens to her granddaughter Bronwyn Brantley ask a question to Angela Davis. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the most rousing and poignant parts of the evening came when Alameda High School sophomore Bronwyn Brantley asked Davis about a pivotal moment in her early life that influenced her commitment to fighting for equality. Davis told the story of growing up in Birmingham, Alabama, living on the street that divided the Black neighborhood from the white neighborhood, which Black people were not allowed to cross unless they were going to work.\u003c/p>\n\u003cp>Davis recounted how she and other kids developed a game daring each other to run across the street and sometimes even ringing the doorbell of the house of a Ku Klux Klan leader who lived on the block and running away.\u003c/p>\n\u003cp>[aside tag=\"education\" label=\"More Education Stories\"]“Now our parents did not know we were doing this,” Davis emphasized. “But that was so much fun. That was our favorite game. And it taught me something that I’ve carried with me all of these years: that resistance and engaging in struggle can be fun.” She added that it’s because she finds joy in the struggle — through art and music and play — that she’s still so involved at 80 years old.\u003c/p>\n\u003cfigure id=\"attachment_11983608\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Angela Davis speaks with high school students after the event. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At intermission, attendee Sheila SatheWarner, who brought her two sons to the event, commented that she was proud of the BSU students. “It’s super well-run, it’s super-organized, and there’s a lot of folks out here,” she said. SatheWarner is the principal of Lincoln Middle School in Alameda and says they also have a lot of Black students who are organizing. “I’m happy for our future kids coming up from Lincoln. To know they’re coming into this BSU with these leaders is really exciting.”\u003c/p>\n\u003cp>During the second half of the program, the panel sought Davis’ advice for themselves and other young activists who hope to make a difference in society. Davis advised them to focus on building community. “Remember that we accomplish nothing alone,” Davis said.\u003c/p>\n\u003cfigure id=\"attachment_11983600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A t-shirt is for sale at a speaking event with Angela Davis at Alameda High School. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To close, Melak gave a speech about Davis’ impact on her and her fellow students. “Her words have not only resonated deeply but have also sparked a flame within each of us, igniting a passion for change and a commitment to justice,” Melak said.\u003c/p>\n\u003cp>She also acknowledged what the two BSUs achieved with the event. “To think that a group of high schoolers can plan, organize and execute an event this big shows you that virtually anything is possible as long as you stay dedicated,” Melak said to roaring applause — and a big smile from Davis.\u003c/p>\n\u003cfigure id=\"attachment_11983584\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983584\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BJ Victor puts his arm around his son Jaiden, 5 while listening to Angela Davis speak. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Black student leaders from Castro Valley and Alameda high schools hosted the local activist and icon to learn from her legacy as they seek to combat hate speech on their campuses.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Black student leaders and social justice icon Angela Y. Davis took the stage of a mostly full 1,800-seat auditorium at Alameda High School Friday night for a conversation on everything from joy in social movements and hair to reparations and racism. The Black Student Unions at Alameda High School and Castro Valley High School hosted the author and former UC Santa Cruz professor for a free, two-hour event.\u003c/p>\n\u003cp>“I’m so happy to be here,” Davis told the multigenerational crowd. Davis recalled how she used to ride past Alameda High School often when she was part of the \u003ca href=\"https://oaklandyellowjackets.wildapricot.org/\">Oakland Yellow Jackets Bicycle Club\u003c/a>, but it was her first time being inside the building. “Thank you so much for inviting me,” she added.\u003c/p>\n\u003cfigure id=\"attachment_11983593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983593\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A packed theater listens to Angela Davis speak at Alameda High School on April 19, 2024, during an event organized by students from Alameda High School and Castro Valley High School. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davis was invited to speak after Naomi Melak, a junior at Castro Valley High School and vice president of the school’s BSU, was inspired by seeing Davis’ appearance in the documentary \u003ca href=\"https://www.youtube.com/watch?v=tfCupHW8W44\">\u003cem>13th\u003c/em>\u003c/a>. She thought: “What if the BSU could put on an event with Davis?” Encouraged by her English teacher to pursue the idea seriously, Melak and her classmate, Diego De La Rosa Laday, president of the BSU, started a GoFundMe in November to raise $10,000 for Davis’ speaking fee through an agency.\u003c/p>\n\u003cp>They sent it around to other East Bay high school BSUs, and students at Alameda High School’s BSU joined the effort to organize an event. The fundraising effort moved slowly, though. When the request eventually made its way to Davis in January, her scheduler relayed that she would do the event for free, and they could invest any funds they’d raised so far back into their BSUs.\u003c/p>\n\u003cfigure id=\"attachment_11983579\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983579\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Melak (left) and Diego De La Rosa Laday, both students at Castro Valley High School, ask a question to Angela Davis. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking to KQED prior to the event, student organizers said that they wanted to host Davis to help inspire change in their school communities, where hate speech and racist microaggressions towards Black students are an ongoing issue.\u003c/p>\n\u003cp>“It affects people mentally. It’s a continuous problem and a lack of response from teachers, as well,” said De La Rosa Laday. “We want someone [like Davis] who can inspire the community and who people can look up to, to build that courage to overcome these challenges and make change.”\u003c/p>\n\u003cp>For Naomi Abraham, a senior at Alameda High School and co-president of the BSU there, the event was a way to say that Black students on campus have a voice despite \u003ca href=\"https://www.ktvu.com/news/whites-only-and-blacks-only-tagged-in-alameda-high-restroom-principal-reacts\">the racist incidents they’ve faced\u003c/a>. “I want to leave a legacy at our school and show that it’s a place where Black students are just as much a part of the community as any other student,” Abraham said.\u003c/p>\n\u003cp>When the event got underway, Davis was introduced by Abraham and Melak. The two-part program with intermission saw a panel of four students, including Melak and De La Rosa Laday, take turns asking Davis questions on a range of topics.\u003c/p>\n\u003cfigure id=\"attachment_11983581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983581\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Political activist Angela Davis speaks at Alameda High School. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the topics were Davis’ thoughts on her prison abolition activism, reparations, “I can’t think about reparations for Black people without thinking about reparations for Indigenous people” and reparations “should involve the transformation of the entire society”; the relationship between racism and capitalism; and education, “there is no liberation without education.”\u003c/p>\n\u003cp>Students also asked a pre-submitted audience question inquiring about her thoughts on the war in Gaza. “Don’t let anyone tell you that to be for the freedom of people in Palestine is equivalent to anti-Semitism. It is not,” Davis said.\u003c/p>\n\u003cp>The students mixed in some lighter points of conversation, as well — like when Alameda High School senior Heran Girma, who has curly hair, asked about Davis’ hair care routine. After an answer lasting a few minutes (that focused mainly on discussing the social mission behind her product of choice), Davis said, “This is the longest hair conversation I’ve had in public,” to laughter from the crowd.\u003c/p>\n\u003cfigure id=\"attachment_11983583\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeannette Brantley (center) listens to her granddaughter Bronwyn Brantley ask a question to Angela Davis. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the most rousing and poignant parts of the evening came when Alameda High School sophomore Bronwyn Brantley asked Davis about a pivotal moment in her early life that influenced her commitment to fighting for equality. Davis told the story of growing up in Birmingham, Alabama, living on the street that divided the Black neighborhood from the white neighborhood, which Black people were not allowed to cross unless they were going to work.\u003c/p>\n\u003cp>Davis recounted how she and other kids developed a game daring each other to run across the street and sometimes even ringing the doorbell of the house of a Ku Klux Klan leader who lived on the block and running away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Now our parents did not know we were doing this,” Davis emphasized. “But that was so much fun. That was our favorite game. And it taught me something that I’ve carried with me all of these years: that resistance and engaging in struggle can be fun.” She added that it’s because she finds joy in the struggle — through art and music and play — that she’s still so involved at 80 years old.\u003c/p>\n\u003cfigure id=\"attachment_11983608\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Angela Davis speaks with high school students after the event. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At intermission, attendee Sheila SatheWarner, who brought her two sons to the event, commented that she was proud of the BSU students. “It’s super well-run, it’s super-organized, and there’s a lot of folks out here,” she said. SatheWarner is the principal of Lincoln Middle School in Alameda and says they also have a lot of Black students who are organizing. “I’m happy for our future kids coming up from Lincoln. To know they’re coming into this BSU with these leaders is really exciting.”\u003c/p>\n\u003cp>During the second half of the program, the panel sought Davis’ advice for themselves and other young activists who hope to make a difference in society. Davis advised them to focus on building community. “Remember that we accomplish nothing alone,” Davis said.\u003c/p>\n\u003cfigure id=\"attachment_11983600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A t-shirt is for sale at a speaking event with Angela Davis at Alameda High School. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To close, Melak gave a speech about Davis’ impact on her and her fellow students. “Her words have not only resonated deeply but have also sparked a flame within each of us, igniting a passion for change and a commitment to justice,” Melak said.\u003c/p>\n\u003cp>She also acknowledged what the two BSUs achieved with the event. “To think that a group of high schoolers can plan, organize and execute an event this big shows you that virtually anything is possible as long as you stay dedicated,” Melak said to roaring applause — and a big smile from Davis.\u003c/p>\n\u003cfigure id=\"attachment_11983584\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983584\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BJ Victor puts his arm around his son Jaiden, 5 while listening to Angela Davis speak. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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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 />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"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/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"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"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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