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In a newsroom career that began in Chicago in 1972, Dan has worked for \u003cem>The San Francisco Examiner,\u003c/em> Wired and TechTV and has been published in The New York Times, The New York Times Magazine, Business 2.0, Salon and elsewhere.\r\n\r\nSince joining KQED in 2007, Dan has reported, edited and produced both radio and online features and breaking news pieces. He has shared as both editor and reporter in four Society of Professional Journalists Norcal Excellence in Journalism awards and one Edward R. Murrow regional award. 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He also helped establish the first newsroom at \u003ca href=\"http://kut.org/\">KUT\u003c/a> in Austin, Texas where he was a general assignment reporter.\r\n\r\nSteven has received numerous awards for his reporting including an RTNDA Edward R. Murrow Award for investigative reporting in addition to awards from the LA Press Club, the Associated Press and the Society for Professional Journalists.\r\n\r\nSteven grew up in and around San Francisco and now lives in Pasadena just a short jog from the foot of the San Gabriel Mountains.","avatar":"https://secure.gravatar.com/avatar/bbb0bb7b496f83ab350e23ad0dc7c81c?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"news","roles":["subscriber"]},{"site":"stateofhealth","roles":["author"]}],"headData":{"title":"Steven Cuevas | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/bbb0bb7b496f83ab350e23ad0dc7c81c?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/bbb0bb7b496f83ab350e23ad0dc7c81c?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/scuevas"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"news","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"news_11983182":{"type":"posts","id":"news_11983182","meta":{"index":"posts_1591205157","site":"news","id":"11983182","score":null,"sort":[1713434446000]},"guestAuthors":[],"slug":"stunning-archival-photos-of-the-1906-earthquake-and-fire","title":"Stunning Archival Photos of the 1906 Earthquake and Fire","publishDate":1713434446,"format":"standard","headTitle":"Stunning Archival Photos of the 1906 Earthquake and Fire | KQED","labelTerm":{"term":33523,"site":"news"},"content":"\u003cp>\u003ca href=\"#episode-transcript\">View the full episode transcript.\u003c/a>\u003c/p>\n\u003cp>On April 18, 1906, many San Franciscans awoke at 5:13 a.m. to feel the earth shaking. An estimated 7.9 earthquake rocked the San Andreas fault, causing the immediate collapse of many buildings in San Francisco’s downtown. That, in turn, began a fire that quickly spread throughout the city. It was a momentous day in the history of the Bay Area. Crucial records were lost in the blaze, and the event marked a dividing line in the historical record — pre- and post-quake.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>Every year, San Franciscans gather early in the morning at the corner of Kearny and Market streets to commemorate the event. People dress up in period costumes, trying to embody the historic moment. City leaders use the anniversary as an opportunity to remind citizens about earthquake preparedness and to celebrate first responders.\u003c/p>\n\u003cp>Bay Curious listener Allison Pennell grew up in Berkeley and learned all the lore around the 1906 earthquake, so she was surprised to see something \u003cem>new\u003c/em> while perusing a catalog from the Legion of Honor Museum. Staring back at her from the page was a photo of a group of African Americans dressed in turn-of-the-century clothing, watching from atop a hill as San Francisco burned.\u003c/p>\n\u003cfigure id=\"attachment_11983185\" class=\"wp-caption aligncenter\" style=\"max-width: 465px\">\u003ca href=\"https://oac.cdlib.org/ark:/13030/hb087004q7/?brand=oac4\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983185\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/Black-San-Franciscans-Clay-St-cropped.jpg\" alt=\"Black and white photo of early San Francisco. A small group of African Americans turn to the camera as huge smoke plumes rise behind them.\" width=\"465\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/Black-San-Franciscans-Clay-St-cropped.jpg 465w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/Black-San-Franciscans-Clay-St-cropped-160x223.jpg 160w\" sizes=\"(max-width: 465px) 100vw, 465px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A group of African American San Franciscans watch the fire advance from Clay Street in 1906. \u003ccite>(\u003ca href=\"https://oac.cdlib.org/ark:/13030/hb087004q7/?brand=oac4\">UC Berkeley Bancroft Library\u003c/a>/Photographer: Arnold Genthe )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I just started to think about that photograph and what would have happened after the earthquake,” Allison said. “I know many people came over to the East Bay to set up an emergency situation over here. And so I thought, how did that work? Because you couldn’t probably, as a nonwhite person, go to the Claremont Hotel and say, ‘I’d like a suite,’ at that time. The discrimination was deep.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She knew that Black people had been settling in San Francisco since before the Gold Rush but had never before given much thought to how the discrimination common at the time might have affected the community’s ability to recover, access aid and rebuild after the 1906 quake.\u003c/p>\n\u003cp>“I’m interested to know what Black San Franciscans did to survive after the 1906 San Francisco earthquake and how they reestablished themselves either in the East Bay or back in San Francisco,” she said.\u003c/p>\n\u003ch2>Before the Quake\u003c/h2>\n\u003cfigure id=\"attachment_11983203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A133093?solr_nav%5Bid%5D=e7446cdca8edd82a35cf&solr_nav%5Bpage%5D=46&solr_nav%5Boffset%5D=9\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983203\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/Devestation-featured.jpg\" alt=\"Sepia toned photo of a nearly flattened San Francisco from 1906.\" width=\"600\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/Devestation-featured.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/Devestation-featured-160x121.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">View looking down California Street after the earthquake and fire of 1906. \u003ccite>(San Francisco History Center/San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By 1906, many Black San Franciscans had already begun moving to the East Bay in search of more space, fewer restrictions and less expensive housing. Those who stayed in San Francisco lived in neighborhoods all over the city. Like other groups that immigrated to California during the Gold Rush, early Black settlers here were mostly single men who tended to live in hotels downtown.\u003c/p>\n\u003cp>And while societal norms were a bit looser in the fledgling city, there was still plenty of racism, especially when it came to employment. The best, most skilled jobs were reserved for white people, while Black residents struggled to find the most menial work. Accounts from the time describe jobs like errand runners, elevator operators, valets and hotel workers.\u003c/p>\n\u003cfigure id=\"attachment_11983189\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A217449?solr_nav%5Bid%5D=8b7fbf8474525807d377&solr_nav%5Bpage%5D=1&solr_nav%5Boffset%5D=1#birds_eye_container\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983189\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/palace-hotel-1906.jpg\" alt=\"Black and white photo of two grand buildings collapsing.\" width=\"600\" height=\"482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/palace-hotel-1906.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/palace-hotel-1906-160x129.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Grand Hotel (left) and Palace Hotel on fire as carriages go by. Some of the better jobs Black San Franciscans could find at the turn of the 20th century were in hotels like these, where they could earn tips. \u003ccite>(San Francisco History Center/The San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the Trans-Pacific Railroad was built and the \u003ca href=\"https://www.kqed.org/news/11910890/how-oaklands-16th-street-train-station-helped-build-west-oakland-and-the-modern-civil-rights-movement\">Southern Pacific Railroad opened a terminus in Oakland,\u003c/a> more jobs for Black people became available working on the trains and in the station. That was another reason many families chose to relocate to Oakland. A community had started to thrive in West Oakland.\u003c/p>\n\u003ch2>Life Immediately After\u003c/h2>\n\u003cp>The 1906 earthquake and fire were catastrophic for all San Franciscans. And, as often happens in a crisis, people pulled together in the aftermath to help one another and to rebuild the city. It’s estimated that 80% of San Francisco was destroyed in the fire, and 200,000 people — rich and poor alike — were made homeless overnight. People of all backgrounds waited in long lines for basic supplies and sustenance, which added to the equalizing effect immediately after the earthquake.\u003c/p>\n\u003cfigure id=\"attachment_11983192\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A133547?solr_nav%5Bid%5D=6e0cba7e67868ea50c84&solr_nav%5Bpage%5D=43&solr_nav%5Boffset%5D=0\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983192\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/food-lines.jpg\" alt=\"Black and white photo of weary people waiting in line with empty containers.\" width=\"600\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/food-lines.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/food-lines-160x119.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">After the 1906 earthquake, San Franciscans of all types had to wait in lines for basic necessities. \u003ccite>(San Francisco HIstory Center/The San Francisco Public LIbrary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist-in-residence at the San Francisco Public Library, tanea lunsford lynx, discovered \u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A48483\">a trove of oral histories from African Americans at the turn of the 20th century\u003c/a> and a few photos depicting Black San Franciscans during the earthquake and fire. tanea is a fourth-generation San Franciscan, so their roots go deep here, but they’d never seen or heard anything like this before.\u003c/p>\n\u003cp>“So even though my family has a deep history here, and even though we knew we were here, there hadn’t been photo proof that I’d seen,” they said. “And there certainly hadn’t been stories in our own voices about the experience of being here in 1906 and prior to that.”\u003c/p>\n\u003cp>tanea was inspired to create an exhibit that looks at how the oral history of one man, Aurelious Alberga, speaks to San Francisco’s present moment. Her poetry and interpretation are up on \u003ca href=\"https://www.tanealunsfordlynx.com/wewerehere\">a website she created called “We Were Here.”\u003c/a>\u003c/p>\n\u003cp>Below are excerpts of first-person accounts from Black San Franciscans who lived through the 1906 earthquake and fire. Their oral histories are archived at the San Francisco Public Library’s History Center in a collection entitled “\u003ca href=\"https://url.us.m.mimecastprotect.com/s/qqXrCJ6PLruKXKK8FVA8XA?domain=oac.cdlib.org\">Afro-Americans in San Francisco prior to World War II Oral history project records\u003c/a>.” The histories were recorded in 1978 by Dr. Albert Broussard, author of \u003cem>Black San Francisco: The Struggle for Racial Equality in the West, 1900–1954\u003c/em>. The work was co-sponsored by the \u003ca href=\"http://www.sfaahcs.org/\">San Francisco African-American Historical and Cultural Society\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11983193\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003ca href=\"https://www.tanealunsfordlynx.com/wewerehere\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983193\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/youngaurelious.jpg\" alt=\"Black and white portrait of a young black man.\" width=\"1170\" height=\"1186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/youngaurelious.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/youngaurelious-800x811.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/youngaurelious-1020x1034.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/youngaurelious-160x162.jpg 160w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A young Aurelious Alberga (1884–1988)\u003c/figcaption>\u003c/figure>\n\u003cp>Aurelious Alberga was born in San Francisco in 1884. He was a young man when the earthquake hit, renting a room in a hotel at the corner of Commercial and Kearny streets. His father rented a separate room on the floor above him.\u003c/p>\n\u003cblockquote>\u003cp>“The Quake loosened one side of the building and it collapsed. Outside the building were big windows, which years ago had iron shutters that pulled in and closed over a little balcony. When the bricks fell down, they forced the shutters closed. The doors in those days used to open out, and the door to my room was jammed shut — I couldn’t open it, you see. So I made enough noise and yelled out for my father. And he came down the best way he could and pulled away the rocks from the hallways to make the door wide enough so I could come out.” — Aurelious Alberga\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11983195\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A217420?solr_nav%5Bid%5D=d274b845e2f43463a2a6&solr_nav%5Bpage%5D=2&solr_nav%5Boffset%5D=10\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983195\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/buildings-fall-down.jpg\" alt=\"Black and white photo of nearly flattened buildings, with people walking by on the street.\" width=\"600\" height=\"413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/buildings-fall-down.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/buildings-fall-down-160x110.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">People walk down the street, stopping to look at buildings that have been nearly flattened in the 1906 earthquake. \u003ccite>(San Francisco History Center/San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>“In the meantime, the city had started on fire. The water mains had broken, and they had no water, and no hoses long enough to draw water from the Bay. There’s nothing that could stop it. It just went ahead.” — Aurelious Alberga\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11983197\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A209339?solr_nav%5Bid%5D=168622d42efe2632415f&solr_nav%5Bpage%5D=4&solr_nav%5Boffset%5D=19\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983197\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/dramatic-fire-1906.jpg\" alt=\"Dramatic black and white photo of a fierce fire burning behind the remains of a building.\" width=\"600\" height=\"435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/dramatic-fire-1906.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/dramatic-fire-1906-160x116.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Buildings burning on Market Street after the 1906 earthquake. \u003ccite>(San Francisco History Center/San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elizabeth Fisher Gordon was a little girl when the earthquake hit. Her family lived in a two-story flat on Jones Street at Broadway. She remembers that the week the quake hit was Easter vacation from school, so she and her mother and siblings had taken the ferry across the Bay to stay with her grandparents in Oakland for the week.\u003c/p>\n\u003cblockquote>\u003cp>“My father came over on the last boat before the earthquake hit, to my grandmother’s… I was so sure it was my fault because I didn’t kneel that night before I said prayers. I got into bed and then said my prayers because it was so cold. But I didn’t tell anyone that it was my fault the earthquake came.” —Elizabeth Fisher Gordon\u003c/p>\u003c/blockquote>\n\u003cp>When the aftershocks subsided, Elizabeth’s father wanted to go back to San Francisco to check on their house, but authorities were not letting people on the ferries back to the city. He had to get special permission to return to the devastated city.\u003c/p>\n\u003cblockquote>\u003cp>“And when he went over, he found out there was a whole lot of damage. But he was able to get a suitcase and put some things in it, never dreaming the fire would reach there, you know. And some of the things he brought were so insignificant my mother thought. I’ll never forget her repeating, “he brought \u003ci>that\u003c/i> book.” — Elizabeth Fisher Gordon\u003c/p>\u003c/blockquote>\n\u003cp>Elizabeth’s family stayed with her grandparents for several months after the earthquake until her father bought a plot of land in the Mission and built them a new house. She remembers many people in the Black community relying on friends and family for help during this time.\u003c/p>\n\u003cfigure id=\"attachment_11983198\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A217433?solr_nav%5Bid%5D=8b7fbf8474525807d377&solr_nav%5Bpage%5D=1&solr_nav%5Boffset%5D=17\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983198\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/cooking-street.jpg\" alt=\"Black and white photo of of a woman cooking on a cast iron stove in the street.\" width=\"600\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/cooking-street.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/cooking-street-160x114.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">People cooked in the streets or in their backyards after the quake because chimneys had fallen down, and it wasn’t safe to cook inside. \u003ccite>(San Francisco History Center/San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alfred Butler was a teenager living in Oakland when the quake struck. His father worked on the railroad and had more access to goods than most people in the area.\u003c/p>\n\u003cblockquote>\u003cp>“He brought a lot of food out from Chicago to feed these people, White people all around the neighborhood. And the people all knew the Butlers. We had to eat in the backyard; we built a stove out of bricks to cook the meals on, because they wouldn’t allow you to cook in the house. The Earthquake had knocked all the chimneys down, so we had to eat in the backyard, fry and cook as best we could. People were thankful for that food too.” — Alfred Butler\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11983199\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A132890?solr_nav%5Bid%5D=f31fecf33ee6f0edcd0d&solr_nav%5Bpage%5D=5&solr_nav%5Boffset%5D=14\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983199\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/refugee-camp-GGP.jpg\" alt=\"Rows of white tent set up in Golden Gate Park to house refugees from the 1906 earthquake.\" width=\"600\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/refugee-camp-GGP.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/refugee-camp-GGP-160x92.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Refugee camps like this one in Golden Gate Park were set up in parks throughout San Francisco to house the nearly 200,000 people who had become homeless overnight. The military managed the camps. \u003ccite>(San Francisco History Center/San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Butler visited San Francisco right after the earthquake and described it as mostly rubble. All the tall buildings had fallen down. But he said people were already cleaning up, and within a year, they’d started to rebuild. Many Black San Franciscans moved to the Western Addition after the earthquake, including his brother.\u003c/p>\n\u003cfigure id=\"attachment_11983201\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A134029?solr_nav%5Bid%5D=d11fd6bd47c32fd8a6e1&solr_nav%5Bpage%5D=8&solr_nav%5Boffset%5D=17\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983201\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/rebuilding.jpg\" alt=\"Black and white photo of two men shoveling debris in front of burned out buildings.\" width=\"600\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/rebuilding.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/rebuilding-160x130.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">It is said that the bricks weren’t even cool before San Franciscans started rebuilding their city. \u003ccite>(San Francisco History Center/The San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>“My brother, right after the earthquake, he rented a place on Post near Fillmore. He got a place. He was just lucky. After the Earthquake, everybody moved on Fillmore Street. Businesses moved down Fillmore Street. All the business on Fillmore Street started booming. That’s where all the life was.” — Albert Butler\u003c/p>\u003c/blockquote>\n\u003cp>By 1915, just nine years after the devastating quake, San Francisco had largely been rebuilt. City leaders hosted the Panama-Pacific International Exposition to show the world it had recovered. While many people left San Francisco immediately after the quake, not too long after the 1915 World’s Fair, World War I began. A wave of new migrants came to the Bay Area then and again during World War II. The Black community in the Bay Area continued to grow in the East Bay, especially as ferry service to San Francisco improved so people could easily commute to the city for work.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aB0eK5KO8k8\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> Every year on April 18th… at 5:13 in the morning…. San Franciscans gather at the corner of Market and Kearny Streets to remember.\u003c/p>\n\u003cp>\u003cb>Bob Sarlatte: \u003c/b>Once again, you crazy folks have come together at this ungodly hour to remember and honor the memories of those hearty San Franciscans who survived being tossed from their beds 117 years ago this morning.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>People come dressed up in period costumes…trying to inhabit the moment in 1906 when an earthquake with an estimated magnitude of 7.9 brought devastation to the city.\u003c/p>\n\u003cp>\u003cb>Bob Sarlatte: \u003c/b>Wednesday, April 18th, 1906 5:12 a.m. A great foreshock is felt throughout the San Francisco Bay area.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>San Franciscans startled awake …only to see their city burning.\u003c/p>\n\u003cp>\u003cb>Bob Sarlatte: \u003c/b>Fires rage and spread throughout the city. They are not stopped until 74 hours later. Many of San Francisco’s finest buildings collapse under the firestorms. Firefighters begin dynamiting buildings to create firebreaks.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>But the fire kept leaping over the lines, traveling further west.\u003c/p>\n\u003cp>\u003cb>Bob Sarlatte: \u003c/b>The Great Fire reaches Van Ness Avenue, which is 125ft wide, facing the decision to blow his city to pieces or watch it burn, Mayor Schmitz finally agrees to let the army create a massive firebreak in the hopes that it can stop the raging inferno. Friday, April 20th, 1906 5 a.m. The fire break at Venice finally holds and the westward progression of the inferno was halted.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> It took more than three days to fully put the fire out. And then San Franciscans took stock. Nearly 80-percent of the city had burned.\u003c/p>\n\u003cp>\u003cb>Bob Sarlatte: \u003c/b>So if we can just have a moment of silence for those who died and those who helped with the city after the earthquake. (Silence) Let’s hear those sirens go. Here we are.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> The Great Earthquake and fire of 1906 were devastating to everyone living in San Francisco at the time, including its several thousand Black residents.\u003c/p>\n\u003cp>Bay Curious listener Allison Pennell started wondering about how this community fared after the earthquake when she saw an old photo in a museum booklet. It showed a group of Black San Franciscans standing at the top of Clay Street, watching the fire burn.\u003c/p>\n\u003cp>\u003cb>Allison Pennell: \u003c/b>And I just started to think about that photograph and what would have happened after the earthquake. I know many people came over to the East Bay, and they simply got into boats and got over here, to try to set up an emergency situation over here. And so I thought, how did that work? Because, you couldn’t just probably as a nonwhite person go to the Claremont Hotel and say, I’d like a suite. At that time, the discrimination was deep.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>She wanted to know more.\u003c/p>\n\u003cp>\u003cb>Allison Pennell: \u003c/b>I’m interested to know what Black San Franciscans did to survive after the 1906 San Francisco earthquake and how they re-established themselves either in the East Bay or back in San Francisco.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>Today on Bay Curious, on the anniversary of the Big One, we’ll hear some first person accounts from those who survived the 1906 earthquake and fire. And we’ll learn how their stories are still inspiring Black San Franciscans generations later. I’m Olivia Allen-Price. Stay with us.\u003c/p>\n\u003cp>SPONSOR\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>Stories and photos of the devastation wrought by the 1906 earthquake and fire are all around us in San Francisco. But it’s less common to see or hear explicit references to how the Black community fared after the quake. Bay Curious editor and producer Katrina Schwartz set out to learn more.\u003c/p>\n\u003cp>\u003ci>Sound of elevators at the library\u003c/i>\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz:\u003c/b> You can find all kinds of cool stuff at the public library.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>I was thinking like, where do where does the ephemera live? Where do the things live that we can’t touch? What are the less visited things of the library?\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>tanea lunsford lynx was recently an artist in residence at the San Francisco Public Library,\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>And then I found that there was an oral history project that had over 25, recorded oral histories.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>She was \u003ci>transfixed\u003c/i> by the voices of Black Americans describing life in San Francisco at the turn of the 20th century.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: yea, we were here.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz:\u003c/b> Now, tanea and I are standing in front of a display case on the third floor of the main branch …busy library life bustling around us.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>I wanted folks to kind of happen upon it outside of the elevator. So when folks kind of get out there, struck by the photos that many of us have never seen. Of the 1906 earthquake.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz in scene: \u003c/b>Yeah. Some people have seen some of the photos, like of the fire and stuff like that. What’s different about these ones?\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>These photos are different because they’re featuring black American folks who were here in San Francisco at the time of the 1906 earthquake. So you not only see the plume of the fires, the smoke in the back of the photos, but you also see, black San Franciscans at the forefront of the photos who are, like, dressed very beautifully.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>My name is tanea lunsford lynx. I’m a writer and artist and educator. And fourth generation, like San Franciscan on both sides.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>For Tanea, these photos were a revelation.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>So even though my family has a deep history here, and even though we knew we were here, there hadn’t been like photo proof that I’d seen a lot.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>As part of her residency at the library she began digging into the archives kept here and stumbled across an oral history recorded in 1978… of a man named Aurelius Alberga. A black man and a survivor of the 1906 earthquake.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>And there certainly hadn’t been stories in our own voices about the experience of being here in 1906 and prior to that.\u003c/p>\n\u003cp>\u003ci>Music \u003c/i>\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>I felt a kinship pretty quickly. Because something about. Alberga’s tone reminded me of my grandfather’s voice and something about the quality of the audio is…Very appropriate for the time that it was recorded. And so you can, like hear the hum of the machine. You can hear like background noises, like I was I was automatically seated in someone’s house, like listening to them tell their stories. And it was that kinship, that closeness, that sense of intimacy that I was looking for.\u003c/p>\n\u003cp>\u003cb>Aurelius Alberga: \u003c/b>October 22, 1884.\u003c/p>\n\u003cp>\u003cb>Dr. Albert Broussard: \u003c/b>Where were you born?\u003c/p>\n\u003cp>\u003cb>Aurelius Alberga: \u003c/b>San Francisco\u003c/p>\n\u003cp>\u003cb>Dr. Albert Broussard: \u003c/b>What about you parents. Where were they born?\u003c/p>\n\u003cp>\u003cb>Aurelius Alberga: \u003c/b>My father was born in Kingston, Jamaica. May mother was born in San Francisco.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>He was very chill, for lack of a better word, about surviving that earthquake.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz:\u003c/b> Historian Dr. Albert Broussard recorded this oral history when Alberga was in his 90s. On the day of the Great Earthquake, Alberga was in his early 20s, sleeping in a room he rented at the corner of Commercial and Kearny Streets.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>Aurelius Alberga is asleep in his apartment, which most likely was an SRO, single room occupancy. And he lived there, and his father lived in the apartment above him.\u003c/p>\n\u003cp>\u003cb>Aurelius Alberga:\u003c/b> My father was living there too. He had a room right upstairs directly over me. The Quake loosened and one side of the building collapsed. The doors in those days used to open out, and the door to my room was jammed shut — I couldn’t open it, you see.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx:\u003c/b> He, like, yells for his father to know where he is, and his father comes down and helps him get out.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz:\u003c/b> After escaping his small room, Alberga and his father go their separate ways. Alberga is worried about the man he works for who is blind.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx:\u003c/b> Alberga’s job at that time is being a chauffeur for a man he calls old Metzger, who’s a man that he works for, who’s, like, wealthy, who’s a blind man. And, he develops this relationship with kind of like, caring for him in different ways.\u003c/p>\n\u003cp>\u003cb>Aurelius Alberga:\u003c/b> He lived on O’Farrell Street between Stockton and Powell. The whole front side of the hotel had fallen out into the streets and left exposed the rooms on that end. He was right there.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx:\u003c/b> And so Alberga is like, oh my gosh, I hope he’s okay. And he gets up to Metzger’s apartment. And this man is sleeping.\u003c/p>\n\u003cp>\u003cb>Aurelius Alberga:\u003c/b> He slept through it all, which was a blessing.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz:\u003c/b> After heroically saving Metzger’s life, he takes the old man to his mother’s house. Old Metzger is worried about savings he’s got stored in a safe downtown so he sends Alberga to retrieve the money. That errand takes Alberga all over the town and he watches as the city is destroyed. He recalls how the water mains were broken and firefighters struggled to contain the blaze.\u003c/p>\n\u003cp>\u003cb>Aurelius Alberga:\u003c/b> They had no water, and no hoses long enough to draw water from the Bay. There’s nothing that could stop it. It just went ahead.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx:\u003c/b> It blew my mind that he could recall with precision the exact intersections of where things happened in San Francisco, particularly as a man of, like, more than 90 years old. Because I’m also aware of, like, yes, this was a trauma that he survived. And he was able to recall with such clarity where these things happened.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Alberga had lost everything in the earthquake and fire, his home, all his possessions. He bounced around the city, staying with friends.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx:\u003c/b> One of the things he did say was that folks across like, race and ethnicity were really welcoming to each other as far as, like, inviting folks to literally stay in their homes.\u003c/p>\n\u003cp>\u003cb>Aurelius Alberga:\u003c/b> I don’t think there were any people as friendly as the ole San Franciscans.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz:\u003c/b> No one as friendly as ‘ole San Franciscans. People were dragging their trunks down the road, nowhere to sleep…\u003c/p>\n\u003cp>\u003cb>Aurelius Alberga:\u003c/b> People were dragging their trunks along the street and someone would come along and help them. They’d take someone in their house they had never seen before in your life.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Folks opened up their homes to people they’d never seen before in their lives.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>So that mutual aid and that care was something that Alberga named as something that was distinctly San Franciscan at the time, that it was a very friendly place at that time, particularly after this moment of crisis. And so that really stood out to me, too.\u003c/p>\n\u003cp>\u003ci>Music transition\u003c/i>\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Elizabeth Fisher Gordon was just a little girl of nine-years-old when the earthquake struck. Her family lived in a flat in downtown San Francisco. But by 1906 many Black San Franciscans had relocated to the East Bay in search of more space and less expensive housing. Her grandmother lived in Oakland and Elizabeth had gone to stay with her for the Easter holidays, just before the quake.\u003c/p>\n\u003cp>\u003cb>Elizabeth Fisher Gordon: \u003c/b>And my mother came over later in the week and brought the rest of the children. My father came over on the last boat before the earthquake hit, to my grandmother’s. I was so sure it was my fault because I didn’t kneel that night before I said prayers. I got into bed and then said my prayers because it was so cold. But I didn’t tell anyone that it was my fault the earthquake came.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Elizabeth remembers all the chimneys in Oakland falling down during the earthquake. As morning dawned, chaos reigned and authorities would not let Elizabeth’s father return to San Francisco on the ferry. He had to get special permission to go check on their house.\u003c/p>\n\u003cp>\u003cb>Elizabeth Fisher Gordon: \u003c/b>And when he went over, he found out there was a whole lot of damage. But he was able to get a suitcase and put some things in it, never dreaming the fire would reach there, you know. And some of the things he brought were so insignificant my mother thought. I’ll never forget her repeating, “he brought that book.” (chuckles).\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Her father returned to Oakland where his family was — and their home on Jones street was consumed by the fire. Elizabeth says the family was lucky to be able to stay with her grandparents in Oakland until her father purchased a plot of land in the Mission to build them a new house. She says many Black San Franciscans tapped into networks of friends and family in Oakland.\u003c/p>\n\u003cp>\u003cb>Elizabeth Fisher Gordon: \u003c/b>The people from San Francisco came over here when their houses burned down and they took care of them over here. Red Cross, and they set up temporary housing and what have you for the people.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Tent cities sprang up in parks around San Francisco…housing 200-thousand people who had become homeless overnight. People set up outdoor kitchens and cooked together. Tanea lunsford lynx documented Black San Franciscans among these scenes in her exhibit.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>The first photo that we see is a photo of two young black people, children who are sitting in the grass and you see tents and you see a clothing line up behind them, and you see a little stove for cooking as well. And this is a campsite that was set up in Golden Gate Park, because folks had lost everything.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>A PBS documentary called The Great 1906 San Francisco Earthquake paints a desolate picture of life in the aftermath.\u003c/p>\n\u003cp>\u003cb>The Great 1906 San Francisco Earthquake Narration: \u003c/b>Standing in bread lines, meat lines, soup lines, any kind of a line became the central activity of life. Everyone had to do it. Soldiers made sure nobody cheated.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>And anybody not standing in line, was put to work rebuilding the city.\u003c/p>\n\u003cp>\u003cb>The Great 1906 San Francisco Earthquake Narration: \u003c/b>It was said that in many places, the debris was not even allowed to cool, and bricks were pitched from lots when still as warm as muffins. Volunteers on the cleanup crews took up the refrain in the damnedest, finest ruins I’d rather be a brick than live anywhere else but San Francisco. The great cleanup had begun. Thousands of standing walls were torn down. An estimated 6.5 billion bricks were carted away or cleaned of mortar to be reused in new buildings.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>People who lived through these times remember it as a swift recovery. Alfred Butler was a Black teenager living in Oakland at the time of the earthquake. He took a mule and cart all the way down to San Jose and around the Bay in order to see what had happened to San Francisco for himself.\u003c/p>\n\u003cp>He recalls seeing a lot of rubble, and the biggest buildings knocked down. But over the following months the recovery progressed quickly.\u003c/p>\n\u003cp>\u003cb>Alfred Butler: \u003c/b>They built it up right away. In a year’s time, things were pretty well cleaned up. And then they started to build.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>At the turn of the 20th century, Black San Franciscans lived in neighborhoods scattered throughout San Francisco, but many single men were concentrated in hotels downtown…like Aurelius Alberga who we heard from earlier. Alfred Butler says after the earthquake, the Western Addition became the hub of Black life. That’s where his brother moved.\u003c/p>\n\u003cp>\u003cb>Alfred Butler: \u003c/b>After the earthquake, everybody moved on Fillmore Street. All the businesses on Fillmore Street started booming.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>San Franciscans came together after the quake and people from all walks of life helped one another in that moment of crises. But the oral histories of these Black Americans who survived it show that as the city rebuilt, it went back to the de facto racism that ruled it. Butler says good jobs were still reserved for white people, while Black people struggled to find menial ones.\u003c/p>\n\u003cp>\u003cb>Albert Butler: \u003c/b>It was hard to get a job. Negroes, we had a tough time getting a job. A menial job like washing windows or running errands or something like that. Running an elevator or something like that. It was hard to get a job.\u003c/p>\n\u003cp>\u003ci>Music transition\u003c/i>\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>For Tanea, the photos of San Franciscans living in tents, cooking outdoors, waiting in line for basic necessities are eerily similar to scenes on the streets of the city today.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>When looking at these photos, I began to see the past, speaking to the future and the future, speaking to the past.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>And as a Black person, tanea sees echoes of \u003ci>her San Francisco\u003c/i> in the oral histories she combed through. A small Black community fighting to stay in a changing city. The devastation of displacement and loss. But also the love of this place and the tenacity to survive. It’s all too familiar. Her poem “We Were Here” is an ode to the Black community in San Francisco, which stretches from the Gold Rush to now. Here’s an excerpt.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx:\u003c/b> We were here already, living fantastical lives, already saving the best for the present, already studying the contours of the city. The bay knew us. This ocean was salted with our knowing already. We knew the feeling of firm ground. Before the shaking. We knew stability. The ground knew the planting and rising of our feet like a dance. We were already sending for each other, extending a fishing hook south and pulling each other up with calloused hands. We were already spinning tales about this mass of fog. We were already making home here. \u003ci>(fades under)\u003c/i>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>That story was brought to us by Bay Curious editor and producer, Katrina Schwartz.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx:\u003c/b> But of course, we were here, living in our signature ways. Of course, when the earth shifted, we went looking for who could be lost in the cracks. Of course it made for lore. Of course we were doing the fantastical feat like a dance. The earth cracked open and we kept time, an offering of our survival. We kept on living.\u003c/p>\n\u003cp>\u003ci>Music fades out\u003c/i>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> tanea’s exhibit is no longer on display at the library, but you can see all the photos she used and \u003ca href=\"https://www.tanealunsfordlynx.com/wewerehere\">read her writing on the project’s website\u003c/a>. You can find a link in our show notes or on baycurious.org.\u003c/p>\n\u003cp>Special thanks to the San Francisco History Center, part of the San Francisco Public Library for letting us use the oral histories in their archive. And to the San Francisco African-American Historical and Cultural Society who co-sponsored the original oral history project.\u003c/p>\n\u003cp>There’s still time to vote in our April voting round. Here are your choices.\u003c/p>\n\u003cp>\u003cb>Voice 1:\u003c/b> I was recently at the Morcom Rose Garden in Oakland and saw three different official Oakland signs that read, “No glitter.” I would love to know what happened at the rose garden to warrant so many signs.\u003c/p>\n\u003cp>\u003cb>Voice 2:\u003c/b> Yesterday, I walked with a fellow science teacher on the Great Hwy. We commented on the blackish sand, made of iron filings. Where does the iron come from?\u003c/p>\n\u003cp>\u003cb>Voice 3:\u003c/b> Who are the de Youngs? I think they have some crazy stories!\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>Vote for which question you think we should tackle next at baycurious.org. While you’re there, sign up for our monthly newsletter, ask your own question, or get lost listening through the Bay Curious archive.\u003c/p>\n\u003cp>Bay Curious is made in San Francisco at member-supported KQED.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>Our show is made by:\u003cbr>\n\u003cb>Katrina Schwartz: \u003c/b>Katrina Schwartz\u003c/p>\n\u003cp>\u003cb>Christopher Beale: \u003c/b>Christopher Beale\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> Katherine Monahan\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>and me, Olivia Allen Price. Additional support from:\u003cbr>\n\u003cb>Jen Chien: \u003c/b>Jen Chien\u003c/p>\n\u003cp>\u003cb>Katie Springer: \u003c/b>Katie Springer\u003c/p>\n\u003cp>\u003cb>Cesar Saldana: \u003c/b>Cesar Saldana\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>I’m Olivia Allen-Price. We’ll be back next week.\u003c/p>\n\n","blocks":[],"excerpt":"On the anniversary of San Francisco’s 1906 Earthquake and Fire, African Americans who lived through the catastrophe share their experiences.","status":"publish","parent":0,"modified":1713397394,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":true,"hasPolis":false,"paragraphCount":139,"wordCount":5543},"headData":{"title":"Stunning Archival Photos of the 1906 Earthquake and Fire | KQED","description":"On the anniversary of San Francisco’s 1906 Earthquake and Fire, African Americans who lived through the catastrophe share their experiences.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Stunning Archival Photos of the 1906 Earthquake and Fire","datePublished":"2024-04-18T10:00:46.000Z","dateModified":"2024-04-17T23:43:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/pdst.fm/e/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC2571744994.mp3?updated=1713397061","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11983182/stunning-archival-photos-of-the-1906-earthquake-and-fire","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">View the full episode transcript.\u003c/a>\u003c/p>\n\u003cp>On April 18, 1906, many San Franciscans awoke at 5:13 a.m. to feel the earth shaking. An estimated 7.9 earthquake rocked the San Andreas fault, causing the immediate collapse of many buildings in San Francisco’s downtown. That, in turn, began a fire that quickly spread throughout the city. It was a momentous day in the history of the Bay Area. Crucial records were lost in the blaze, and the event marked a dividing line in the historical record — pre- and post-quake.\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\" />\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>Every year, San Franciscans gather early in the morning at the corner of Kearny and Market streets to commemorate the event. People dress up in period costumes, trying to embody the historic moment. City leaders use the anniversary as an opportunity to remind citizens about earthquake preparedness and to celebrate first responders.\u003c/p>\n\u003cp>Bay Curious listener Allison Pennell grew up in Berkeley and learned all the lore around the 1906 earthquake, so she was surprised to see something \u003cem>new\u003c/em> while perusing a catalog from the Legion of Honor Museum. Staring back at her from the page was a photo of a group of African Americans dressed in turn-of-the-century clothing, watching from atop a hill as San Francisco burned.\u003c/p>\n\u003cfigure id=\"attachment_11983185\" class=\"wp-caption aligncenter\" style=\"max-width: 465px\">\u003ca href=\"https://oac.cdlib.org/ark:/13030/hb087004q7/?brand=oac4\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983185\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/Black-San-Franciscans-Clay-St-cropped.jpg\" alt=\"Black and white photo of early San Francisco. A small group of African Americans turn to the camera as huge smoke plumes rise behind them.\" width=\"465\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/Black-San-Franciscans-Clay-St-cropped.jpg 465w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/Black-San-Franciscans-Clay-St-cropped-160x223.jpg 160w\" sizes=\"(max-width: 465px) 100vw, 465px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A group of African American San Franciscans watch the fire advance from Clay Street in 1906. \u003ccite>(\u003ca href=\"https://oac.cdlib.org/ark:/13030/hb087004q7/?brand=oac4\">UC Berkeley Bancroft Library\u003c/a>/Photographer: Arnold Genthe )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I just started to think about that photograph and what would have happened after the earthquake,” Allison said. “I know many people came over to the East Bay to set up an emergency situation over here. And so I thought, how did that work? Because you couldn’t probably, as a nonwhite person, go to the Claremont Hotel and say, ‘I’d like a suite,’ at that time. The discrimination was deep.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She knew that Black people had been settling in San Francisco since before the Gold Rush but had never before given much thought to how the discrimination common at the time might have affected the community’s ability to recover, access aid and rebuild after the 1906 quake.\u003c/p>\n\u003cp>“I’m interested to know what Black San Franciscans did to survive after the 1906 San Francisco earthquake and how they reestablished themselves either in the East Bay or back in San Francisco,” she said.\u003c/p>\n\u003ch2>Before the Quake\u003c/h2>\n\u003cfigure id=\"attachment_11983203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A133093?solr_nav%5Bid%5D=e7446cdca8edd82a35cf&solr_nav%5Bpage%5D=46&solr_nav%5Boffset%5D=9\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983203\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/Devestation-featured.jpg\" alt=\"Sepia toned photo of a nearly flattened San Francisco from 1906.\" width=\"600\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/Devestation-featured.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/Devestation-featured-160x121.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">View looking down California Street after the earthquake and fire of 1906. \u003ccite>(San Francisco History Center/San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By 1906, many Black San Franciscans had already begun moving to the East Bay in search of more space, fewer restrictions and less expensive housing. Those who stayed in San Francisco lived in neighborhoods all over the city. Like other groups that immigrated to California during the Gold Rush, early Black settlers here were mostly single men who tended to live in hotels downtown.\u003c/p>\n\u003cp>And while societal norms were a bit looser in the fledgling city, there was still plenty of racism, especially when it came to employment. The best, most skilled jobs were reserved for white people, while Black residents struggled to find the most menial work. Accounts from the time describe jobs like errand runners, elevator operators, valets and hotel workers.\u003c/p>\n\u003cfigure id=\"attachment_11983189\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A217449?solr_nav%5Bid%5D=8b7fbf8474525807d377&solr_nav%5Bpage%5D=1&solr_nav%5Boffset%5D=1#birds_eye_container\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983189\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/palace-hotel-1906.jpg\" alt=\"Black and white photo of two grand buildings collapsing.\" width=\"600\" height=\"482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/palace-hotel-1906.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/palace-hotel-1906-160x129.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Grand Hotel (left) and Palace Hotel on fire as carriages go by. Some of the better jobs Black San Franciscans could find at the turn of the 20th century were in hotels like these, where they could earn tips. \u003ccite>(San Francisco History Center/The San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the Trans-Pacific Railroad was built and the \u003ca href=\"https://www.kqed.org/news/11910890/how-oaklands-16th-street-train-station-helped-build-west-oakland-and-the-modern-civil-rights-movement\">Southern Pacific Railroad opened a terminus in Oakland,\u003c/a> more jobs for Black people became available working on the trains and in the station. That was another reason many families chose to relocate to Oakland. A community had started to thrive in West Oakland.\u003c/p>\n\u003ch2>Life Immediately After\u003c/h2>\n\u003cp>The 1906 earthquake and fire were catastrophic for all San Franciscans. And, as often happens in a crisis, people pulled together in the aftermath to help one another and to rebuild the city. It’s estimated that 80% of San Francisco was destroyed in the fire, and 200,000 people — rich and poor alike — were made homeless overnight. People of all backgrounds waited in long lines for basic supplies and sustenance, which added to the equalizing effect immediately after the earthquake.\u003c/p>\n\u003cfigure id=\"attachment_11983192\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A133547?solr_nav%5Bid%5D=6e0cba7e67868ea50c84&solr_nav%5Bpage%5D=43&solr_nav%5Boffset%5D=0\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983192\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/food-lines.jpg\" alt=\"Black and white photo of weary people waiting in line with empty containers.\" width=\"600\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/food-lines.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/food-lines-160x119.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">After the 1906 earthquake, San Franciscans of all types had to wait in lines for basic necessities. \u003ccite>(San Francisco HIstory Center/The San Francisco Public LIbrary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist-in-residence at the San Francisco Public Library, tanea lunsford lynx, discovered \u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A48483\">a trove of oral histories from African Americans at the turn of the 20th century\u003c/a> and a few photos depicting Black San Franciscans during the earthquake and fire. tanea is a fourth-generation San Franciscan, so their roots go deep here, but they’d never seen or heard anything like this before.\u003c/p>\n\u003cp>“So even though my family has a deep history here, and even though we knew we were here, there hadn’t been photo proof that I’d seen,” they said. “And there certainly hadn’t been stories in our own voices about the experience of being here in 1906 and prior to that.”\u003c/p>\n\u003cp>tanea was inspired to create an exhibit that looks at how the oral history of one man, Aurelious Alberga, speaks to San Francisco’s present moment. Her poetry and interpretation are up on \u003ca href=\"https://www.tanealunsfordlynx.com/wewerehere\">a website she created called “We Were Here.”\u003c/a>\u003c/p>\n\u003cp>Below are excerpts of first-person accounts from Black San Franciscans who lived through the 1906 earthquake and fire. Their oral histories are archived at the San Francisco Public Library’s History Center in a collection entitled “\u003ca href=\"https://url.us.m.mimecastprotect.com/s/qqXrCJ6PLruKXKK8FVA8XA?domain=oac.cdlib.org\">Afro-Americans in San Francisco prior to World War II Oral history project records\u003c/a>.” The histories were recorded in 1978 by Dr. Albert Broussard, author of \u003cem>Black San Francisco: The Struggle for Racial Equality in the West, 1900–1954\u003c/em>. The work was co-sponsored by the \u003ca href=\"http://www.sfaahcs.org/\">San Francisco African-American Historical and Cultural Society\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11983193\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003ca href=\"https://www.tanealunsfordlynx.com/wewerehere\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983193\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/youngaurelious.jpg\" alt=\"Black and white portrait of a young black man.\" width=\"1170\" height=\"1186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/youngaurelious.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/youngaurelious-800x811.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/youngaurelious-1020x1034.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/youngaurelious-160x162.jpg 160w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A young Aurelious Alberga (1884–1988)\u003c/figcaption>\u003c/figure>\n\u003cp>Aurelious Alberga was born in San Francisco in 1884. He was a young man when the earthquake hit, renting a room in a hotel at the corner of Commercial and Kearny streets. His father rented a separate room on the floor above him.\u003c/p>\n\u003cblockquote>\u003cp>“The Quake loosened one side of the building and it collapsed. Outside the building were big windows, which years ago had iron shutters that pulled in and closed over a little balcony. When the bricks fell down, they forced the shutters closed. The doors in those days used to open out, and the door to my room was jammed shut — I couldn’t open it, you see. So I made enough noise and yelled out for my father. And he came down the best way he could and pulled away the rocks from the hallways to make the door wide enough so I could come out.” — Aurelious Alberga\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11983195\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A217420?solr_nav%5Bid%5D=d274b845e2f43463a2a6&solr_nav%5Bpage%5D=2&solr_nav%5Boffset%5D=10\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983195\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/buildings-fall-down.jpg\" alt=\"Black and white photo of nearly flattened buildings, with people walking by on the street.\" width=\"600\" height=\"413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/buildings-fall-down.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/buildings-fall-down-160x110.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">People walk down the street, stopping to look at buildings that have been nearly flattened in the 1906 earthquake. \u003ccite>(San Francisco History Center/San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>“In the meantime, the city had started on fire. The water mains had broken, and they had no water, and no hoses long enough to draw water from the Bay. There’s nothing that could stop it. It just went ahead.” — Aurelious Alberga\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11983197\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A209339?solr_nav%5Bid%5D=168622d42efe2632415f&solr_nav%5Bpage%5D=4&solr_nav%5Boffset%5D=19\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983197\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/dramatic-fire-1906.jpg\" alt=\"Dramatic black and white photo of a fierce fire burning behind the remains of a building.\" width=\"600\" height=\"435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/dramatic-fire-1906.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/dramatic-fire-1906-160x116.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Buildings burning on Market Street after the 1906 earthquake. \u003ccite>(San Francisco History Center/San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elizabeth Fisher Gordon was a little girl when the earthquake hit. Her family lived in a two-story flat on Jones Street at Broadway. She remembers that the week the quake hit was Easter vacation from school, so she and her mother and siblings had taken the ferry across the Bay to stay with her grandparents in Oakland for the week.\u003c/p>\n\u003cblockquote>\u003cp>“My father came over on the last boat before the earthquake hit, to my grandmother’s… I was so sure it was my fault because I didn’t kneel that night before I said prayers. I got into bed and then said my prayers because it was so cold. But I didn’t tell anyone that it was my fault the earthquake came.” —Elizabeth Fisher Gordon\u003c/p>\u003c/blockquote>\n\u003cp>When the aftershocks subsided, Elizabeth’s father wanted to go back to San Francisco to check on their house, but authorities were not letting people on the ferries back to the city. He had to get special permission to return to the devastated city.\u003c/p>\n\u003cblockquote>\u003cp>“And when he went over, he found out there was a whole lot of damage. But he was able to get a suitcase and put some things in it, never dreaming the fire would reach there, you know. And some of the things he brought were so insignificant my mother thought. I’ll never forget her repeating, “he brought \u003ci>that\u003c/i> book.” — Elizabeth Fisher Gordon\u003c/p>\u003c/blockquote>\n\u003cp>Elizabeth’s family stayed with her grandparents for several months after the earthquake until her father bought a plot of land in the Mission and built them a new house. She remembers many people in the Black community relying on friends and family for help during this time.\u003c/p>\n\u003cfigure id=\"attachment_11983198\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A217433?solr_nav%5Bid%5D=8b7fbf8474525807d377&solr_nav%5Bpage%5D=1&solr_nav%5Boffset%5D=17\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983198\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/cooking-street.jpg\" alt=\"Black and white photo of of a woman cooking on a cast iron stove in the street.\" width=\"600\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/cooking-street.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/cooking-street-160x114.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">People cooked in the streets or in their backyards after the quake because chimneys had fallen down, and it wasn’t safe to cook inside. \u003ccite>(San Francisco History Center/San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alfred Butler was a teenager living in Oakland when the quake struck. His father worked on the railroad and had more access to goods than most people in the area.\u003c/p>\n\u003cblockquote>\u003cp>“He brought a lot of food out from Chicago to feed these people, White people all around the neighborhood. And the people all knew the Butlers. We had to eat in the backyard; we built a stove out of bricks to cook the meals on, because they wouldn’t allow you to cook in the house. The Earthquake had knocked all the chimneys down, so we had to eat in the backyard, fry and cook as best we could. People were thankful for that food too.” — Alfred Butler\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11983199\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A132890?solr_nav%5Bid%5D=f31fecf33ee6f0edcd0d&solr_nav%5Bpage%5D=5&solr_nav%5Boffset%5D=14\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983199\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/refugee-camp-GGP.jpg\" alt=\"Rows of white tent set up in Golden Gate Park to house refugees from the 1906 earthquake.\" width=\"600\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/refugee-camp-GGP.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/refugee-camp-GGP-160x92.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Refugee camps like this one in Golden Gate Park were set up in parks throughout San Francisco to house the nearly 200,000 people who had become homeless overnight. The military managed the camps. \u003ccite>(San Francisco History Center/San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Butler visited San Francisco right after the earthquake and described it as mostly rubble. All the tall buildings had fallen down. But he said people were already cleaning up, and within a year, they’d started to rebuild. Many Black San Franciscans moved to the Western Addition after the earthquake, including his brother.\u003c/p>\n\u003cfigure id=\"attachment_11983201\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A134029?solr_nav%5Bid%5D=d11fd6bd47c32fd8a6e1&solr_nav%5Bpage%5D=8&solr_nav%5Boffset%5D=17\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983201\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/rebuilding.jpg\" alt=\"Black and white photo of two men shoveling debris in front of burned out buildings.\" width=\"600\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/rebuilding.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/rebuilding-160x130.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">It is said that the bricks weren’t even cool before San Franciscans started rebuilding their city. \u003ccite>(San Francisco History Center/The San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>“My brother, right after the earthquake, he rented a place on Post near Fillmore. He got a place. He was just lucky. After the Earthquake, everybody moved on Fillmore Street. Businesses moved down Fillmore Street. All the business on Fillmore Street started booming. That’s where all the life was.” — Albert Butler\u003c/p>\u003c/blockquote>\n\u003cp>By 1915, just nine years after the devastating quake, San Francisco had largely been rebuilt. City leaders hosted the Panama-Pacific International Exposition to show the world it had recovered. While many people left San Francisco immediately after the quake, not too long after the 1915 World’s Fair, World War I began. A wave of new migrants came to the Bay Area then and again during World War II. The Black community in the Bay Area continued to grow in the East Bay, especially as ferry service to San Francisco improved so people could easily commute to the city for work.\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/aB0eK5KO8k8'\n title='//www.youtube.com/embed/aB0eK5KO8k8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"baycuriousquestion","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> Every year on April 18th… at 5:13 in the morning…. San Franciscans gather at the corner of Market and Kearny Streets to remember.\u003c/p>\n\u003cp>\u003cb>Bob Sarlatte: \u003c/b>Once again, you crazy folks have come together at this ungodly hour to remember and honor the memories of those hearty San Franciscans who survived being tossed from their beds 117 years ago this morning.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>People come dressed up in period costumes…trying to inhabit the moment in 1906 when an earthquake with an estimated magnitude of 7.9 brought devastation to the city.\u003c/p>\n\u003cp>\u003cb>Bob Sarlatte: \u003c/b>Wednesday, April 18th, 1906 5:12 a.m. A great foreshock is felt throughout the San Francisco Bay area.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>San Franciscans startled awake …only to see their city burning.\u003c/p>\n\u003cp>\u003cb>Bob Sarlatte: \u003c/b>Fires rage and spread throughout the city. They are not stopped until 74 hours later. Many of San Francisco’s finest buildings collapse under the firestorms. Firefighters begin dynamiting buildings to create firebreaks.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>But the fire kept leaping over the lines, traveling further west.\u003c/p>\n\u003cp>\u003cb>Bob Sarlatte: \u003c/b>The Great Fire reaches Van Ness Avenue, which is 125ft wide, facing the decision to blow his city to pieces or watch it burn, Mayor Schmitz finally agrees to let the army create a massive firebreak in the hopes that it can stop the raging inferno. Friday, April 20th, 1906 5 a.m. The fire break at Venice finally holds and the westward progression of the inferno was halted.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> It took more than three days to fully put the fire out. And then San Franciscans took stock. Nearly 80-percent of the city had burned.\u003c/p>\n\u003cp>\u003cb>Bob Sarlatte: \u003c/b>So if we can just have a moment of silence for those who died and those who helped with the city after the earthquake. (Silence) Let’s hear those sirens go. Here we are.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> The Great Earthquake and fire of 1906 were devastating to everyone living in San Francisco at the time, including its several thousand Black residents.\u003c/p>\n\u003cp>Bay Curious listener Allison Pennell started wondering about how this community fared after the earthquake when she saw an old photo in a museum booklet. It showed a group of Black San Franciscans standing at the top of Clay Street, watching the fire burn.\u003c/p>\n\u003cp>\u003cb>Allison Pennell: \u003c/b>And I just started to think about that photograph and what would have happened after the earthquake. I know many people came over to the East Bay, and they simply got into boats and got over here, to try to set up an emergency situation over here. And so I thought, how did that work? Because, you couldn’t just probably as a nonwhite person go to the Claremont Hotel and say, I’d like a suite. At that time, the discrimination was deep.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>She wanted to know more.\u003c/p>\n\u003cp>\u003cb>Allison Pennell: \u003c/b>I’m interested to know what Black San Franciscans did to survive after the 1906 San Francisco earthquake and how they re-established themselves either in the East Bay or back in San Francisco.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>Today on Bay Curious, on the anniversary of the Big One, we’ll hear some first person accounts from those who survived the 1906 earthquake and fire. And we’ll learn how their stories are still inspiring Black San Franciscans generations later. I’m Olivia Allen-Price. Stay with us.\u003c/p>\n\u003cp>SPONSOR\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>Stories and photos of the devastation wrought by the 1906 earthquake and fire are all around us in San Francisco. But it’s less common to see or hear explicit references to how the Black community fared after the quake. Bay Curious editor and producer Katrina Schwartz set out to learn more.\u003c/p>\n\u003cp>\u003ci>Sound of elevators at the library\u003c/i>\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz:\u003c/b> You can find all kinds of cool stuff at the public library.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>I was thinking like, where do where does the ephemera live? Where do the things live that we can’t touch? What are the less visited things of the library?\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>tanea lunsford lynx was recently an artist in residence at the San Francisco Public Library,\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>And then I found that there was an oral history project that had over 25, recorded oral histories.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>She was \u003ci>transfixed\u003c/i> by the voices of Black Americans describing life in San Francisco at the turn of the 20th century.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: yea, we were here.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz:\u003c/b> Now, tanea and I are standing in front of a display case on the third floor of the main branch …busy library life bustling around us.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>I wanted folks to kind of happen upon it outside of the elevator. So when folks kind of get out there, struck by the photos that many of us have never seen. Of the 1906 earthquake.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz in scene: \u003c/b>Yeah. Some people have seen some of the photos, like of the fire and stuff like that. What’s different about these ones?\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>These photos are different because they’re featuring black American folks who were here in San Francisco at the time of the 1906 earthquake. So you not only see the plume of the fires, the smoke in the back of the photos, but you also see, black San Franciscans at the forefront of the photos who are, like, dressed very beautifully.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>My name is tanea lunsford lynx. I’m a writer and artist and educator. And fourth generation, like San Franciscan on both sides.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>For Tanea, these photos were a revelation.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>So even though my family has a deep history here, and even though we knew we were here, there hadn’t been like photo proof that I’d seen a lot.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>As part of her residency at the library she began digging into the archives kept here and stumbled across an oral history recorded in 1978… of a man named Aurelius Alberga. A black man and a survivor of the 1906 earthquake.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>And there certainly hadn’t been stories in our own voices about the experience of being here in 1906 and prior to that.\u003c/p>\n\u003cp>\u003ci>Music \u003c/i>\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>I felt a kinship pretty quickly. Because something about. Alberga’s tone reminded me of my grandfather’s voice and something about the quality of the audio is…Very appropriate for the time that it was recorded. And so you can, like hear the hum of the machine. You can hear like background noises, like I was I was automatically seated in someone’s house, like listening to them tell their stories. And it was that kinship, that closeness, that sense of intimacy that I was looking for.\u003c/p>\n\u003cp>\u003cb>Aurelius Alberga: \u003c/b>October 22, 1884.\u003c/p>\n\u003cp>\u003cb>Dr. Albert Broussard: \u003c/b>Where were you born?\u003c/p>\n\u003cp>\u003cb>Aurelius Alberga: \u003c/b>San Francisco\u003c/p>\n\u003cp>\u003cb>Dr. Albert Broussard: \u003c/b>What about you parents. Where were they born?\u003c/p>\n\u003cp>\u003cb>Aurelius Alberga: \u003c/b>My father was born in Kingston, Jamaica. May mother was born in San Francisco.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>He was very chill, for lack of a better word, about surviving that earthquake.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz:\u003c/b> Historian Dr. Albert Broussard recorded this oral history when Alberga was in his 90s. On the day of the Great Earthquake, Alberga was in his early 20s, sleeping in a room he rented at the corner of Commercial and Kearny Streets.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>Aurelius Alberga is asleep in his apartment, which most likely was an SRO, single room occupancy. And he lived there, and his father lived in the apartment above him.\u003c/p>\n\u003cp>\u003cb>Aurelius Alberga:\u003c/b> My father was living there too. He had a room right upstairs directly over me. The Quake loosened and one side of the building collapsed. The doors in those days used to open out, and the door to my room was jammed shut — I couldn’t open it, you see.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx:\u003c/b> He, like, yells for his father to know where he is, and his father comes down and helps him get out.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz:\u003c/b> After escaping his small room, Alberga and his father go their separate ways. Alberga is worried about the man he works for who is blind.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx:\u003c/b> Alberga’s job at that time is being a chauffeur for a man he calls old Metzger, who’s a man that he works for, who’s, like, wealthy, who’s a blind man. And, he develops this relationship with kind of like, caring for him in different ways.\u003c/p>\n\u003cp>\u003cb>Aurelius Alberga:\u003c/b> He lived on O’Farrell Street between Stockton and Powell. The whole front side of the hotel had fallen out into the streets and left exposed the rooms on that end. He was right there.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx:\u003c/b> And so Alberga is like, oh my gosh, I hope he’s okay. And he gets up to Metzger’s apartment. And this man is sleeping.\u003c/p>\n\u003cp>\u003cb>Aurelius Alberga:\u003c/b> He slept through it all, which was a blessing.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz:\u003c/b> After heroically saving Metzger’s life, he takes the old man to his mother’s house. Old Metzger is worried about savings he’s got stored in a safe downtown so he sends Alberga to retrieve the money. That errand takes Alberga all over the town and he watches as the city is destroyed. He recalls how the water mains were broken and firefighters struggled to contain the blaze.\u003c/p>\n\u003cp>\u003cb>Aurelius Alberga:\u003c/b> They had no water, and no hoses long enough to draw water from the Bay. There’s nothing that could stop it. It just went ahead.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx:\u003c/b> It blew my mind that he could recall with precision the exact intersections of where things happened in San Francisco, particularly as a man of, like, more than 90 years old. Because I’m also aware of, like, yes, this was a trauma that he survived. And he was able to recall with such clarity where these things happened.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Alberga had lost everything in the earthquake and fire, his home, all his possessions. He bounced around the city, staying with friends.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx:\u003c/b> One of the things he did say was that folks across like, race and ethnicity were really welcoming to each other as far as, like, inviting folks to literally stay in their homes.\u003c/p>\n\u003cp>\u003cb>Aurelius Alberga:\u003c/b> I don’t think there were any people as friendly as the ole San Franciscans.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz:\u003c/b> No one as friendly as ‘ole San Franciscans. People were dragging their trunks down the road, nowhere to sleep…\u003c/p>\n\u003cp>\u003cb>Aurelius Alberga:\u003c/b> People were dragging their trunks along the street and someone would come along and help them. They’d take someone in their house they had never seen before in your life.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Folks opened up their homes to people they’d never seen before in their lives.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>So that mutual aid and that care was something that Alberga named as something that was distinctly San Franciscan at the time, that it was a very friendly place at that time, particularly after this moment of crisis. And so that really stood out to me, too.\u003c/p>\n\u003cp>\u003ci>Music transition\u003c/i>\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Elizabeth Fisher Gordon was just a little girl of nine-years-old when the earthquake struck. Her family lived in a flat in downtown San Francisco. But by 1906 many Black San Franciscans had relocated to the East Bay in search of more space and less expensive housing. Her grandmother lived in Oakland and Elizabeth had gone to stay with her for the Easter holidays, just before the quake.\u003c/p>\n\u003cp>\u003cb>Elizabeth Fisher Gordon: \u003c/b>And my mother came over later in the week and brought the rest of the children. My father came over on the last boat before the earthquake hit, to my grandmother’s. I was so sure it was my fault because I didn’t kneel that night before I said prayers. I got into bed and then said my prayers because it was so cold. But I didn’t tell anyone that it was my fault the earthquake came.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Elizabeth remembers all the chimneys in Oakland falling down during the earthquake. As morning dawned, chaos reigned and authorities would not let Elizabeth’s father return to San Francisco on the ferry. He had to get special permission to go check on their house.\u003c/p>\n\u003cp>\u003cb>Elizabeth Fisher Gordon: \u003c/b>And when he went over, he found out there was a whole lot of damage. But he was able to get a suitcase and put some things in it, never dreaming the fire would reach there, you know. And some of the things he brought were so insignificant my mother thought. I’ll never forget her repeating, “he brought that book.” (chuckles).\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Her father returned to Oakland where his family was — and their home on Jones street was consumed by the fire. Elizabeth says the family was lucky to be able to stay with her grandparents in Oakland until her father purchased a plot of land in the Mission to build them a new house. She says many Black San Franciscans tapped into networks of friends and family in Oakland.\u003c/p>\n\u003cp>\u003cb>Elizabeth Fisher Gordon: \u003c/b>The people from San Francisco came over here when their houses burned down and they took care of them over here. Red Cross, and they set up temporary housing and what have you for the people.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>Tent cities sprang up in parks around San Francisco…housing 200-thousand people who had become homeless overnight. People set up outdoor kitchens and cooked together. Tanea lunsford lynx documented Black San Franciscans among these scenes in her exhibit.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>The first photo that we see is a photo of two young black people, children who are sitting in the grass and you see tents and you see a clothing line up behind them, and you see a little stove for cooking as well. And this is a campsite that was set up in Golden Gate Park, because folks had lost everything.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>A PBS documentary called The Great 1906 San Francisco Earthquake paints a desolate picture of life in the aftermath.\u003c/p>\n\u003cp>\u003cb>The Great 1906 San Francisco Earthquake Narration: \u003c/b>Standing in bread lines, meat lines, soup lines, any kind of a line became the central activity of life. Everyone had to do it. Soldiers made sure nobody cheated.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>And anybody not standing in line, was put to work rebuilding the city.\u003c/p>\n\u003cp>\u003cb>The Great 1906 San Francisco Earthquake Narration: \u003c/b>It was said that in many places, the debris was not even allowed to cool, and bricks were pitched from lots when still as warm as muffins. Volunteers on the cleanup crews took up the refrain in the damnedest, finest ruins I’d rather be a brick than live anywhere else but San Francisco. The great cleanup had begun. Thousands of standing walls were torn down. An estimated 6.5 billion bricks were carted away or cleaned of mortar to be reused in new buildings.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>People who lived through these times remember it as a swift recovery. Alfred Butler was a Black teenager living in Oakland at the time of the earthquake. He took a mule and cart all the way down to San Jose and around the Bay in order to see what had happened to San Francisco for himself.\u003c/p>\n\u003cp>He recalls seeing a lot of rubble, and the biggest buildings knocked down. But over the following months the recovery progressed quickly.\u003c/p>\n\u003cp>\u003cb>Alfred Butler: \u003c/b>They built it up right away. In a year’s time, things were pretty well cleaned up. And then they started to build.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>At the turn of the 20th century, Black San Franciscans lived in neighborhoods scattered throughout San Francisco, but many single men were concentrated in hotels downtown…like Aurelius Alberga who we heard from earlier. Alfred Butler says after the earthquake, the Western Addition became the hub of Black life. That’s where his brother moved.\u003c/p>\n\u003cp>\u003cb>Alfred Butler: \u003c/b>After the earthquake, everybody moved on Fillmore Street. All the businesses on Fillmore Street started booming.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>San Franciscans came together after the quake and people from all walks of life helped one another in that moment of crises. But the oral histories of these Black Americans who survived it show that as the city rebuilt, it went back to the de facto racism that ruled it. Butler says good jobs were still reserved for white people, while Black people struggled to find menial ones.\u003c/p>\n\u003cp>\u003cb>Albert Butler: \u003c/b>It was hard to get a job. Negroes, we had a tough time getting a job. A menial job like washing windows or running errands or something like that. Running an elevator or something like that. It was hard to get a job.\u003c/p>\n\u003cp>\u003ci>Music transition\u003c/i>\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>For Tanea, the photos of San Franciscans living in tents, cooking outdoors, waiting in line for basic necessities are eerily similar to scenes on the streets of the city today.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx: \u003c/b>When looking at these photos, I began to see the past, speaking to the future and the future, speaking to the past.\u003c/p>\n\u003cp>\u003cb>Katrina Schwartz: \u003c/b>And as a Black person, tanea sees echoes of \u003ci>her San Francisco\u003c/i> in the oral histories she combed through. A small Black community fighting to stay in a changing city. The devastation of displacement and loss. But also the love of this place and the tenacity to survive. It’s all too familiar. Her poem “We Were Here” is an ode to the Black community in San Francisco, which stretches from the Gold Rush to now. Here’s an excerpt.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx:\u003c/b> We were here already, living fantastical lives, already saving the best for the present, already studying the contours of the city. The bay knew us. This ocean was salted with our knowing already. We knew the feeling of firm ground. Before the shaking. We knew stability. The ground knew the planting and rising of our feet like a dance. We were already sending for each other, extending a fishing hook south and pulling each other up with calloused hands. We were already spinning tales about this mass of fog. We were already making home here. \u003ci>(fades under)\u003c/i>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>That story was brought to us by Bay Curious editor and producer, Katrina Schwartz.\u003c/p>\n\u003cp>\u003cb>tanea lunsford lynx:\u003c/b> But of course, we were here, living in our signature ways. Of course, when the earth shifted, we went looking for who could be lost in the cracks. Of course it made for lore. Of course we were doing the fantastical feat like a dance. The earth cracked open and we kept time, an offering of our survival. We kept on living.\u003c/p>\n\u003cp>\u003ci>Music fades out\u003c/i>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b> tanea’s exhibit is no longer on display at the library, but you can see all the photos she used and \u003ca href=\"https://www.tanealunsfordlynx.com/wewerehere\">read her writing on the project’s website\u003c/a>. You can find a link in our show notes or on baycurious.org.\u003c/p>\n\u003cp>Special thanks to the San Francisco History Center, part of the San Francisco Public Library for letting us use the oral histories in their archive. And to the San Francisco African-American Historical and Cultural Society who co-sponsored the original oral history project.\u003c/p>\n\u003cp>There’s still time to vote in our April voting round. Here are your choices.\u003c/p>\n\u003cp>\u003cb>Voice 1:\u003c/b> I was recently at the Morcom Rose Garden in Oakland and saw three different official Oakland signs that read, “No glitter.” I would love to know what happened at the rose garden to warrant so many signs.\u003c/p>\n\u003cp>\u003cb>Voice 2:\u003c/b> Yesterday, I walked with a fellow science teacher on the Great Hwy. We commented on the blackish sand, made of iron filings. Where does the iron come from?\u003c/p>\n\u003cp>\u003cb>Voice 3:\u003c/b> Who are the de Youngs? I think they have some crazy stories!\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>Vote for which question you think we should tackle next at baycurious.org. While you’re there, sign up for our monthly newsletter, ask your own question, or get lost listening through the Bay Curious archive.\u003c/p>\n\u003cp>Bay Curious is made in San Francisco at member-supported KQED.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>Our show is made by:\u003cbr>\n\u003cb>Katrina Schwartz: \u003c/b>Katrina Schwartz\u003c/p>\n\u003cp>\u003cb>Christopher Beale: \u003c/b>Christopher Beale\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> Katherine Monahan\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>and me, Olivia Allen Price. Additional support from:\u003cbr>\n\u003cb>Jen Chien: \u003c/b>Jen Chien\u003c/p>\n\u003cp>\u003cb>Katie Springer: \u003c/b>Katie Springer\u003c/p>\n\u003cp>\u003cb>Cesar Saldana: \u003c/b>Cesar Saldana\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>I’m Olivia Allen-Price. We’ll be back next week.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11983182/stunning-archival-photos-of-the-1906-earthquake-and-fire","authors":["234"],"programs":["news_33523"],"series":["news_17986"],"categories":["news_8"],"tags":["news_993","news_5241","news_6627"],"featImg":"news_11983202","label":"news_33523"},"news_11789818":{"type":"posts","id":"news_11789818","meta":{"index":"posts_1591205157","site":"news","id":"11789818","score":null,"sort":[1576005202000]},"guestAuthors":[],"slug":"oakland-dancers-present-nutcracker-with-an-african-diaspora-twist","title":"Oakland Dancers Present 'The Nutcracker' With an African Diaspora Twist","publishDate":1576005202,"format":"audio","headTitle":"The California Report Magazine | KQED News","labelTerm":{"term":26731,"site":"news"},"content":"\u003cp>A new production of Tchaikovsky's \"The Nutcracker\" called \"\u003ca href=\"https://www.thepeoplesconservatory.org/events-1/kola-an-afro-diasporic-remix-of-the-nutcracker\">KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/a>\" is hitting the stage in Oakland this holiday season.\u003c/p>\n\u003cp>It’s a twist on the traditional ballet: There’s no nutcracker, there’s no mouse, and there’s no Clara either.\u003c/p>\n\u003cfigure id=\"attachment_11790392\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790392\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-800x450.jpg\" alt=\"Brazil Clement dances as Ogun during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brazil Clement dances as Ogun during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, 13-year-old dancer Amelinda Origunwa performs the lead role of Nzingha, who travels the African diaspora, learning different kinds of dance as the show unfolds.\u003c/p>\n\u003cp>“There’s Afro-Haitian, Afro-Cuban, all the different Orisha dances. There’s ballet, modern, jazz, hip-hop, break-dancing. And flamenco,” said Origunwa.\u003c/p>\n\u003cfigure id=\"attachment_11790396\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790396\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-800x450.jpg\" alt=\"Samara Cole-Mercado dancing as Yemanja during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Samara Cole-Mercado dancing as Yemanja during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The California Report Magazine’s Sasha Khokha spoke with Rozz Nash, the founder and director of \u003ca href=\"https://www.thepeoplesconservatory.org/\">The People’s Conservatory\u003c/a>, the dance company putting on the show.\u003c/p>\n\u003cfigure id=\"attachment_11790387\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790387\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-800x534.jpg\" alt=\"RyanNicole Peters, co-writer, co-director and lead dramatist (left) sits with Rozz Nash, executive director of The People’s Conservatory, during a rehearsal at Malonga Casquelourd Center for the Arts in Oakland on Dec. 5, 2019.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RyanNicole Peters, co-writer, co-director and lead dramatist (left) sits with Rozz Nash, executive director of The People’s Conservatory, during a rehearsal at Malonga Casquelourd Center for the Arts in Oakland on Dec. 5, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Note: the quotes below have been edited for clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cb>On what makes this show different\u003cbr>\n\u003c/b>\u003cbr>\nNash: Ours really tours the globe, and focuses on not only the dances and music from different cultures, but also some of their gods, spirits and practices. We work Orishas into our work from the Ife tradition. We’re also focusing on a different, innovative narrative we created, which is not like \"The Nutcracker\" at all.\u003c/p>\n\u003cfigure id=\"attachment_11790389\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790389\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-800x534.jpg\" alt=\"Break dancers rehearse at Sullivan Community Space in Oakland on Dec. 8, 2019. \" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Break dancers rehearse at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>On the plot\u003c/b>\u003c/p>\n\u003cp>Nash: We still have a young girl who’s a protagonist. Nzingha is13, and she’s desperately looking for connection. She’s looking to find her roots and what it is about this world that is meant for her to explore. We take her on a journey along the trans-Aatlantic slave trade from West Africa to Brazil to Cuba to Haiti to Spain, and we end up back in the continental U.S. All this is done through diasporic dances, music, movement and culture. We have an incredible creative team (including local artists Kev Choice, Jennifer Johns, and RyanNicole) that helped make it possible, so we jump from one culture to another through the music and story.\u003c/p>\n\u003cfigure id=\"attachment_11790398\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790398\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-800x450.jpg\" alt=\"Dancers rehearse for a new production from The People's Conservatory called Kola: An Afro Diasporic Remix of The Nutcracker.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers rehearse for a new production from The People's Conservatory called 'Kola: An Afro Diasporic Remix of The Nutcracker.' \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>On The People’s Conservatory\u003c/b>\u003c/p>\n\u003cp>Nash: The People’s Conservatory started about a year and half ago, but I’ve been working with these youth for five years at a school called \u003ca href=\"http://rosesinconcrete.org/\">Roses in Concrete,\u003c/a> where I was the director of performing and visual arts. We basically created an integrated arts school. Now that we are in 10 schools, we’re able to provide services to many more people and young people, and some of our students have gone off to other places. It’s a way for us to still keep them in the fold, work with them and help them to develop their art.\u003c/p>\n\u003cfigure id=\"attachment_11790390\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790390\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-800x450.jpg\" alt=\"James Davis, who dances Exu, break-dances with a group of snow angels during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Davis, who dances Exu, break-dances with a group of snow angels during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>On the history of Oakland and the history of slavery\u003c/b>\u003c/p>\n\u003cp>Nash: We want to make sure that we’re meeting students where they are and creating content with them that has to do with the history of where they live, who they are, where they come from and their indigeneity. The show is about how slavery has affected how folks exist and navigate the world and how folks in Oakland are navigating the world because of what their lineage had to suffer. \"How did you get here? How did your family get here? What are some of the revolutionary background that comes from a lot of our students' household and families?\" We want to highlight that and not suppress that.\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"There's no mouse king and no Clara, but there's break-dancing, flamenco, and an Oakland remix of Tchaikovsky. ","status":"publish","parent":0,"modified":1576029593,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":720},"headData":{"title":"Oakland Dancers Present 'The Nutcracker' With an African Diaspora Twist | KQED","description":"There's no mouse king and no Clara, but there's break-dancing, flamenco, and an Oakland remix of Tchaikovsky. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Oakland Dancers Present 'The Nutcracker' With an African Diaspora Twist","datePublished":"2019-12-10T19:13:22.000Z","dateModified":"2019-12-11T01:59:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11789818 https://ww2.kqed.org/news/?p=11789818","disqusUrl":"https://ww2.kqed.org/news/2019/12/10/oakland-dancers-present-nutcracker-with-an-african-diaspora-twist/","disqusTitle":"Oakland Dancers Present 'The Nutcracker' With an African Diaspora Twist","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2019/12/NashKOLAKhokhaNutcracker.mp3","audioTrackLength":408,"path":"/news/11789818/oakland-dancers-present-nutcracker-with-an-african-diaspora-twist","audioDuration":427000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new production of Tchaikovsky's \"The Nutcracker\" called \"\u003ca href=\"https://www.thepeoplesconservatory.org/events-1/kola-an-afro-diasporic-remix-of-the-nutcracker\">KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/a>\" is hitting the stage in Oakland this holiday season.\u003c/p>\n\u003cp>It’s a twist on the traditional ballet: There’s no nutcracker, there’s no mouse, and there’s no Clara either.\u003c/p>\n\u003cfigure id=\"attachment_11790392\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790392\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-800x450.jpg\" alt=\"Brazil Clement dances as Ogun during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brazil Clement dances as Ogun during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, 13-year-old dancer Amelinda Origunwa performs the lead role of Nzingha, who travels the African diaspora, learning different kinds of dance as the show unfolds.\u003c/p>\n\u003cp>“There’s Afro-Haitian, Afro-Cuban, all the different Orisha dances. There’s ballet, modern, jazz, hip-hop, break-dancing. And flamenco,” said Origunwa.\u003c/p>\n\u003cfigure id=\"attachment_11790396\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790396\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-800x450.jpg\" alt=\"Samara Cole-Mercado dancing as Yemanja during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Samara Cole-Mercado dancing as Yemanja during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The California Report Magazine’s Sasha Khokha spoke with Rozz Nash, the founder and director of \u003ca href=\"https://www.thepeoplesconservatory.org/\">The People’s Conservatory\u003c/a>, the dance company putting on the show.\u003c/p>\n\u003cfigure id=\"attachment_11790387\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790387\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-800x534.jpg\" alt=\"RyanNicole Peters, co-writer, co-director and lead dramatist (left) sits with Rozz Nash, executive director of The People’s Conservatory, during a rehearsal at Malonga Casquelourd Center for the Arts in Oakland on Dec. 5, 2019.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RyanNicole Peters, co-writer, co-director and lead dramatist (left) sits with Rozz Nash, executive director of The People’s Conservatory, during a rehearsal at Malonga Casquelourd Center for the Arts in Oakland on Dec. 5, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Note: the quotes below have been edited for clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cb>On what makes this show different\u003cbr>\n\u003c/b>\u003cbr>\nNash: Ours really tours the globe, and focuses on not only the dances and music from different cultures, but also some of their gods, spirits and practices. We work Orishas into our work from the Ife tradition. We’re also focusing on a different, innovative narrative we created, which is not like \"The Nutcracker\" at all.\u003c/p>\n\u003cfigure id=\"attachment_11790389\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790389\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-800x534.jpg\" alt=\"Break dancers rehearse at Sullivan Community Space in Oakland on Dec. 8, 2019. \" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Break dancers rehearse at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>On the plot\u003c/b>\u003c/p>\n\u003cp>Nash: We still have a young girl who’s a protagonist. Nzingha is13, and she’s desperately looking for connection. She’s looking to find her roots and what it is about this world that is meant for her to explore. We take her on a journey along the trans-Aatlantic slave trade from West Africa to Brazil to Cuba to Haiti to Spain, and we end up back in the continental U.S. All this is done through diasporic dances, music, movement and culture. We have an incredible creative team (including local artists Kev Choice, Jennifer Johns, and RyanNicole) that helped make it possible, so we jump from one culture to another through the music and story.\u003c/p>\n\u003cfigure id=\"attachment_11790398\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790398\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-800x450.jpg\" alt=\"Dancers rehearse for a new production from The People's Conservatory called Kola: An Afro Diasporic Remix of The Nutcracker.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers rehearse for a new production from The People's Conservatory called 'Kola: An Afro Diasporic Remix of The Nutcracker.' \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>On The People’s Conservatory\u003c/b>\u003c/p>\n\u003cp>Nash: The People’s Conservatory started about a year and half ago, but I’ve been working with these youth for five years at a school called \u003ca href=\"http://rosesinconcrete.org/\">Roses in Concrete,\u003c/a> where I was the director of performing and visual arts. We basically created an integrated arts school. Now that we are in 10 schools, we’re able to provide services to many more people and young people, and some of our students have gone off to other places. It’s a way for us to still keep them in the fold, work with them and help them to develop their art.\u003c/p>\n\u003cfigure id=\"attachment_11790390\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11790390\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-800x450.jpg\" alt=\"James Davis, who dances Exu, break-dances with a group of snow angels during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Davis, who dances Exu, break-dances with a group of snow angels during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>On the history of Oakland and the history of slavery\u003c/b>\u003c/p>\n\u003cp>Nash: We want to make sure that we’re meeting students where they are and creating content with them that has to do with the history of where they live, who they are, where they come from and their indigeneity. The show is about how slavery has affected how folks exist and navigate the world and how folks in Oakland are navigating the world because of what their lineage had to suffer. \"How did you get here? How did your family get here? What are some of the revolutionary background that comes from a lot of our students' household and families?\" We want to highlight that and not suppress that.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11789818/oakland-dancers-present-nutcracker-with-an-african-diaspora-twist","authors":["254"],"programs":["news_26731"],"categories":["news_223","news_8"],"tags":["news_5241","news_20622","news_18192","news_18"],"featImg":"news_11790394","label":"news_26731"},"news_11257343":{"type":"posts","id":"news_11257343","meta":{"index":"posts_1591205157","site":"news","id":"11257343","score":null,"sort":[1484006622000]},"guestAuthors":[],"slug":"the-hip-hop-dance-craze-born-in-fresno-popping","title":"The Hip-Hop Dance Craze Born in Fresno: Popping","publishDate":1484006622,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>Remember \u003ca href=\"http://soultrain.com/\">\"Soul Train\"\u003c/a>? The show billed itself as the \"hippest trip in America, 60 non-stop minutes across the tracks of your mind.\"\u003c/p>\n\u003cp>Flashback to 1979, when the Electric Boogaloos \u003ca href=\"https://www.youtube.com/watch?v=qkc8YduPnOM\" target=\"_blank\">made their first appearance\u003c/a> dancing to the Bar-Kays.\u003c/p>\n\u003cp>Host Don Cornelius introduces the dance crew, saying: \"These very creative young men have invented a dancing style that’s becoming very popular, and it's described as popping or boogaloo.\"\u003c/p>\n\u003cp>Sammy Solomon introduces himself as \"\u003ca href=\"https://tropicsofmeta.wordpress.com/2017/01/05/the-story-of-boogaloo-sam-as-told-by-izel-gaye/\">Boogaloo Sam\u003c/a>, specializing in boogaloo.\" His brother, Timothy Solomon, introduces himself as \"\u003ca href=\"https://www.youtube.com/watch?v=b341AFiucAY\">Popin' Pete\u003c/a>.\" To the audience’s delight, he demonstrates his moves, his body jerking robotically or popping.\u003c/p>\n\u003cp>The Solomon brothers hail from Fresno. Turns out, popping is a dance rooted not in the Bronx or Los Angeles, but in California’s Central Valley.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qkc8YduPnOM\u003c/p>\n\u003cp>\"The Electric Boogaloos were pioneers,\" says Fresno State historian Sean Slusser. \"They helped to popularize popping by getting on 'Soul Train' and working with artists like Michael Jackson.\" Popin' Pete worked with Jackson on \"Thriller.\"\u003c/p>\n\u003cp>As a historian, Slusser is intrigued by the genesis of popping. Bigger cities like Los Angeles, San Francisco, New York and Atlanta get a lot of credit for innovations in hip-hop. But what about smaller places like Fresno? Why aren't hip-hop artists' stories from these places told?\u003c/p>\n\u003cp>\"They’re using hip-hop the same way, right? It’s a vehicle of expression, it’s a way to kind of get through economic depression, get through all the kinds of problems we associate with cities,\" says Slusser.\u003c/p>\n\u003cp>He and his colleague, Romeo Guzman, decided an oral history project was in order.\u003c/p>\n\u003cp>The project, \"\u003ca href=\"https://tropicsofmeta.wordpress.com/2017/01/05/straight-outta-fresno-hip-hop-dance-from-popping-to-b-boying-and-b-girling/\" target=\"_blank\">Straight Outta Fresno: Hip Hop Dance from Popping to B-Boying and B-Girling\u003c/a>,\" will be archived at Fresno State as part of the university’s \u003ca href=\"https://www.facebook.com/FresnoStatePublicHistory/\">Valley Public History Initiative: Preserving Our Stories\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11257432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11257432 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/20161119_134907-800x450.jpg\" alt=\"20161119_134907\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/20161119_134907-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/20161119_134907-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/20161119_134907-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/20161119_134907-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/20161119_134907-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/20161119_134907-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/20161119_134907-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/20161119_134907-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/20161119_134907-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">B-boy Goku (Charles Montgomery) dances for an audience at the Fresno State 'What's Popping' event in November.\u003c/figcaption>\u003c/figure>\n\u003cp>The historians and their students are hoping to build Fresno’s hip-hop narrative by interviewing anyone who identifies with the culture: graffiti artists, MCs, DJs and hip-hop dancers, including B-boys, B-girls, lockers and poppers.\u003c/p>\n\u003cp>\"Hip-hop in general and dancers are protective of their history,\" Slusser says. \"They're amazing in the sense that they're really into documenting 'this is where this move came from, this is the person who originated it, here’s how it evolved, here’s how it changed over time,' in this old-school oral history way. There’s this passing down of knowledge over dance moves, arguing over minute details.\"\u003c/p>\n\u003cp>[contextly_sidebar id=\"uyWrP2D0P8EWpVxIZOfxXnpcttsQ8O2I\"]\u003c/p>\n\u003cp>And that includes popping. Its exact origins are still up for debate, Slusser says.\u003c/p>\n\u003cp>\"One story that's kind of emerged around Boogaloo Sam was that he was in church, in a Baptist church in Fresno,\" says Slusser. Apparently, the dancer witnessed women catching the Holy Spirit and later mimicked those movements and spasms in his routine.\u003c/p>\n\u003cp>But there’s a competing origin story. It revolves around a kid named Tick’n Will, who danced with the Solomon brothers in Fresno and was a member of the original Boogaloo Lockers. Tick’n Will lived in Fresno's Tulare housing project and created moves like the \"old man,\" imitating a man limping down the street.\u003c/p>\n\u003cp>\"Whether it’s the church or referencing people you see day to day, that’s the beauty of hip-hop,\" says Slusser. \"It's being able to take something that wasn’t meant to be a dance or wasn’t meant to be visual art and creating something new out of it. It makes perfect sense for populations that don’t have access to other resources like art and music classes.\"\u003c/p>\n\u003cfigure id=\"attachment_11262097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11262097 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/DebFresno-800x947.jpg\" alt=\"Dancer Deborah McCoy gave her oral history as part of Fresno State’s “What’s Popping” event in November.\" width=\"800\" height=\"947\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/DebFresno-800x947.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/DebFresno-160x189.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/DebFresno-1020x1208.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/DebFresno.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/DebFresno-1180x1397.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/DebFresno-960x1137.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/DebFresno-240x284.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/DebFresno-375x444.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/DebFresno-520x616.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancer Deborah McCoy gave her oral history as part of Fresno State’s 'What’s Popping' event in November. \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of these origin stories will be part of the oral history archive. But it will also include stories from people like Deborah McCoy, who was one of the first to be interviewed for the ongoing project.\u003c/p>\n\u003cp>McCoy was dancing in West Fresno in the '70s just like Popin' Pete and Boogaloo Sam.\u003c/p>\n\u003cp>\"All of those guys, we would see them in the community,\" she says in her oral history. \"But we minded our own business. There were a lot of street dancers. We knew them all.\"\u003c/p>\n\u003cp>McCoy and her brother, Ken, were a dancing team. They traveled the state competing and winning contests everywhere they went.\u003c/p>\n\u003cp>\"I remember we danced in an Armenian church,\" McCoy says. \"They called us. At a church! Wow. We were like, OK. Back in the day, dance and church did not mix! I don’t care who you were, did not mix! You were going straight to hell!\"\u003c/p>\n\u003cp>McCoy says her family didn’t have much money but they still managed to wear fabulous costumes. Her stepmom was a seamstress.\u003c/p>\n\u003cp>\"We would go to thrift stores and buy material, so she would sew all of our clothes,\" she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b341AFiucAY\u003c/p>\n\u003cp>As he records her oral history, Slusser asks her where she learned her dance styles.\u003c/p>\n\u003cp>\"From the street, what you mean, what you mean where were we learning?\" she says. \"On the street. There was no. ... Are you kidding? I have to say it like this. 'You're black and you’re gonna go take dance lessons?' Come on, dude. It's on the street. It's right there. They were called battles. There's no fighting and all that. You wanna fight? OK, we're dancing.\"\u003c/p>\n\u003cp>Over the years, hip-hop in Fresno evolved. In the '90s, dance battles involved kids whose parents were refugees from Laos after the Vietnam War.\u003c/p>\n\u003cp>\"Everybody talks about Fresno when it comes to B-boy and the Hmong community,\" says James Vang. He grew up in a rough area in the '90s and stayed away from gangs by breakin.' He says Hmong B-boys made a name for themselves in Fresno and then spread out to other states.\u003c/p>\n\u003cp>\"So they brought that B-boy history over there to start dancing. So now you’ve got B-boys in Sacramento, Minnesota, North Carolina and Wisconsin.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CP_oKLbaHRc\u003c/p>\n\u003cp>That history and how it influenced future generations is just one of the chapters Fresno State hopes to document next for its oral history archive.\u003c/p>\n\u003cp>As for Popin' Pete and Boogaloo Sam, they're still dancing. They travel the world, teaching their dance moves.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://twitter.com/popinpete1/status/800601832871428096\u003c/p>\n\n","blocks":[],"excerpt":"A new oral history project documents the roots of a hip-hop dance style that started in a California city you might not expect: Fresno.\r\n","status":"publish","parent":0,"modified":1484012544,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":1134},"headData":{"title":"The Hip-Hop Dance Craze Born in Fresno: Popping | KQED","description":"A new oral history project documents the roots of a hip-hop dance style that started in a California city you might not expect: Fresno.\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"The Hip-Hop Dance Craze Born in Fresno: Popping","datePublished":"2017-01-10T00:03:42.000Z","dateModified":"2017-01-10T01:42:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11257343 http://ww2.kqed.org/news/?p=11257343","disqusUrl":"https://ww2.kqed.org/news/2017/01/09/the-hip-hop-dance-craze-born-in-fresno-popping/","disqusTitle":"The Hip-Hop Dance Craze Born in Fresno: Popping","audioUrl":"http://www.kqed.org/.stream/anon/radio/tcrmag/2017/01/2017-01-06c-tcrmag.mp3","guestFields":"0","path":"/news/11257343/the-hip-hop-dance-craze-born-in-fresno-popping","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember \u003ca href=\"http://soultrain.com/\">\"Soul Train\"\u003c/a>? The show billed itself as the \"hippest trip in America, 60 non-stop minutes across the tracks of your mind.\"\u003c/p>\n\u003cp>Flashback to 1979, when the Electric Boogaloos \u003ca href=\"https://www.youtube.com/watch?v=qkc8YduPnOM\" target=\"_blank\">made their first appearance\u003c/a> dancing to the Bar-Kays.\u003c/p>\n\u003cp>Host Don Cornelius introduces the dance crew, saying: \"These very creative young men have invented a dancing style that’s becoming very popular, and it's described as popping or boogaloo.\"\u003c/p>\n\u003cp>Sammy Solomon introduces himself as \"\u003ca href=\"https://tropicsofmeta.wordpress.com/2017/01/05/the-story-of-boogaloo-sam-as-told-by-izel-gaye/\">Boogaloo Sam\u003c/a>, specializing in boogaloo.\" His brother, Timothy Solomon, introduces himself as \"\u003ca href=\"https://www.youtube.com/watch?v=b341AFiucAY\">Popin' Pete\u003c/a>.\" To the audience’s delight, he demonstrates his moves, his body jerking robotically or popping.\u003c/p>\n\u003cp>The Solomon brothers hail from Fresno. Turns out, popping is a dance rooted not in the Bronx or Los Angeles, but in California’s Central Valley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qkc8YduPnOM'\n title='//www.youtube.com/embed/qkc8YduPnOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"The Electric Boogaloos were pioneers,\" says Fresno State historian Sean Slusser. \"They helped to popularize popping by getting on 'Soul Train' and working with artists like Michael Jackson.\" Popin' Pete worked with Jackson on \"Thriller.\"\u003c/p>\n\u003cp>As a historian, Slusser is intrigued by the genesis of popping. Bigger cities like Los Angeles, San Francisco, New York and Atlanta get a lot of credit for innovations in hip-hop. But what about smaller places like Fresno? Why aren't hip-hop artists' stories from these places told?\u003c/p>\n\u003cp>\"They’re using hip-hop the same way, right? It’s a vehicle of expression, it’s a way to kind of get through economic depression, get through all the kinds of problems we associate with cities,\" says Slusser.\u003c/p>\n\u003cp>He and his colleague, Romeo Guzman, decided an oral history project was in order.\u003c/p>\n\u003cp>The project, \"\u003ca href=\"https://tropicsofmeta.wordpress.com/2017/01/05/straight-outta-fresno-hip-hop-dance-from-popping-to-b-boying-and-b-girling/\" target=\"_blank\">Straight Outta Fresno: Hip Hop Dance from Popping to B-Boying and B-Girling\u003c/a>,\" will be archived at Fresno State as part of the university’s \u003ca href=\"https://www.facebook.com/FresnoStatePublicHistory/\">Valley Public History Initiative: Preserving Our Stories\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11257432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11257432 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/20161119_134907-800x450.jpg\" alt=\"20161119_134907\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/20161119_134907-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/20161119_134907-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/20161119_134907-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/20161119_134907-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/20161119_134907-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/20161119_134907-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/20161119_134907-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/20161119_134907-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/20161119_134907-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">B-boy Goku (Charles Montgomery) dances for an audience at the Fresno State 'What's Popping' event in November.\u003c/figcaption>\u003c/figure>\n\u003cp>The historians and their students are hoping to build Fresno’s hip-hop narrative by interviewing anyone who identifies with the culture: graffiti artists, MCs, DJs and hip-hop dancers, including B-boys, B-girls, lockers and poppers.\u003c/p>\n\u003cp>\"Hip-hop in general and dancers are protective of their history,\" Slusser says. \"They're amazing in the sense that they're really into documenting 'this is where this move came from, this is the person who originated it, here’s how it evolved, here’s how it changed over time,' in this old-school oral history way. There’s this passing down of knowledge over dance moves, arguing over minute details.\"\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And that includes popping. Its exact origins are still up for debate, Slusser says.\u003c/p>\n\u003cp>\"One story that's kind of emerged around Boogaloo Sam was that he was in church, in a Baptist church in Fresno,\" says Slusser. Apparently, the dancer witnessed women catching the Holy Spirit and later mimicked those movements and spasms in his routine.\u003c/p>\n\u003cp>But there’s a competing origin story. It revolves around a kid named Tick’n Will, who danced with the Solomon brothers in Fresno and was a member of the original Boogaloo Lockers. Tick’n Will lived in Fresno's Tulare housing project and created moves like the \"old man,\" imitating a man limping down the street.\u003c/p>\n\u003cp>\"Whether it’s the church or referencing people you see day to day, that’s the beauty of hip-hop,\" says Slusser. \"It's being able to take something that wasn’t meant to be a dance or wasn’t meant to be visual art and creating something new out of it. It makes perfect sense for populations that don’t have access to other resources like art and music classes.\"\u003c/p>\n\u003cfigure id=\"attachment_11262097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11262097 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/DebFresno-800x947.jpg\" alt=\"Dancer Deborah McCoy gave her oral history as part of Fresno State’s “What’s Popping” event in November.\" width=\"800\" height=\"947\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/DebFresno-800x947.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/DebFresno-160x189.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/DebFresno-1020x1208.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/DebFresno.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/DebFresno-1180x1397.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/DebFresno-960x1137.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/DebFresno-240x284.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/DebFresno-375x444.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/DebFresno-520x616.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancer Deborah McCoy gave her oral history as part of Fresno State’s 'What’s Popping' event in November. \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of these origin stories will be part of the oral history archive. But it will also include stories from people like Deborah McCoy, who was one of the first to be interviewed for the ongoing project.\u003c/p>\n\u003cp>McCoy was dancing in West Fresno in the '70s just like Popin' Pete and Boogaloo Sam.\u003c/p>\n\u003cp>\"All of those guys, we would see them in the community,\" she says in her oral history. \"But we minded our own business. There were a lot of street dancers. We knew them all.\"\u003c/p>\n\u003cp>McCoy and her brother, Ken, were a dancing team. They traveled the state competing and winning contests everywhere they went.\u003c/p>\n\u003cp>\"I remember we danced in an Armenian church,\" McCoy says. \"They called us. At a church! Wow. We were like, OK. Back in the day, dance and church did not mix! I don’t care who you were, did not mix! You were going straight to hell!\"\u003c/p>\n\u003cp>McCoy says her family didn’t have much money but they still managed to wear fabulous costumes. Her stepmom was a seamstress.\u003c/p>\n\u003cp>\"We would go to thrift stores and buy material, so she would sew all of our clothes,\" she says.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/b341AFiucAY'\n title='//www.youtube.com/embed/b341AFiucAY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As he records her oral history, Slusser asks her where she learned her dance styles.\u003c/p>\n\u003cp>\"From the street, what you mean, what you mean where were we learning?\" she says. \"On the street. There was no. ... Are you kidding? I have to say it like this. 'You're black and you’re gonna go take dance lessons?' Come on, dude. It's on the street. It's right there. They were called battles. There's no fighting and all that. You wanna fight? OK, we're dancing.\"\u003c/p>\n\u003cp>Over the years, hip-hop in Fresno evolved. In the '90s, dance battles involved kids whose parents were refugees from Laos after the Vietnam War.\u003c/p>\n\u003cp>\"Everybody talks about Fresno when it comes to B-boy and the Hmong community,\" says James Vang. He grew up in a rough area in the '90s and stayed away from gangs by breakin.' He says Hmong B-boys made a name for themselves in Fresno and then spread out to other states.\u003c/p>\n\u003cp>\"So they brought that B-boy history over there to start dancing. So now you’ve got B-boys in Sacramento, Minnesota, North Carolina and Wisconsin.\"\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CP_oKLbaHRc'\n title='//www.youtube.com/embed/CP_oKLbaHRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That history and how it influenced future generations is just one of the chapters Fresno State hopes to document next for its oral history archive.\u003c/p>\n\u003cp>As for Popin' Pete and Boogaloo Sam, they're still dancing. They travel the world, teaching their dance moves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"800601832871428096"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11257343/the-hip-hop-dance-craze-born-in-fresno-popping","authors":["208"],"programs":["news_72"],"categories":["news_223"],"tags":["news_5241","news_37","news_20365","news_18477","news_17286"],"featImg":"news_11262087","label":"news_72"},"news_11094648":{"type":"posts","id":"news_11094648","meta":{"index":"posts_1591205157","site":"news","id":"11094648","score":null,"sort":[1474362049000]},"guestAuthors":[],"slug":"lost-champions-the-california-athletes-who-broke-pro-footballs-color-line","title":"Lost Champions: The California Athletes Who Broke Pro Football's Color Line","publishDate":1474362049,"format":"standard","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>Football season is here. You probably know the Rams are back in Los Angeles after spending 20 years in St. Louis. But did you know the Rams were the first modern NFL team to sign African-American players? Sportswriter \u003ca href=\"https://gretchenatwood.com/\">Gretchen Atwood\u003c/a> traces this history in her new book, \u003ca href=\"http://www.bloomsbury.com/us/lost-champions-9781620406021/\">\"Lost Champions.\"\u003c/a> She talked with \u003cem>The California Report's\u003c/em> Sasha Khokha.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/283269633\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\u003cstrong>Many people know the role Jackie Robinson played in integrating major league baseball in 1947. But your book traces how Kenny Washington and Woody Strode broke pro football's color line a year earlier, in 1946. Tell me about these guys.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>GRETCHEN ATWOOD\u003c/strong>: They both grew up in Los Angeles, and got recruited to UCLA. Kenny grew up in Lincoln Heights, which was mostly an Italian or Irish immigrant neighborhood. His family may have been the only African-American family in the neighborhood. He had wanted to go to Notre Dame, but they didn't play black players. He and Woody got recruited to UCLA as sophomores in 1937, and pretty much put UCLA football on the map for the first time. Jackie Robinson came on and played with them on the 1939 UCLA Bruin team.\u003c/p>\n\u003cp>\u003cstrong>Why was Los Angeles the place where integration happened in pro football?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>ATWOOD\u003c/strong>: There was a very involved black press in L.A., with three major black newspapers. Those sportswriters pushed really hard for the team to integrate. No West Coast city had a major pro franchise until the Rams moved in 1946. They were trying to get a lease for the L.A. Coliseum. This was a moment when the black sportswriters knew they could pressure the L.A. Coliseum commission to potentially withhold a lease until the team tried out black players.\u003c/p>\n\u003cp>\u003cstrong>Your book traces how racial covenants were playing out in L.A. at the time. There were these racially restrictive housing covenants.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ATWOOD\u003c/strong>: At one time, it was estimated that 80 percent of the housing in Los Angeles was covered by racially restrictive housing covenants. That meant black residents, and Asian, Latino, Catholic or Jewish residents wouldn't be allowed to rent or buy in certain areas. That was playing out at the same time football was integrating. Some of Kenny and Woody's peers in the sports world, including two boxers, were told they had to leave their properties. Nat King Cole is another example of someone who was evicted because of these covenants. On the national scene, this was all playing out during a backlash after World War Two, when there was a rise in attacks and lynchings, including against black service members. A lot of these attacks happened in 1946, which was the same time Kenny and Woody were preparing to step out on the field for the L.A. Rams.\u003c/p>\n\u003cp>\u003cstrong>In researching your book, you talked to family members, like Karin Washington Cohen, Kenny Washington's daughter. We called her up, too, and she told us some of her dad's experiences on the field. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\"He was the target out there,\" Cohen said. \"They stepped on his hands. They ground the chalk on the field into his eyes. I think he just took that as part of the job. Not just the football playing job, but the job of being the first black guy out there. He was a very good target.\"\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ATWOOD\u003c/strong>: Kenny and Woody faced hostility from just about everyone. Some fans were supportive, some were very hostile. Opposing coaches were hostile. So were opposing players. There's a scene in the book where Kenny's out of the play, and on the ground, and one of the opponents runs by him and takes a swing with his foot to kick him in the head.\u003c/p>\n\u003cp>\u003cstrong>What do you think Kenny Washington and Woody Strode would make of\u003c/strong> \u003cstrong>Colin Kaepernick's protests on the field today?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ATWOOD\u003c/strong>: They didn't have the luxury of protesting, in a sense, because they had to \"go along to get along,\" just to stay on the team. If they did anything like Colin did, the teams would have cut them. I think they would be supportive of the general belief, but they probably wouldn't be able to connect that well with the idea that here is a guy who can actually take that stand.\u003c/p>\n\u003cp>\u003cstrong>Why have we heard so much about Jackie Robinson, yet Kenny and Woody's stories have been largely ignored?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ATWOOD\u003c/strong>: First of all, football wasn't as popular as baseball at the time. But also, Kenny and Woody's stories can't be told as tales of unabashed triumph over racism. Jackie did end up winning the World Series, did get an MVP, had a long career. Kenny and Woody were both near the ends of their career when they were signed by the Rams, because when they were at their peak, the NFL wasn't yet signing black players. They didn't have the same level of success. So what their stories do is to challenge the idea that racism was overcome when it was faced, and also the idea that if you hard enough, you can succeed, the American Dream. They tried just as hard as Jackie. In many ways, they were just as talented as Jackie.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"You probably know the Rams are back in L.A. after 20 years in St. Louis. But did you know they were the first modern NFL team to to sign African-American players?","status":"publish","parent":0,"modified":1474392563,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":930},"headData":{"title":"Lost Champions: The California Athletes Who Broke Pro Football's Color Line | KQED","description":"You probably know the Rams are back in L.A. after 20 years in St. Louis. But did you know they were the first modern NFL team to to sign African-American players?","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Lost Champions: The California Athletes Who Broke Pro Football's Color Line","datePublished":"2016-09-20T09:00:49.000Z","dateModified":"2016-09-20T17:29:23.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11094648 http://ww2.kqed.org/news/?p=11094648","disqusUrl":"https://ww2.kqed.org/news/2016/09/20/lost-champions-the-california-athletes-who-broke-pro-footballs-color-line/","disqusTitle":"Lost Champions: The California Athletes Who Broke Pro Football's Color Line","nprStoryId":"494686021","path":"/news/11094648/lost-champions-the-california-athletes-who-broke-pro-footballs-color-line","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Football season is here. You probably know the Rams are back in Los Angeles after spending 20 years in St. Louis. But did you know the Rams were the first modern NFL team to sign African-American players? Sportswriter \u003ca href=\"https://gretchenatwood.com/\">Gretchen Atwood\u003c/a> traces this history in her new book, \u003ca href=\"http://www.bloomsbury.com/us/lost-champions-9781620406021/\">\"Lost Champions.\"\u003c/a> She talked with \u003cem>The California Report's\u003c/em> Sasha Khokha.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/283269633&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/283269633'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Many people know the role Jackie Robinson played in integrating major league baseball in 1947. But your book traces how Kenny Washington and Woody Strode broke pro football's color line a year earlier, in 1946. Tell me about these guys.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>GRETCHEN ATWOOD\u003c/strong>: They both grew up in Los Angeles, and got recruited to UCLA. Kenny grew up in Lincoln Heights, which was mostly an Italian or Irish immigrant neighborhood. His family may have been the only African-American family in the neighborhood. He had wanted to go to Notre Dame, but they didn't play black players. He and Woody got recruited to UCLA as sophomores in 1937, and pretty much put UCLA football on the map for the first time. Jackie Robinson came on and played with them on the 1939 UCLA Bruin team.\u003c/p>\n\u003cp>\u003cstrong>Why was Los Angeles the place where integration happened in pro football?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>ATWOOD\u003c/strong>: There was a very involved black press in L.A., with three major black newspapers. Those sportswriters pushed really hard for the team to integrate. No West Coast city had a major pro franchise until the Rams moved in 1946. They were trying to get a lease for the L.A. Coliseum. This was a moment when the black sportswriters knew they could pressure the L.A. Coliseum commission to potentially withhold a lease until the team tried out black players.\u003c/p>\n\u003cp>\u003cstrong>Your book traces how racial covenants were playing out in L.A. at the time. There were these racially restrictive housing covenants.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ATWOOD\u003c/strong>: At one time, it was estimated that 80 percent of the housing in Los Angeles was covered by racially restrictive housing covenants. That meant black residents, and Asian, Latino, Catholic or Jewish residents wouldn't be allowed to rent or buy in certain areas. That was playing out at the same time football was integrating. Some of Kenny and Woody's peers in the sports world, including two boxers, were told they had to leave their properties. Nat King Cole is another example of someone who was evicted because of these covenants. On the national scene, this was all playing out during a backlash after World War Two, when there was a rise in attacks and lynchings, including against black service members. A lot of these attacks happened in 1946, which was the same time Kenny and Woody were preparing to step out on the field for the L.A. Rams.\u003c/p>\n\u003cp>\u003cstrong>In researching your book, you talked to family members, like Karin Washington Cohen, Kenny Washington's daughter. We called her up, too, and she told us some of her dad's experiences on the field. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\"He was the target out there,\" Cohen said. \"They stepped on his hands. They ground the chalk on the field into his eyes. I think he just took that as part of the job. Not just the football playing job, but the job of being the first black guy out there. He was a very good target.\"\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ATWOOD\u003c/strong>: Kenny and Woody faced hostility from just about everyone. Some fans were supportive, some were very hostile. Opposing coaches were hostile. So were opposing players. There's a scene in the book where Kenny's out of the play, and on the ground, and one of the opponents runs by him and takes a swing with his foot to kick him in the head.\u003c/p>\n\u003cp>\u003cstrong>What do you think Kenny Washington and Woody Strode would make of\u003c/strong> \u003cstrong>Colin Kaepernick's protests on the field today?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ATWOOD\u003c/strong>: They didn't have the luxury of protesting, in a sense, because they had to \"go along to get along,\" just to stay on the team. If they did anything like Colin did, the teams would have cut them. I think they would be supportive of the general belief, but they probably wouldn't be able to connect that well with the idea that here is a guy who can actually take that stand.\u003c/p>\n\u003cp>\u003cstrong>Why have we heard so much about Jackie Robinson, yet Kenny and Woody's stories have been largely ignored?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ATWOOD\u003c/strong>: First of all, football wasn't as popular as baseball at the time. But also, Kenny and Woody's stories can't be told as tales of unabashed triumph over racism. Jackie did end up winning the World Series, did get an MVP, had a long career. Kenny and Woody were both near the ends of their career when they were signed by the Rams, because when they were at their peak, the NFL wasn't yet signing black players. They didn't have the same level of success. So what their stories do is to challenge the idea that racism was overcome when it was faced, and also the idea that if you hard enough, you can succeed, the American Dream. They tried just as hard as Jackie. In many ways, they were just as talented as Jackie.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11094648/lost-champions-the-california-athletes-who-broke-pro-footballs-color-line","authors":["254"],"programs":["news_72"],"categories":["news_8","news_10"],"tags":["news_5241","news_2231","news_160","news_19216","news_18743","news_17286"],"featImg":"news_11094776","label":"news_72"},"news_10633179":{"type":"posts","id":"news_10633179","meta":{"index":"posts_1591205157","site":"news","id":"10633179","score":null,"sort":[1439125221000]},"guestAuthors":[],"slug":"the-l-a-rebellion-how-the-1965-watts-riots-helped-spark-a-cinematic-revolution","title":"The L.A. Rebellion: How the Watts Riots Helped Spark a Cinematic Revolution","publishDate":1439125221,"format":"standard","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>In Haile Gerima's 1975 student film \u003ca href=\"https://www.youtube.com/watch?v=Himxf4s_qgk\">\"Bush Mama,\"\u003c/a> the character T.C., played by actor Johnny Weathers, leans up against the bars of his jail cell and speaks directly to the camera.\u003c/p>\n\u003cp>“Now ya see this white boy,” says T.C. referring to a white guard.\u003c/p>\n\u003cp>“To guard niggers is within his blood,” says T.C., fingers wrapped tight around the cell bars.\u003c/p>\n\u003cp>“His roots is maybe ‘overseer,’ and we still the son of the slave. That’s what I inherited ... all of us!”\u003c/p>\n\u003cfigure id=\"attachment_10633182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg\">\u003cimg class=\"wp-image-10633182 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-400x296.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1440x1064.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1180x872.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-960x710.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Johnny Weathers in a scene from from Haile Gerima's film \"Bush Mama\" \u003ccite>(Haile Germia / Youtube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Bush Mama\" is one of the landmark films to come out of the first wave of black student filmmakers at UCLA, a tightly knit band of experimental, ideological and fiercely independent artists known as the \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/story-la-rebellion\">L.A. Rebellion\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’d turn the riot-torn streets of Watts and other south L.A. communities into the real-life soundstage for work that bucked the Hollywood system.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/218278055\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>In \"Bush Mama,\" a disillusioned Vietnam War veteran, T.C., is convicted of a crime he didn’t commit. And life at home is starting to unravel for his pregnant wife Dorothy.\u003c/p>\n\u003cp>Much of the film is told through their correspondence.\u003c/p>\n\u003cp>The film was largely improvisational. Scenes filmed on the streets of Watts were shot without permits.\u003c/p>\n\u003cp>“Everything was guerilla style, from getting the equipment out of UCLA to shooting without permits,” says UCLA Film & Television Archive Director Christopher Horak. “'Bush Mama' opens with the police arresting the crew.”\u003c/p>\n\u003cp>Gerima said he and other young black filmmakers at UCLA wanted to make movies depicting African-American life as it really was -- a deliberate counterattack to the outlandish jive-talking hyper-violence of '70s blaxploitation films like \"Super Fly\" and its countless imitators.\u003c/p>\n\u003cp>“We revolted so much. We didn’t want to see, respect any Euro-American cinema, even the good ones,” Gerima told an audience at New York’s New School of Media Studies during a retrospective of his work.\u003c/p>\n\u003cp>Gerima says the aim was to elevate, not denigrate African-American life and culture.\u003c/p>\n\u003cfigure id=\"attachment_10633180\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg\" alt=\"Charles Burnett's film "Killer of Sheep" is a landmark of the L.A. Rebellion shot in and around Watts in the early '70s.\" width=\"750\" height=\"500\" class=\"size-full wp-image-10633180\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg 750w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Charles Burnett's film \"Killer of Sheep\" is a landmark of the L.A. Rebellion shot in and around Watts in the early '70s. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the (UCLA) film school, we say if black people did jazz, what do they do in film? And so we were responding in a very critical way, saying these narrative devices that were racist for us,” Gerima says.\u003c/p>\n\u003cp>The integration of UCLA’s film school began in earnest during the Civil Rights and anti-war movements of the late 1960s, spurred on in the violent wake of the 1965 \u003ca href=\"https://www.youtube.com/watch?v=8zV9X-E6gc0\">Watts riots\u003c/a>, or “rebellion” as many people prefer to call the week of civil unrest.\u003c/p>\n\u003caside class=\"pullquote alignright\">'Everyone had to be some cool, slick jive mama...And I wanted to see something else.'\u003ccite>Filmmaker Julie Dash\u003c/cite>\u003c/aside>\n\u003cp>“And so it’s really the first generation of minority students at UCLA, and they were not necessarily welcomed,” Horak says.\u003c/p>\n\u003cp>He says what distinguished these filmmakers were a mix of radical politics and gritty street style.\u003c/p>\n\u003cp>“Students as well as professors at UCLA just were not used to seeing that type of content presented in that kind of way,” Horak says.\u003c/p>\n\u003cp>“We were not seen as normal,” laughs director \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/julie-dash\">Julie Dash\u003c/a>.\u003c/p>\n\u003cp>Dash, a New York native, arrived in California in the mid-1970s to pursue graduate studies at UCLA. She would go on to make a number of acclaimed films including 1991’s \"Daughters of the Dust.\" Dash says the filmmakers who made up L.A. Rebellion stood out for other reasons, too.\u003c/p>\n\u003cp>“Because we spent our lives on campus all the time, in sleeping bags, we just worked around the clock,” Dash says.\u003c/p>\n\u003cfigure id=\"attachment_10634116\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\">\u003cimg class=\"size-full wp-image-10634116\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\" width=\"750\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg 750w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Angeles stands in for Uganda in Julie Dash's 1977 short film \"The Diary of an African Nun,\" based on a short story by Alice Walker. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Either working on our personal films or someone else’s film, and we just found ourselves living pretty much on campus all the time,” Dash says.\u003c/p>\n\u003cp>And the way more senior student directors like Haile Gerima depicted black Los Angeles was a revelation to Dash.\u003c/p>\n\u003cp>“That was not the place that played in my mind when I thought of California, I thought of palm trees and everything you see on television, that narrative of life,” Dash says.\u003c/p>\n\u003cp>One of the most celebrated films to emerge from the L.A. Rebellion is Charles Burnett’s \u003ca href=\"https://www.youtube.com/watch?v=-nXw-8MXhVE\">\"Killer of Sheep.\"\u003c/a>\u003c/p>\n\u003cp>Burnett, influenced in part by post-War War II Italian neo-realist films that used war-torn cities as their backdrop, took a similar approach.\u003c/p>\n\u003cp>Shot in black and white, the story revolves around a slaughterhouse worker named Stan and his family. Their daily struggles unfold in the blue-collar homes, dusty vacant lots and the crooked alleyways of Watts.\u003c/p>\n\u003cp>Burnett, who went on to make a number of more commercial films like \"The Glass Shield\" and \"To Sleep with Anger,\" was unavailable for an interview.\u003c/p>\n\u003cp>But in the commentary from the long-awaited DVD release of \"Killer of Sheep,\" he talks about his time at UCLA.\u003c/p>\n\u003cp>“We were going to make a difference and introduce new narratives about the black experience and we were reacting against all the negative stereotypes that Hollywood continued to produce,” Burnett says. “You know, turn back to our own stories and try to tell them.”\u003c/p>\n\u003cfigure id=\"attachment_10634102\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg\">\u003cimg class=\"size-medium wp-image-10634102\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Charles Burnett's 1973 short film \"The Horse.\" \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from the occasional screening at a library or local theater, the films of L.A. Rebellion would go largely unseen off campus. A lot of the original prints would disappear into attics, garages and in one case, a backyard chicken coop in Compton.\u003c/p>\n\u003cp>“And we found it in the dirt at the very back of the shed after cleaning out for like a whole day,” laughs UCLA’s Christopher Horak.\u003c/p>\n\u003cp>In 2011, UCLA launched in initiative to track down and restore the film of the era.\u003c/p>\n\u003cp>That includes Julie Dash’s first student feature \"Illusions,\" shot on the UCLA campus.\u003c/p>\n\u003cp>It set the tone for the kind of films Dash would go on to make. Most famously, the critically acclaimed \"Daughters of the Dust\" -- the first feature film directed by an African-American woman to get a major theatrical release and a story Dash was developing while still at UCLA.\u003c/p>\n\u003cp>“I just wanted to explore the culture of African-American women that I was not really seeing,” Dash says.\u003c/p>\n\u003cp>“Everyone had to be some cool, slick jive mama,” Dash laughs. “And I wanted to see something else.”\u003c/p>\n\u003cfigure id=\"attachment_10634103\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg\">\u003cimg class=\"size-medium wp-image-10634103\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lonette McKee in Julie Dash's 1982 student film \"Illusions.\" \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited exposure, films and filmmakers from L.A. Rebellion left an indelible mark on future black filmmakers like \u003ca href=\"http://www.openculture.com/2014/11/spike-lees-list-of-95-essential-movies.html\">Spike Lee\u003c/a> and John Singleton, both of whom acknowledge the influence of films like \"Killer of Sheep\" and \"Daughters of the Dust.\"\u003c/p>\n\u003cp>“The best work holds up really well and there were amazing discoveries we made in this whole process,” says Horak.\u003c/p>\n\u003cp>Many of the films from the L.A. Rebellion era will be included in a 25-DVD box set that will be distributed to schools, libraries and other institutions later this year along with a book published by University of California Press chronicling the movement.\u003c/p>\n\u003cp>“They were very meaningful and they continue to be meaningful,” Dash says. “They document a time period and they document very specific voices we had not seen or heard before. That’s why they’re like treasures.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Treasures that continue to be unearthed, literally dusted off and placed alongside some of the finest films of the era.\u003c/p>\n\n","blocks":[],"excerpt":"The first wave of black student filmmakers at UCLA were fiercely independent artists.","status":"publish","parent":0,"modified":1439244587,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":45,"wordCount":1396},"headData":{"title":"The L.A. Rebellion: How the Watts Riots Helped Spark a Cinematic Revolution | KQED","description":"The first wave of black student filmmakers at UCLA were fiercely independent artists.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"The L.A. Rebellion: How the Watts Riots Helped Spark a Cinematic Revolution","datePublished":"2015-08-09T13:00:21.000Z","dateModified":"2015-08-10T22:09:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"10633179 http://ww2.kqed.org/news/?p=10633179","disqusUrl":"https://ww2.kqed.org/news/2015/08/09/the-l-a-rebellion-how-the-1965-watts-riots-helped-spark-a-cinematic-revolution/","disqusTitle":"The L.A. Rebellion: How the Watts Riots Helped Spark a Cinematic Revolution","path":"/news/10633179/the-l-a-rebellion-how-the-1965-watts-riots-helped-spark-a-cinematic-revolution","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Haile Gerima's 1975 student film \u003ca href=\"https://www.youtube.com/watch?v=Himxf4s_qgk\">\"Bush Mama,\"\u003c/a> the character T.C., played by actor Johnny Weathers, leans up against the bars of his jail cell and speaks directly to the camera.\u003c/p>\n\u003cp>“Now ya see this white boy,” says T.C. referring to a white guard.\u003c/p>\n\u003cp>“To guard niggers is within his blood,” says T.C., fingers wrapped tight around the cell bars.\u003c/p>\n\u003cp>“His roots is maybe ‘overseer,’ and we still the son of the slave. That’s what I inherited ... all of us!”\u003c/p>\n\u003cfigure id=\"attachment_10633182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg\">\u003cimg class=\"wp-image-10633182 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-400x296.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1440x1064.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1180x872.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-960x710.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Johnny Weathers in a scene from from Haile Gerima's film \"Bush Mama\" \u003ccite>(Haile Germia / Youtube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Bush Mama\" is one of the landmark films to come out of the first wave of black student filmmakers at UCLA, a tightly knit band of experimental, ideological and fiercely independent artists known as the \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/story-la-rebellion\">L.A. Rebellion\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They’d turn the riot-torn streets of Watts and other south L.A. communities into the real-life soundstage for work that bucked the Hollywood system.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/218278055&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/218278055'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In \"Bush Mama,\" a disillusioned Vietnam War veteran, T.C., is convicted of a crime he didn’t commit. And life at home is starting to unravel for his pregnant wife Dorothy.\u003c/p>\n\u003cp>Much of the film is told through their correspondence.\u003c/p>\n\u003cp>The film was largely improvisational. Scenes filmed on the streets of Watts were shot without permits.\u003c/p>\n\u003cp>“Everything was guerilla style, from getting the equipment out of UCLA to shooting without permits,” says UCLA Film & Television Archive Director Christopher Horak. “'Bush Mama' opens with the police arresting the crew.”\u003c/p>\n\u003cp>Gerima said he and other young black filmmakers at UCLA wanted to make movies depicting African-American life as it really was -- a deliberate counterattack to the outlandish jive-talking hyper-violence of '70s blaxploitation films like \"Super Fly\" and its countless imitators.\u003c/p>\n\u003cp>“We revolted so much. We didn’t want to see, respect any Euro-American cinema, even the good ones,” Gerima told an audience at New York’s New School of Media Studies during a retrospective of his work.\u003c/p>\n\u003cp>Gerima says the aim was to elevate, not denigrate African-American life and culture.\u003c/p>\n\u003cfigure id=\"attachment_10633180\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg\" alt=\"Charles Burnett's film "Killer of Sheep" is a landmark of the L.A. Rebellion shot in and around Watts in the early '70s.\" width=\"750\" height=\"500\" class=\"size-full wp-image-10633180\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg 750w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Charles Burnett's film \"Killer of Sheep\" is a landmark of the L.A. Rebellion shot in and around Watts in the early '70s. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the (UCLA) film school, we say if black people did jazz, what do they do in film? And so we were responding in a very critical way, saying these narrative devices that were racist for us,” Gerima says.\u003c/p>\n\u003cp>The integration of UCLA’s film school began in earnest during the Civil Rights and anti-war movements of the late 1960s, spurred on in the violent wake of the 1965 \u003ca href=\"https://www.youtube.com/watch?v=8zV9X-E6gc0\">Watts riots\u003c/a>, or “rebellion” as many people prefer to call the week of civil unrest.\u003c/p>\n\u003caside class=\"pullquote alignright\">'Everyone had to be some cool, slick jive mama...And I wanted to see something else.'\u003ccite>Filmmaker Julie Dash\u003c/cite>\u003c/aside>\n\u003cp>“And so it’s really the first generation of minority students at UCLA, and they were not necessarily welcomed,” Horak says.\u003c/p>\n\u003cp>He says what distinguished these filmmakers were a mix of radical politics and gritty street style.\u003c/p>\n\u003cp>“Students as well as professors at UCLA just were not used to seeing that type of content presented in that kind of way,” Horak says.\u003c/p>\n\u003cp>“We were not seen as normal,” laughs director \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/julie-dash\">Julie Dash\u003c/a>.\u003c/p>\n\u003cp>Dash, a New York native, arrived in California in the mid-1970s to pursue graduate studies at UCLA. She would go on to make a number of acclaimed films including 1991’s \"Daughters of the Dust.\" Dash says the filmmakers who made up L.A. Rebellion stood out for other reasons, too.\u003c/p>\n\u003cp>“Because we spent our lives on campus all the time, in sleeping bags, we just worked around the clock,” Dash says.\u003c/p>\n\u003cfigure id=\"attachment_10634116\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\">\u003cimg class=\"size-full wp-image-10634116\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\" width=\"750\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg 750w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Angeles stands in for Uganda in Julie Dash's 1977 short film \"The Diary of an African Nun,\" based on a short story by Alice Walker. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Either working on our personal films or someone else’s film, and we just found ourselves living pretty much on campus all the time,” Dash says.\u003c/p>\n\u003cp>And the way more senior student directors like Haile Gerima depicted black Los Angeles was a revelation to Dash.\u003c/p>\n\u003cp>“That was not the place that played in my mind when I thought of California, I thought of palm trees and everything you see on television, that narrative of life,” Dash says.\u003c/p>\n\u003cp>One of the most celebrated films to emerge from the L.A. Rebellion is Charles Burnett’s \u003ca href=\"https://www.youtube.com/watch?v=-nXw-8MXhVE\">\"Killer of Sheep.\"\u003c/a>\u003c/p>\n\u003cp>Burnett, influenced in part by post-War War II Italian neo-realist films that used war-torn cities as their backdrop, took a similar approach.\u003c/p>\n\u003cp>Shot in black and white, the story revolves around a slaughterhouse worker named Stan and his family. Their daily struggles unfold in the blue-collar homes, dusty vacant lots and the crooked alleyways of Watts.\u003c/p>\n\u003cp>Burnett, who went on to make a number of more commercial films like \"The Glass Shield\" and \"To Sleep with Anger,\" was unavailable for an interview.\u003c/p>\n\u003cp>But in the commentary from the long-awaited DVD release of \"Killer of Sheep,\" he talks about his time at UCLA.\u003c/p>\n\u003cp>“We were going to make a difference and introduce new narratives about the black experience and we were reacting against all the negative stereotypes that Hollywood continued to produce,” Burnett says. “You know, turn back to our own stories and try to tell them.”\u003c/p>\n\u003cfigure id=\"attachment_10634102\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg\">\u003cimg class=\"size-medium wp-image-10634102\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Charles Burnett's 1973 short film \"The Horse.\" \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from the occasional screening at a library or local theater, the films of L.A. Rebellion would go largely unseen off campus. A lot of the original prints would disappear into attics, garages and in one case, a backyard chicken coop in Compton.\u003c/p>\n\u003cp>“And we found it in the dirt at the very back of the shed after cleaning out for like a whole day,” laughs UCLA’s Christopher Horak.\u003c/p>\n\u003cp>In 2011, UCLA launched in initiative to track down and restore the film of the era.\u003c/p>\n\u003cp>That includes Julie Dash’s first student feature \"Illusions,\" shot on the UCLA campus.\u003c/p>\n\u003cp>It set the tone for the kind of films Dash would go on to make. Most famously, the critically acclaimed \"Daughters of the Dust\" -- the first feature film directed by an African-American woman to get a major theatrical release and a story Dash was developing while still at UCLA.\u003c/p>\n\u003cp>“I just wanted to explore the culture of African-American women that I was not really seeing,” Dash says.\u003c/p>\n\u003cp>“Everyone had to be some cool, slick jive mama,” Dash laughs. “And I wanted to see something else.”\u003c/p>\n\u003cfigure id=\"attachment_10634103\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg\">\u003cimg class=\"size-medium wp-image-10634103\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lonette McKee in Julie Dash's 1982 student film \"Illusions.\" \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited exposure, films and filmmakers from L.A. Rebellion left an indelible mark on future black filmmakers like \u003ca href=\"http://www.openculture.com/2014/11/spike-lees-list-of-95-essential-movies.html\">Spike Lee\u003c/a> and John Singleton, both of whom acknowledge the influence of films like \"Killer of Sheep\" and \"Daughters of the Dust.\"\u003c/p>\n\u003cp>“The best work holds up really well and there were amazing discoveries we made in this whole process,” says Horak.\u003c/p>\n\u003cp>Many of the films from the L.A. Rebellion era will be included in a 25-DVD box set that will be distributed to schools, libraries and other institutions later this year along with a book published by University of California Press chronicling the movement.\u003c/p>\n\u003cp>“They were very meaningful and they continue to be meaningful,” Dash says. “They document a time period and they document very specific voices we had not seen or heard before. That’s why they’re like treasures.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Treasures that continue to be unearthed, literally dusted off and placed alongside some of the finest films of the era.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/10633179/the-l-a-rebellion-how-the-1965-watts-riots-helped-spark-a-cinematic-revolution","authors":["2600"],"programs":["news_72"],"categories":["news_223","news_6188","news_8"],"tags":["news_5241","news_17719","news_160","news_4","news_17286","news_17041","news_18439"],"featImg":"news_10634100","label":"news_72"},"news_142082":{"type":"posts","id":"news_142082","meta":{"index":"posts_1591205157","site":"news","id":"142082","score":null,"sort":[1405782059000]},"guestAuthors":[],"slug":"how-a-deadly-explosion-70-years-ago-led-to-integrating-the-navy","title":"How a Deadly Explosion 70 Years Ago Led to Integrating the Navy","publishDate":1405782059,"format":"aside","headTitle":"News Fix | KQED News","labelTerm":{"term":6944,"site":"news"},"content":"\u003cfigure id=\"attachment_142097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Port-Chicago.jpg\">\u003cimg class=\"size-full wp-image-142097\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Port-Chicago.jpg\" alt=\"The Port Chicago explosion on July 17, 1944, killed 320 people and completely destroyed two war ships. (National Park Service)\" width=\"800\" height=\"639\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Port Chicago explosion on July 17, 1944, killed 320 people and completely destroyed two war ships. (National Park Service)\u003c/figcaption>\u003c/figure>\n\u003cp>This week, relatives, historians and the general public are remembering one of the deadliest industrial disasters in United States history: a massive explosion in the Bay Area that took hundreds of lives during World War II.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nps.gov/poch/index.htm\">Port Chicago\u003c/a> was a Navy facility near Concord where sailors loaded munitions onto ships headed for the Pacific. On the night of July 17, 1944, the men were loading up the \u003cem>SS Quinault Victory\u003c/em> and the\u003cem> SS E.A. Bryan\u003c/em> when the mishandling of weapons led to a deadly explosion that killed 320 people. Of the men who died, 202 were African-Americans working in a segregated Navy. A \u003ca href=\"http://www.history.navy.mil/faqs/faq80-1.htm\">Navy website describes what happened\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"color: #000000\">At 10:18 p.m., a hollow ring and the sound of splintering wood erupted from the pier, followed by an explosion that ripped apart the night sky. Witnesses said that a brilliant white flash shot into the air, accompanied by a loud, sharp report. A column of smoke billowed from the pier, and fire glowed orange and yellow. Flashing like fireworks, smaller explosions went off in the cloud as it rose. Within six seconds, a deeper explosion erupted as the contents of the \u003c/span>\u003ci style=\"color: #000000\">E.A. Bryan\u003c/i>\u003cspan style=\"color: #000000\"> detonated in one massive explosion. The seismic shock wave was felt as far away as Boulder City, Nevada. The \u003c/span>\u003ci style=\"color: #000000\">E.A. Bryan\u003c/i>\u003cspan style=\"color: #000000\"> and the structures around the pier were completely disintegrated. A pillar of fire and smoke stretched over two miles into the sky above Port Chicago. The largest remaining pieces of the 7,200-ton ship were the size of a suitcase. A plane flying at 9,000 feet reported seeing chunks of white hot metal \"as big as a house\" flying past. The shattered \u003c/span>\u003ci style=\"color: #000000\">Quinault Victory\u003c/i>\u003cspan style=\"color: #000000\"> was spun into the air. Witnesses reported seeing a 200-foot column on which rode the bow of the ship, its mast still attached. Its remains crashed back into the bay 500 feet away.\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>Pittsburg resident Frank DeRosa was 17 at the time. He was living several miles away and was carrying his baby sister to bed when he felt the blast.\u003c/p>\n\u003cp>\"All of a sudden it was like a wind, like a tornado,\" he said. The large window behind him shattered, hurling shards of glass at his back, and cutting through his thick flannel pajamas.\u003c/p>\n\u003cp>\"I got cut a few times, and mostly I was bruised,\" he said. \"The little kid was in my chest and I was hunched over, so [she] never got one little scratch.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The next day, DeRosa climbed a nearby hilltop overlooking Port Chicago. The two warships that were being loaded with weapons were gone.\u003c/p>\n\u003cfigure id=\"attachment_142134\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Port-Chicago-5.jpg\">\u003cimg class=\"size-thumbnail wp-image-142134\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Port-Chicago-5-300x243.jpg\" alt=\"Sailors loading munitions at Port Chicago. (National Park Service)\" width=\"300\" height=\"243\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sailors loading munitions at Port Chicago. (National Park Service)\u003c/figcaption>\u003c/figure>\n\u003cp>\"It's pretty hard to comprehend, but two ships disappeared,\" he said. \"There were pieces that flew past Pittsburg.\"\u003c/p>\n\u003cp>Sue Fritzke, of the Port Chicago Naval Magazine National Memorial, says the tragic event was likely the result of military officials (who were white) betting on which of their teams (who were mostly African-American) could load munitions into the ships faster. Fritzke says the teams had received little information about the munitions they were handling. They had not been informed that the munitions were live nor did they know what the proper safety protocols were.\u003c/p>\n\u003cp>\u003cstrong>The Port Chicago 50\u003c/strong>\u003c/p>\n\u003cp>Of the 320 men who died in the explosion, 202 were African-Americans working in a segregated Navy.\u003c/p>\n\u003cp>The surviving sailors had to recover the bodies of their fellow men from the scene, said Steve Sheinkin, author of \u003cem>\u003ca href=\"http://stevesheinkin.com/books/the-port-chicago-50/\">The Port Chicago 50\u003c/a>\u003c/em>, an historical book for young adults. Just three weeks later, the men were marched to the nearby base at Mare Island, he said. The men weren’t sure what their new assignment would be until they were marched to the pier. They were going to be loading dangerous munitions again. “That’s when this mutiny happened,” he said.\u003c/p>\n\u003cp>More than 250 African-American sailors refused to return to work until they received proper training and clear instructions about how to load munitions safely. A Navy admiral threatened to shoot them if they didn't return to work. In spite of the threat of execution, a group of men, who came to be known as the Port Chicago 50, still refused to return to work.\u003c/p>\n\u003cp>Many of the Port Chicago 50 were just teenagers, a lot of them just out of high school, Sheinkin said.\u003c/p>\n\u003cp>\"These guys stood up for what they thought was an injustice,\" Sheinkin said. \"They said, 'We're not going back to the same conditions.'\"\u003c/p>\n\u003cp>The Navy charged the Port Chicago 50 with conspiring to mutiny and sentenced them to 15 years in prison. After they'd served two years, the war ended, and they were all granted clemency. Only one has received a presidential pardon.\u003c/p>\n\u003cp>\u003cstrong>Military Civil Rights\u003c/strong>\u003c/p>\n\u003cp>The controversies surrounding Port Chicago were part of the beginning of the civil rights movement, Sheinkin said, comparing the Port Chicago 50's actions to Rosa Parks' decision not to give up her seat on a segregated bus. Their refusal to abide by the status quo caught the attention of national leaders and \"led directly to the Navy deciding to make changes,\" he said.\u003c/p>\n\u003cp>Thurgood Marshall -- then a lead attorney for the NAACP -- heard about the Port Chicago 50 and asked Navy Secretary James Forrestal if he could sit in on their military trial. Watching the proceedings, Sheinkin said, Marshall came to believe the military judges had already made up their minds about the men. He filed an appeal and kept pressuring the Navy to reverse its decision. Eleanor Roosevelt also heard of the trial, Sheinkin said, and told Forrestal to make sure the men were treated fairly.\u003c/p>\n\u003cp>Feeling the pressure from national leaders in the wake of the disaster, Forrestal thought he had an opportunity to make a change, Sheinkin said. “I think he was a fair-minded person who didn’t support segregation to begin with.” Forrestal began by integrating a few Navy ships, Sheinkin said, and found that it worked.\u003c/p>\n\u003cp>In 1946, the Navy became the first military branch to be completely integrated, Sheinkin said. In 1948, President Harry Truman signed an executive order integrating all branches of the armed forces.\u003c/p>\n\u003cp>\"Truman got a lot of credit in the history books for the executive order, but that was two years later,\" said Sheinkin. \"If these guys hadn't taken this huge risk, then it never would have gotten so much attention.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>On Saturday, July 19, from 9 a.m. to noon, a public \u003ca href=\"http://portchicagomemorial.org/category/events/\">commemoration, film screening and tour\u003c/a> will take place in Richmond at the SS Red Oak Victory, a ship of the same class as the two that were destroyed at Port Chicago.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The explosion at Port Chicago killed hundreds, and highlighted America's racial inequities.","status":"publish","parent":0,"modified":1405731079,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1183},"headData":{"title":"How a Deadly Explosion 70 Years Ago Led to Integrating the Navy | KQED","description":"The explosion at Port Chicago killed hundreds, and highlighted America's racial inequities.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"How a Deadly Explosion 70 Years Ago Led to Integrating the Navy","datePublished":"2014-07-19T15:00:59.000Z","dateModified":"2014-07-19T00:51:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"142082 http://ww2.kqed.org/news/?p=142082","disqusUrl":"https://ww2.kqed.org/news/2014/07/19/how-a-deadly-explosion-70-years-ago-led-to-integrating-the-navy/","disqusTitle":"How a Deadly Explosion 70 Years Ago Led to Integrating the Navy","customPermalink":"2014/07/19/port-chicago-anniversary/","path":"/news/142082/how-a-deadly-explosion-70-years-ago-led-to-integrating-the-navy","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_142097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Port-Chicago.jpg\">\u003cimg class=\"size-full wp-image-142097\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Port-Chicago.jpg\" alt=\"The Port Chicago explosion on July 17, 1944, killed 320 people and completely destroyed two war ships. (National Park Service)\" width=\"800\" height=\"639\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Port Chicago explosion on July 17, 1944, killed 320 people and completely destroyed two war ships. (National Park Service)\u003c/figcaption>\u003c/figure>\n\u003cp>This week, relatives, historians and the general public are remembering one of the deadliest industrial disasters in United States history: a massive explosion in the Bay Area that took hundreds of lives during World War II.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nps.gov/poch/index.htm\">Port Chicago\u003c/a> was a Navy facility near Concord where sailors loaded munitions onto ships headed for the Pacific. On the night of July 17, 1944, the men were loading up the \u003cem>SS Quinault Victory\u003c/em> and the\u003cem> SS E.A. Bryan\u003c/em> when the mishandling of weapons led to a deadly explosion that killed 320 people. Of the men who died, 202 were African-Americans working in a segregated Navy. A \u003ca href=\"http://www.history.navy.mil/faqs/faq80-1.htm\">Navy website describes what happened\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"color: #000000\">At 10:18 p.m., a hollow ring and the sound of splintering wood erupted from the pier, followed by an explosion that ripped apart the night sky. Witnesses said that a brilliant white flash shot into the air, accompanied by a loud, sharp report. A column of smoke billowed from the pier, and fire glowed orange and yellow. Flashing like fireworks, smaller explosions went off in the cloud as it rose. Within six seconds, a deeper explosion erupted as the contents of the \u003c/span>\u003ci style=\"color: #000000\">E.A. Bryan\u003c/i>\u003cspan style=\"color: #000000\"> detonated in one massive explosion. The seismic shock wave was felt as far away as Boulder City, Nevada. The \u003c/span>\u003ci style=\"color: #000000\">E.A. Bryan\u003c/i>\u003cspan style=\"color: #000000\"> and the structures around the pier were completely disintegrated. A pillar of fire and smoke stretched over two miles into the sky above Port Chicago. The largest remaining pieces of the 7,200-ton ship were the size of a suitcase. A plane flying at 9,000 feet reported seeing chunks of white hot metal \"as big as a house\" flying past. The shattered \u003c/span>\u003ci style=\"color: #000000\">Quinault Victory\u003c/i>\u003cspan style=\"color: #000000\"> was spun into the air. Witnesses reported seeing a 200-foot column on which rode the bow of the ship, its mast still attached. Its remains crashed back into the bay 500 feet away.\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>Pittsburg resident Frank DeRosa was 17 at the time. He was living several miles away and was carrying his baby sister to bed when he felt the blast.\u003c/p>\n\u003cp>\"All of a sudden it was like a wind, like a tornado,\" he said. The large window behind him shattered, hurling shards of glass at his back, and cutting through his thick flannel pajamas.\u003c/p>\n\u003cp>\"I got cut a few times, and mostly I was bruised,\" he said. \"The little kid was in my chest and I was hunched over, so [she] never got one little scratch.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The next day, DeRosa climbed a nearby hilltop overlooking Port Chicago. The two warships that were being loaded with weapons were gone.\u003c/p>\n\u003cfigure id=\"attachment_142134\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Port-Chicago-5.jpg\">\u003cimg class=\"size-thumbnail wp-image-142134\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/07/Port-Chicago-5-300x243.jpg\" alt=\"Sailors loading munitions at Port Chicago. (National Park Service)\" width=\"300\" height=\"243\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sailors loading munitions at Port Chicago. (National Park Service)\u003c/figcaption>\u003c/figure>\n\u003cp>\"It's pretty hard to comprehend, but two ships disappeared,\" he said. \"There were pieces that flew past Pittsburg.\"\u003c/p>\n\u003cp>Sue Fritzke, of the Port Chicago Naval Magazine National Memorial, says the tragic event was likely the result of military officials (who were white) betting on which of their teams (who were mostly African-American) could load munitions into the ships faster. Fritzke says the teams had received little information about the munitions they were handling. They had not been informed that the munitions were live nor did they know what the proper safety protocols were.\u003c/p>\n\u003cp>\u003cstrong>The Port Chicago 50\u003c/strong>\u003c/p>\n\u003cp>Of the 320 men who died in the explosion, 202 were African-Americans working in a segregated Navy.\u003c/p>\n\u003cp>The surviving sailors had to recover the bodies of their fellow men from the scene, said Steve Sheinkin, author of \u003cem>\u003ca href=\"http://stevesheinkin.com/books/the-port-chicago-50/\">The Port Chicago 50\u003c/a>\u003c/em>, an historical book for young adults. Just three weeks later, the men were marched to the nearby base at Mare Island, he said. The men weren’t sure what their new assignment would be until they were marched to the pier. They were going to be loading dangerous munitions again. “That’s when this mutiny happened,” he said.\u003c/p>\n\u003cp>More than 250 African-American sailors refused to return to work until they received proper training and clear instructions about how to load munitions safely. A Navy admiral threatened to shoot them if they didn't return to work. In spite of the threat of execution, a group of men, who came to be known as the Port Chicago 50, still refused to return to work.\u003c/p>\n\u003cp>Many of the Port Chicago 50 were just teenagers, a lot of them just out of high school, Sheinkin said.\u003c/p>\n\u003cp>\"These guys stood up for what they thought was an injustice,\" Sheinkin said. \"They said, 'We're not going back to the same conditions.'\"\u003c/p>\n\u003cp>The Navy charged the Port Chicago 50 with conspiring to mutiny and sentenced them to 15 years in prison. After they'd served two years, the war ended, and they were all granted clemency. Only one has received a presidential pardon.\u003c/p>\n\u003cp>\u003cstrong>Military Civil Rights\u003c/strong>\u003c/p>\n\u003cp>The controversies surrounding Port Chicago were part of the beginning of the civil rights movement, Sheinkin said, comparing the Port Chicago 50's actions to Rosa Parks' decision not to give up her seat on a segregated bus. Their refusal to abide by the status quo caught the attention of national leaders and \"led directly to the Navy deciding to make changes,\" he said.\u003c/p>\n\u003cp>Thurgood Marshall -- then a lead attorney for the NAACP -- heard about the Port Chicago 50 and asked Navy Secretary James Forrestal if he could sit in on their military trial. Watching the proceedings, Sheinkin said, Marshall came to believe the military judges had already made up their minds about the men. He filed an appeal and kept pressuring the Navy to reverse its decision. Eleanor Roosevelt also heard of the trial, Sheinkin said, and told Forrestal to make sure the men were treated fairly.\u003c/p>\n\u003cp>Feeling the pressure from national leaders in the wake of the disaster, Forrestal thought he had an opportunity to make a change, Sheinkin said. “I think he was a fair-minded person who didn’t support segregation to begin with.” Forrestal began by integrating a few Navy ships, Sheinkin said, and found that it worked.\u003c/p>\n\u003cp>In 1946, the Navy became the first military branch to be completely integrated, Sheinkin said. In 1948, President Harry Truman signed an executive order integrating all branches of the armed forces.\u003c/p>\n\u003cp>\"Truman got a lot of credit in the history books for the executive order, but that was two years later,\" said Sheinkin. \"If these guys hadn't taken this huge risk, then it never would have gotten so much attention.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>On Saturday, July 19, from 9 a.m. to noon, a public \u003ca href=\"http://portchicagomemorial.org/category/events/\">commemoration, film screening and tour\u003c/a> will take place in Richmond at the SS Red Oak Victory, a ship of the same class as the two that were destroyed at Port Chicago.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/142082/how-a-deadly-explosion-70-years-ago-led-to-integrating-the-navy","authors":["1565"],"programs":["news_6944"],"categories":["news_8"],"tags":["news_5241","news_3631","news_3041","news_6624","news_236"],"featImg":"news_142134","label":"news_6944"},"news_138355":{"type":"posts","id":"news_138355","meta":{"index":"posts_1591205157","site":"news","id":"138355","score":null,"sort":[1402097330000]},"guestAuthors":[],"slug":"channeling-buffalo-soldiers-national-parks-seek-to-draw-more-black-visitors","title":"Channeling Buffalo Soldiers: National Parks Seek to Draw More Black Visitors","publishDate":1402097330,"format":"aside","headTitle":"News Fix | KQED News","labelTerm":{"term":6944,"site":"news"},"content":"\u003cfigure id=\"attachment_138365\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-138365\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/BuffaloSoldiers.jpg\" alt=\"In 1899, Buffalo Soldiers in the 24th Infantry carried out mounted patrol duties in Yosemite.\" width=\"640\" height=\"360\">\u003cfigcaption class=\"wp-caption-text\">In 1899, Buffalo Soldiers in the 24th Infantry carried out mounted patrol duties in Yosemite. (Courtesy Yosemite Research Library)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By Sara Bernard\u003c/strong>\u003c/p>\n\u003cp>Yosemite National Park ranger Shelton Johnson has spent a lot of time thinking about the Buffalo Soldiers — African-American Army troops who were stationed in the Sierras in the first years of the 20th century. In fact, it's been 18 years since he graduated from Yosemite's Mounted Horse Patrol School for the express purpose of portraying them in films, podcasts and live performances. Mostly, he plays Sgt. Elizy Bowman — Troop “K,” 9th U.S. Cavalry — who was one of the real-life Buffalo Soldiers who found duty in the high country.\u003c/p>\n\u003cp>\"What that job meant was patrolling Yosemite,\" Shelton's character croons, on one of the \u003ca href=\"http://www.nps.gov/yose/historyculture/buffspodcast.htm\">episodes of the podcast\u003c/a>. \"And the way of Yosemite is that there are colored soldiers here and we are the ones enforcing the rules.\"\u003c/p>\n\u003cp>That's because the Buffalo Soldiers were some of the country’s first national park rangers —before the National Park Service was created in 1916. The second African-American National Parks Event will honor their legacy with speeches, re-enactments and a performance by Shelton Johnson in Yosemite Valley.\u003c/p>\n\u003cp>Participants will first gather at San Francisco's old Army base, the Presidio, where the Buffalo Soldiers were once stationed, and then travel by bus along the route that some took into the Sierra Nevada in 1903. They'll stop in Los Banos, where one prominent Buffalo Soldier is buried, and then spend the night camping in Yosemite, trailed by the Buffalo Soldiers Motorcycle Club.\u003c/p>\n\u003cfigure id=\"attachment_138377\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg class=\"size-full wp-image-138377\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/Shelton.jpg\" alt=\"Park Ranger Shelton Johnson portrays one of the U.S. Army's Buffalo Soldiers as part of his interpretation of Yosemite's history. \" width=\"200\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Park Ranger Shelton Johnson portrays one of the U.S. Army's Buffalo Soldiers as part of his interpretation of Yosemite's history. (Courtesy Yosemite Research Library)\u003c/figcaption>\u003c/figure>\n\u003cp>The event focuses on African-American history in the national parks to spotlight today's reality: few African-Americans visit them. A study several years ago found that at Yosemite, the proportion of black visitors is less than 1 percent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"A lot of people feel uncomfortable being the only one,\" said Teresa Baker, event founder and community leader for Outdoor Afro, a Berkeley-based social network. Its goal is to get more African-Americans outdoors nationwide.\u003c/p>\n\u003cp>\"I think that the more we see ourselves out in these spaces, the more comfortable we will become with that,\" Baker said.\u003c/p>\n\u003cp>Outdoor Afro founder Rue Mapp calls it the “anti-program program,” because eventually, she says, this kind of work won’t be necessary.\u003c/p>\n\u003cp>\"What we're really working toward is that moment when it will just be ordinary,\" she said. \"That people are accessing these places and spaces in a way that fits into their lives and it's not a banner headline. It is just a way of life.\"\u003c/p>\n\u003cp>Ranger Kelli English, chief of interpretation for four National Park sites in the Bay Area, concedes the \"perception is out there that African-Americans don't go to national parks, that African-Americans don't explore the outdoors, they don't go hiking, they don't go camping,\" but she wants to prove that stereotype wrong.\u003c/p>\n\u003cp>For many participants and event organizers, the history of the Buffalo Soldiers dispels the perception that black Americans aren’t engaged with the outdoors. The troops built the first trail to the top of Mount Whitney. They built the first botanical garden in a national park, in Yosemite. They stopped wildlife poaching and timber theft and fought wildfires.\u003c/p>\n\u003cp>\"One can argue that without the contributions that the Buffalo Soldiers made to our national parks in California that we might not have the National Park Service as we know it today,\" English said.\u003c/p>\n\u003cfigure id=\"attachment_138369\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg class=\"size-thumbnail wp-image-138369\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/KelliEnglish-300x300.jpg\" alt=\"Ranger Kelli English talks about camping in Yosemite, and about the Buffalo Soldiers at a logistics meeting for event participants. \" width=\"300\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Ranger Kelli English talks about camping in Yosemite, and about the Buffalo Soldiers at a logistics meeting for event participants. (Sara Bernard/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Still, it wasn’t easy. While many Buffalo Soldiers were veterans of overseas wars — the Spanish-American War and the Philippine-American War for the most part — they never came to be seen as capable and worthy in the white-dominated society back home.\u003c/p>\n\u003cp>\"It’s amazing when you think about Colonel Charles Young serving as superintendent of Sequoia National Park for the summer\" of 1903, English said, \"and really going head-to-head with local ranchers who didn’t think a black man should be telling them what they could or couldn’t do with their livestock. The challenges that they faced a hundred years ago trying to protect these national parks were really quite astounding.\"\u003c/p>\n\u003cp>Oakland resident C.B. Smith-Dahl agrees. She and her family will join this weekend’s trip to Yosemite, and she feels the history they’ll encounter is important for all Americans.\u003c/p>\n\u003cp>\"Just like it’s important for my kids to know that there are people who look like them who were more than just slaves, it’s also important for kids who don’t look like them to know that there is this range of black experience in the United States.\"\u003c/p>\n\u003cp>And as Shelton Johnson says — through his alter ego Elizy Bowman — that experience has been both difficult and rewarding.\u003c/p>\n\u003cp>\"Every time I hear those words, Buffalo Soldier, I think about what they mean. I think about the past. I think about who I am,\" Bowman says in the podcast. \"It’s a difficult duty. It’s a hard duty. But it’s a hard job in a beautiful place.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/153188359&color=ff5500&auto_play=false&hide_related=false&show_artwork=true&show_comments=true&show_user=true&show_reposts=false\">\u003c/iframe>\u003c/p>\n\n","blocks":[],"excerpt":"This weekend, history buffs relive trek made to the Sierra more than a century ago by black Army troops. ","status":"publish","parent":0,"modified":1402098494,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":932},"headData":{"title":"Channeling Buffalo Soldiers: National Parks Seek to Draw More Black Visitors | KQED","description":"This weekend, history buffs relive trek made to the Sierra more than a century ago by black Army troops. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Channeling Buffalo Soldiers: National Parks Seek to Draw More Black Visitors","datePublished":"2014-06-06T23:28:50.000Z","dateModified":"2014-06-06T23:48:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"138355 http://ww2.kqed.org/news/?p=138355","disqusUrl":"https://ww2.kqed.org/news/2014/06/06/channeling-buffalo-soldiers-national-parks-seek-to-draw-more-black-visitors/","disqusTitle":"Channeling Buffalo Soldiers: National Parks Seek to Draw More Black Visitors","customPermalink":"buffalo-soldiers-yosemite/","path":"/news/138355/channeling-buffalo-soldiers-national-parks-seek-to-draw-more-black-visitors","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_138365\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-138365\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/BuffaloSoldiers.jpg\" alt=\"In 1899, Buffalo Soldiers in the 24th Infantry carried out mounted patrol duties in Yosemite.\" width=\"640\" height=\"360\">\u003cfigcaption class=\"wp-caption-text\">In 1899, Buffalo Soldiers in the 24th Infantry carried out mounted patrol duties in Yosemite. (Courtesy Yosemite Research Library)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By Sara Bernard\u003c/strong>\u003c/p>\n\u003cp>Yosemite National Park ranger Shelton Johnson has spent a lot of time thinking about the Buffalo Soldiers — African-American Army troops who were stationed in the Sierras in the first years of the 20th century. In fact, it's been 18 years since he graduated from Yosemite's Mounted Horse Patrol School for the express purpose of portraying them in films, podcasts and live performances. Mostly, he plays Sgt. Elizy Bowman — Troop “K,” 9th U.S. Cavalry — who was one of the real-life Buffalo Soldiers who found duty in the high country.\u003c/p>\n\u003cp>\"What that job meant was patrolling Yosemite,\" Shelton's character croons, on one of the \u003ca href=\"http://www.nps.gov/yose/historyculture/buffspodcast.htm\">episodes of the podcast\u003c/a>. \"And the way of Yosemite is that there are colored soldiers here and we are the ones enforcing the rules.\"\u003c/p>\n\u003cp>That's because the Buffalo Soldiers were some of the country’s first national park rangers —before the National Park Service was created in 1916. The second African-American National Parks Event will honor their legacy with speeches, re-enactments and a performance by Shelton Johnson in Yosemite Valley.\u003c/p>\n\u003cp>Participants will first gather at San Francisco's old Army base, the Presidio, where the Buffalo Soldiers were once stationed, and then travel by bus along the route that some took into the Sierra Nevada in 1903. They'll stop in Los Banos, where one prominent Buffalo Soldier is buried, and then spend the night camping in Yosemite, trailed by the Buffalo Soldiers Motorcycle Club.\u003c/p>\n\u003cfigure id=\"attachment_138377\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg class=\"size-full wp-image-138377\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/Shelton.jpg\" alt=\"Park Ranger Shelton Johnson portrays one of the U.S. Army's Buffalo Soldiers as part of his interpretation of Yosemite's history. \" width=\"200\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Park Ranger Shelton Johnson portrays one of the U.S. Army's Buffalo Soldiers as part of his interpretation of Yosemite's history. (Courtesy Yosemite Research Library)\u003c/figcaption>\u003c/figure>\n\u003cp>The event focuses on African-American history in the national parks to spotlight today's reality: few African-Americans visit them. A study several years ago found that at Yosemite, the proportion of black visitors is less than 1 percent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"A lot of people feel uncomfortable being the only one,\" said Teresa Baker, event founder and community leader for Outdoor Afro, a Berkeley-based social network. Its goal is to get more African-Americans outdoors nationwide.\u003c/p>\n\u003cp>\"I think that the more we see ourselves out in these spaces, the more comfortable we will become with that,\" Baker said.\u003c/p>\n\u003cp>Outdoor Afro founder Rue Mapp calls it the “anti-program program,” because eventually, she says, this kind of work won’t be necessary.\u003c/p>\n\u003cp>\"What we're really working toward is that moment when it will just be ordinary,\" she said. \"That people are accessing these places and spaces in a way that fits into their lives and it's not a banner headline. It is just a way of life.\"\u003c/p>\n\u003cp>Ranger Kelli English, chief of interpretation for four National Park sites in the Bay Area, concedes the \"perception is out there that African-Americans don't go to national parks, that African-Americans don't explore the outdoors, they don't go hiking, they don't go camping,\" but she wants to prove that stereotype wrong.\u003c/p>\n\u003cp>For many participants and event organizers, the history of the Buffalo Soldiers dispels the perception that black Americans aren’t engaged with the outdoors. The troops built the first trail to the top of Mount Whitney. They built the first botanical garden in a national park, in Yosemite. They stopped wildlife poaching and timber theft and fought wildfires.\u003c/p>\n\u003cp>\"One can argue that without the contributions that the Buffalo Soldiers made to our national parks in California that we might not have the National Park Service as we know it today,\" English said.\u003c/p>\n\u003cfigure id=\"attachment_138369\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg class=\"size-thumbnail wp-image-138369\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/KelliEnglish-300x300.jpg\" alt=\"Ranger Kelli English talks about camping in Yosemite, and about the Buffalo Soldiers at a logistics meeting for event participants. \" width=\"300\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Ranger Kelli English talks about camping in Yosemite, and about the Buffalo Soldiers at a logistics meeting for event participants. (Sara Bernard/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Still, it wasn’t easy. While many Buffalo Soldiers were veterans of overseas wars — the Spanish-American War and the Philippine-American War for the most part — they never came to be seen as capable and worthy in the white-dominated society back home.\u003c/p>\n\u003cp>\"It’s amazing when you think about Colonel Charles Young serving as superintendent of Sequoia National Park for the summer\" of 1903, English said, \"and really going head-to-head with local ranchers who didn’t think a black man should be telling them what they could or couldn’t do with their livestock. The challenges that they faced a hundred years ago trying to protect these national parks were really quite astounding.\"\u003c/p>\n\u003cp>Oakland resident C.B. Smith-Dahl agrees. She and her family will join this weekend’s trip to Yosemite, and she feels the history they’ll encounter is important for all Americans.\u003c/p>\n\u003cp>\"Just like it’s important for my kids to know that there are people who look like them who were more than just slaves, it’s also important for kids who don’t look like them to know that there is this range of black experience in the United States.\"\u003c/p>\n\u003cp>And as Shelton Johnson says — through his alter ego Elizy Bowman — that experience has been both difficult and rewarding.\u003c/p>\n\u003cp>\"Every time I hear those words, Buffalo Soldier, I think about what they mean. I think about the past. I think about who I am,\" Bowman says in the podcast. \"It’s a difficult duty. It’s a hard duty. But it’s a hard job in a beautiful place.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/153188359&color=ff5500&auto_play=false&hide_related=false&show_artwork=true&show_comments=true&show_user=true&show_reposts=false\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/138355/channeling-buffalo-soldiers-national-parks-seek-to-draw-more-black-visitors","authors":["237"],"programs":["news_6944"],"categories":["news_18540","news_19906","news_8"],"tags":["news_5241","news_4746"],"featImg":"news_138365","label":"news_6944"},"news_125620":{"type":"posts","id":"news_125620","meta":{"index":"posts_1591205157","site":"news","id":"125620","score":null,"sort":[1391817875000]},"guestAuthors":[],"slug":"first-big-berkeley-celebration-of-black-history-month-on-saturday","title":"First Big Berkeley Celebration of Black History Month on Saturday","publishDate":1391817875,"format":"aside","headTitle":"News Fix | KQED News","labelTerm":{"term":6944,"site":"news"},"content":"\u003cfigure id=\"attachment_125621\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/Atule.png\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/Atule-640x382.png\" alt=\"Akayaa Atule will perform at the Berkeley Black History Celebration. (Elizabeth Heath/Berkeleyside)\" width=\"640\" height=\"382\" class=\"size-medium wp-image-125621\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Akayaa Atule will perform at the Berkeley Black History Celebration. (Elizabeth Heath/Berkeleyside)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By Frances Dinkelspiel, \u003ca href=\"http://www.berkeleyside.com/2014/02/06/first-berkeley-black-history-celebration-on-saturday/\" target=\"_blank\">Berkeleyside\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>The organizers who have been putting on Berkeley’s Juneteenth celebration for the last 27 years are expanding and will produce the first annual \u003ca href=\"http://www.berkeleyblackhistorycelebration.com/\" target=\"_blank\">Berkeley Black History Celebration\u003c/a> at a seven-hour free event on Saturday.\u003c/p>\n\u003cp>The theme of the celebration is “Harambee: Community Pulling Together,” and will feature music, historical exhibits, a short film, good food, games and an award ceremony, according to Gerald Baptiste Jr. the chair of the event. \u003c/p>\n\u003cp>The filmmaker \u003ca href=\"http://dougharrismedia.com/doug.html\" target=\"_blank\">Doug Harris\u003c/a> will show a 10-minute clip from his film-in-progress about \u003ca href=\"http://en.wikipedia.org/wiki/William_Byron_Rumford\" target=\"_blank\">William Byron Rumford\u003c/a>, the Berkeley state assemblyman who was instrumental in passing fair housing and fair employment legislation. Rumford, who died in 1986, was one of the state’s first African-American assemblymen.\u003c/p>\n\u003cp>The family-friendly celebration will take place at the Berkeley Community Theater, 1930 Allston Way, from 1 p.m. to 8 p.m. It will be free, in part because the city of Berkeley and the Cooperative Center Federal Credit Union have donated funds. Berkeleyside is a media sponsor for the event. Other sponsors include the Berkeley Unified School District, the NAACP, KPOO-FM, Berkeley High School’s African-American Studies Department, and Parents of Children of African Descent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ron Wesley of Alotoffun Productions, which puts on numerous free music festivals, worked with the Juneteenth Committee to craft the program and entertainment for the day. He has booked Zulu Spear, AfroFunk Experience, Kev Choice, and Akayaa Atule.\u003c/p>\n\u003cp>The highlight of the day may be the awards ceremony, which will take place in the afternoon, according to Delores Cooper, the executive secretary of Berkeley Juneteenth.\u003c/p>\n\u003cp>At first the committee thought about handing out awards to some of Berkeley’s iconic civil rights leaders, like \u003ca href=\"http://www.berkeleyplaques.org/index.php?page=frances-albrier\" target=\"_blank\">Frances Albrier\u003c/a>, who organized to push Berkeley schools to hire their first African-American teacher and was the first African-American to run for the Berkeley City Council in 1939. Then the group decided to honor people who are active today. They are not announcing the two winners ahead of time; they want it to be a surprise.\u003c/p>\n\u003cp>“We looked for someone who is very active and is doing some civil rights-type thing right now,” said Cooper. “We are only going to do two (awards.) We don’t want to do too many because we want to make them special.”\u003c/p>\n\u003cp>For more information, check out the Berkeley Black History Celebration’s \u003ca href=\"https://www.facebook.com/events/413518332085006/?ref=22\" target=\"_blank\">Facebook page\u003c/a> or \u003ca href=\"http://www.berkeleyblackhistorycelebration.com/\" target=\"_blank\">website\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED News Associate \u003ca href=\"http://www.berkeleyside.com/\" target=\"_blank\">Berkeleyside\u003c/a> is an independently owned news website based in Berkeley, Calif. \u003ca href=\"http://eepurl.com/lh_3b\" target=\"_blank\">Click here\u003c/a> if you would you like to receive the latest Berkeley news in your inbox once a day for free with Berkeleyside's Daily Briefing email.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Berkeley will hold its first big Black History Month event on Saturday.","status":"publish","parent":0,"modified":1391817875,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":472},"headData":{"title":"First Big Berkeley Celebration of Black History Month on Saturday | KQED","description":"Berkeley will hold its first big Black History Month event on Saturday.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"First Big Berkeley Celebration of Black History Month on Saturday","datePublished":"2014-02-08T00:04:35.000Z","dateModified":"2014-02-08T00:04:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"125620 http://ww2.kqed.org/news/?p=125620","disqusUrl":"https://ww2.kqed.org/news/2014/02/07/first-big-berkeley-celebration-of-black-history-month-on-saturday/","disqusTitle":"First Big Berkeley Celebration of Black History Month on Saturday","customPermalink":"2014/02/07/Berkeley+Black+History+Month/","path":"/news/125620/first-big-berkeley-celebration-of-black-history-month-on-saturday","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_125621\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/Atule.png\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/Atule-640x382.png\" alt=\"Akayaa Atule will perform at the Berkeley Black History Celebration. (Elizabeth Heath/Berkeleyside)\" width=\"640\" height=\"382\" class=\"size-medium wp-image-125621\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Akayaa Atule will perform at the Berkeley Black History Celebration. (Elizabeth Heath/Berkeleyside)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By Frances Dinkelspiel, \u003ca href=\"http://www.berkeleyside.com/2014/02/06/first-berkeley-black-history-celebration-on-saturday/\" target=\"_blank\">Berkeleyside\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>The organizers who have been putting on Berkeley’s Juneteenth celebration for the last 27 years are expanding and will produce the first annual \u003ca href=\"http://www.berkeleyblackhistorycelebration.com/\" target=\"_blank\">Berkeley Black History Celebration\u003c/a> at a seven-hour free event on Saturday.\u003c/p>\n\u003cp>The theme of the celebration is “Harambee: Community Pulling Together,” and will feature music, historical exhibits, a short film, good food, games and an award ceremony, according to Gerald Baptiste Jr. the chair of the event. \u003c/p>\n\u003cp>The filmmaker \u003ca href=\"http://dougharrismedia.com/doug.html\" target=\"_blank\">Doug Harris\u003c/a> will show a 10-minute clip from his film-in-progress about \u003ca href=\"http://en.wikipedia.org/wiki/William_Byron_Rumford\" target=\"_blank\">William Byron Rumford\u003c/a>, the Berkeley state assemblyman who was instrumental in passing fair housing and fair employment legislation. Rumford, who died in 1986, was one of the state’s first African-American assemblymen.\u003c/p>\n\u003cp>The family-friendly celebration will take place at the Berkeley Community Theater, 1930 Allston Way, from 1 p.m. to 8 p.m. It will be free, in part because the city of Berkeley and the Cooperative Center Federal Credit Union have donated funds. Berkeleyside is a media sponsor for the event. Other sponsors include the Berkeley Unified School District, the NAACP, KPOO-FM, Berkeley High School’s African-American Studies Department, and Parents of Children of African Descent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ron Wesley of Alotoffun Productions, which puts on numerous free music festivals, worked with the Juneteenth Committee to craft the program and entertainment for the day. He has booked Zulu Spear, AfroFunk Experience, Kev Choice, and Akayaa Atule.\u003c/p>\n\u003cp>The highlight of the day may be the awards ceremony, which will take place in the afternoon, according to Delores Cooper, the executive secretary of Berkeley Juneteenth.\u003c/p>\n\u003cp>At first the committee thought about handing out awards to some of Berkeley’s iconic civil rights leaders, like \u003ca href=\"http://www.berkeleyplaques.org/index.php?page=frances-albrier\" target=\"_blank\">Frances Albrier\u003c/a>, who organized to push Berkeley schools to hire their first African-American teacher and was the first African-American to run for the Berkeley City Council in 1939. Then the group decided to honor people who are active today. They are not announcing the two winners ahead of time; they want it to be a surprise.\u003c/p>\n\u003cp>“We looked for someone who is very active and is doing some civil rights-type thing right now,” said Cooper. “We are only going to do two (awards.) We don’t want to do too many because we want to make them special.”\u003c/p>\n\u003cp>For more information, check out the Berkeley Black History Celebration’s \u003ca href=\"https://www.facebook.com/events/413518332085006/?ref=22\" target=\"_blank\">Facebook page\u003c/a> or \u003ca href=\"http://www.berkeleyblackhistorycelebration.com/\" target=\"_blank\">website\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED News Associate \u003ca href=\"http://www.berkeleyside.com/\" target=\"_blank\">Berkeleyside\u003c/a> is an independently owned news website based in Berkeley, Calif. \u003ca href=\"http://eepurl.com/lh_3b\" target=\"_blank\">Click here\u003c/a> if you would you like to receive the latest Berkeley news in your inbox once a day for free with Berkeleyside's Daily Briefing email.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/125620/first-big-berkeley-celebration-of-black-history-month-on-saturday","authors":["236"],"programs":["news_6944"],"categories":["news_223"],"tags":["news_5241","news_129"],"affiliates":["news_5078"],"featImg":"news_125621","label":"news_6944"},"news_120047":{"type":"posts","id":"news_120047","meta":{"index":"posts_1591205157","site":"news","id":"120047","score":null,"sort":[1386370272000]},"guestAuthors":[],"slug":"draft-new-hope-for-san-franciscos-marcus-books-amid-gentrification-in-the-fillmore","title":"Innovative Investment Plan Could Save San Francisco's Marcus Books ","publishDate":1386370272,"format":"aside","headTitle":"News Fix | KQED News","labelTerm":{"term":6944,"site":"news"},"content":"\u003cfigure id=\"attachment_120079\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/2013/12/05/marcus-books-investment-plan/rs7896_marcus_books_5dec2013_0045_web-hpf/\" rel=\"attachment wp-att-120079\">\u003cimg class=\"size-full wp-image-120079\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/12/RS7896_marcus_books_5dec2013_0045_web-hpf.jpg\" alt=\"Marcus Books owner Karen Johnson and her daughter Tamiko Johnson in front of their store. (Sara Bloomberg/KQED)\" width=\"640\" height=\"427\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marcus Books owner Karen Johnson and her daughter Tamiko Johnson in front of their store. (Sara Bloomberg/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Community activists in San Francisco are teaming with a new grassroots investment network to try to save the longtime Fillmore Street home of Marcus Books, the \u003ca href=\"http://www.sfgate.com/bayarea/article/S-F-family-celebrates-50-years-of-Marcus-Books-3200844.php\" target=\"_blank\">historic African-American bookstore\u003c/a>that has faced eviction since earlier this year.\u003c/p>\n\u003cp>Marcus Books and the San Francisco Community Land Trust announced a deal Thursday with the owners of the store's famous lavender Victorian to acquire the property for $2.6 million.\u003c/p>\n\u003cp>The deal is a little complicated: $1.6 million will come from Westside Community Services, a health-services group. The land trust will try to raise the remaining $1 million through \u003ca href=\"https://fundrise.com/\" target=\"_blank\">Fundrise\u003c/a>, a Washington, D.C.-based grassroots-funding startup that allows small investors to buy stakes in real-estate developments and business ventures. The full $2.6 million needs to be raised by next Feb. 28, or the San Francisco location of Marcus Books (it has \u003ca href=\"http://www.eastbayexpress.com/oakland/marcus-books-is-making-a-comeback/Content?oid=2973571\" target=\"_blank\">a second location in Oakland\u003c/a>, a block from MacArthur BART), will be out on the street. If the fund-raising effort succeeds, then the land trust will own the building and Marcus Books will continue as a tenant \"in perpetuity.\"\u003c/p>\n\u003cp>The San Francisco store, opened in 1960 by Raye and Julian Richardson and now operated by their children and grandchildren, \u003ca href=\"http://www.sfexaminer.com/sanfrancisco/marcus-books-on-the-brink-of-closure/Content?oid=2449806\" target=\"_blank\">wound up in bankruptcy\u003c/a> after taking out a high-interest loan during the real estate bubble. Karen Johnson, one of the Richardsons' daughters, said she believes the community movement to save the store holds a larger meaning. \"Humanity is being rekindled ... and this is a sign that people like wisdom and compassion and taking care of other people.\"\u003c/p>\n\u003cp>The land trust's Tracy Parent says the Fundrise model may prove to be a valuable tool for those looking for ways to save affordable housing amid the rapidly escalating prices in today's housing market.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"This will be a very important and significant community campaign and effort as a pilot project, which could hopefully open the door for future community investment in our neighborhoods,\" Parent said during a press conference at the bookstore Thursday. The trust has used Fundrise to help finance three other affordable-housing projects in the city, including a 21-unit building on Columbus Avenue in North Beach.\u003c/p>\n\u003cp>The campaign to save Marcus Books \"is going to be a rare victory for retaining cultural diversity in our city at a time of increasing economic displacement,\" said Julian Davis, attorney for the store.\u003c/p>\n\u003cp>He went out of his way to give credit to the building's owners, the Sweis family of South San Francisco, for being willing to make the deal. The Sweises bought the Marcus Books building for about $1.59 million in a bankruptcy sale, then refused an initial offer of $1.65 million from Westside Community Services for the property and started eviction proceedings against the store.\u003c/p>\n\u003cp>\"It's really important to set the record straight,\" Davis said, \"to recognize the Sweis family are not the Wall Street speculators they were occasionally they were portrayed to be and that there were many factors outside the control of the Sweis family that led to the potential displacement of Marcus Books.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Christine Hsu of KQED News contributed to this post.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Historic black bookstore trying to raise $1 million to buy its current home and avert displacement. ","status":"publish","parent":0,"modified":1386370310,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":547},"headData":{"title":"Innovative Investment Plan Could Save San Francisco's Marcus Books | KQED","description":"Historic black bookstore trying to raise $1 million to buy its current home and avert displacement. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Innovative Investment Plan Could Save San Francisco's Marcus Books ","datePublished":"2013-12-06T22:51:12.000Z","dateModified":"2013-12-06T22:51:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"120047 http://ww2.kqed.org/news/?p=120047","disqusUrl":"https://ww2.kqed.org/news/2013/12/06/draft-new-hope-for-san-franciscos-marcus-books-amid-gentrification-in-the-fillmore/","disqusTitle":"Innovative Investment Plan Could Save San Francisco's Marcus Books ","customPermalink":"2013/12/05/marcus-books-investment-plan/","path":"/news/120047/draft-new-hope-for-san-franciscos-marcus-books-amid-gentrification-in-the-fillmore","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_120079\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/2013/12/05/marcus-books-investment-plan/rs7896_marcus_books_5dec2013_0045_web-hpf/\" rel=\"attachment wp-att-120079\">\u003cimg class=\"size-full wp-image-120079\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/12/RS7896_marcus_books_5dec2013_0045_web-hpf.jpg\" alt=\"Marcus Books owner Karen Johnson and her daughter Tamiko Johnson in front of their store. (Sara Bloomberg/KQED)\" width=\"640\" height=\"427\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marcus Books owner Karen Johnson and her daughter Tamiko Johnson in front of their store. (Sara Bloomberg/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Community activists in San Francisco are teaming with a new grassroots investment network to try to save the longtime Fillmore Street home of Marcus Books, the \u003ca href=\"http://www.sfgate.com/bayarea/article/S-F-family-celebrates-50-years-of-Marcus-Books-3200844.php\" target=\"_blank\">historic African-American bookstore\u003c/a>that has faced eviction since earlier this year.\u003c/p>\n\u003cp>Marcus Books and the San Francisco Community Land Trust announced a deal Thursday with the owners of the store's famous lavender Victorian to acquire the property for $2.6 million.\u003c/p>\n\u003cp>The deal is a little complicated: $1.6 million will come from Westside Community Services, a health-services group. The land trust will try to raise the remaining $1 million through \u003ca href=\"https://fundrise.com/\" target=\"_blank\">Fundrise\u003c/a>, a Washington, D.C.-based grassroots-funding startup that allows small investors to buy stakes in real-estate developments and business ventures. The full $2.6 million needs to be raised by next Feb. 28, or the San Francisco location of Marcus Books (it has \u003ca href=\"http://www.eastbayexpress.com/oakland/marcus-books-is-making-a-comeback/Content?oid=2973571\" target=\"_blank\">a second location in Oakland\u003c/a>, a block from MacArthur BART), will be out on the street. If the fund-raising effort succeeds, then the land trust will own the building and Marcus Books will continue as a tenant \"in perpetuity.\"\u003c/p>\n\u003cp>The San Francisco store, opened in 1960 by Raye and Julian Richardson and now operated by their children and grandchildren, \u003ca href=\"http://www.sfexaminer.com/sanfrancisco/marcus-books-on-the-brink-of-closure/Content?oid=2449806\" target=\"_blank\">wound up in bankruptcy\u003c/a> after taking out a high-interest loan during the real estate bubble. Karen Johnson, one of the Richardsons' daughters, said she believes the community movement to save the store holds a larger meaning. \"Humanity is being rekindled ... and this is a sign that people like wisdom and compassion and taking care of other people.\"\u003c/p>\n\u003cp>The land trust's Tracy Parent says the Fundrise model may prove to be a valuable tool for those looking for ways to save affordable housing amid the rapidly escalating prices in today's housing market.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"This will be a very important and significant community campaign and effort as a pilot project, which could hopefully open the door for future community investment in our neighborhoods,\" Parent said during a press conference at the bookstore Thursday. The trust has used Fundrise to help finance three other affordable-housing projects in the city, including a 21-unit building on Columbus Avenue in North Beach.\u003c/p>\n\u003cp>The campaign to save Marcus Books \"is going to be a rare victory for retaining cultural diversity in our city at a time of increasing economic displacement,\" said Julian Davis, attorney for the store.\u003c/p>\n\u003cp>He went out of his way to give credit to the building's owners, the Sweis family of South San Francisco, for being willing to make the deal. The Sweises bought the Marcus Books building for about $1.59 million in a bankruptcy sale, then refused an initial offer of $1.65 million from Westside Community Services for the property and started eviction proceedings against the store.\u003c/p>\n\u003cp>\"It's really important to set the record straight,\" Davis said, \"to recognize the Sweis family are not the Wall Street speculators they were occasionally they were portrayed to be and that there were many factors outside the control of the Sweis family that led to the potential displacement of Marcus Books.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Christine Hsu of KQED News contributed to this post.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/120047/draft-new-hope-for-san-franciscos-marcus-books-amid-gentrification-in-the-fillmore","authors":["222"],"programs":["news_6944"],"categories":["news_6266","news_8"],"tags":["news_5241","news_4613","news_5240","news_137"],"featImg":"news_120079","label":"news_6944"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","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","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"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. 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