Podcasts about North Beach

Send us a textGet ready, because we're capping off our SXSW 2025 coverage with a bang!Brother Versus Brother is a one-shot musical film in which twin brothers wander the streets of San Francisco in search of their missing father, guided by music and historic Beat Generation landmarks. Brothers/stars of the film/director and composer (respectively) Ari Gold and Ethan Gold join us to sing songs, recite poetry, explain the fine art of frame fucking, and wax poetic about San Francisco. This one is special. Enjoy!Follow Brother Versus Brother on IGFollow director Ari Gold on IGFollow musician Ethan Gold on IGListen to Ethan Gold's music on SpotifyOrder the poetry book Father Versus Sons hereThis episode is co-hosted by John Wildman of Films Gone WildAudio produced by Jeff Hunt of Storied: SFSupport the showThanks for listening and for your support! We couldn't have won Best of the Bay Best Podcast in 2022 , 2023 , and 2024 without you! -- Fight fascism. Shop small. Use cash. -- Subscribe to our channel on YouTube for behind the scenes footage! Rate and review us wherever you listen to podcasts! Visit our website! www.bitchtalkpodcast.com Follow us on Instagram & Facebook Listen every Tuesday at 9 - 10 am on BFF.FM

On his mom's side, Woody LaBounty's San Francisco roots go back to 1850. In Part 1, get to know Woody, who, today, is the president and CEO of SF Heritage. But he's so, so much more than that. He begins by tracing his lineage back to the early days of the Gold Rush. His maternal great-great-great-grandfather arrived here mid-Nineteenth Century. Woody even knows what ship he was on and the exact day that it arrived in the recently christened city of San Francisco. On Woody's dad's side, the roots are about 100 years younger than that. His father grew up in Fort Worth, Texas (like I did). His dad's mom was single and fell on hard times in Texas. She came to San Francisco, where she had a step-brother. Woody's parents met at the Donut Bowl at 10th Avenue and Geary Boulevard (where Boudin Bakery is today). Donut Bowl was a combination donut shop/hot dog joint. At the time the two met, his dad worked as a cook there and his mom was in high school. His mom and her friends went to nearby Washington High and would hang out at the donut shop after school. The next year or so, his parents had their first kid—Woody. They came from different sides of the track, as it were. Woody's mom's family wasn't crazy about her dating his working-class dad, who didn't finish high school. But once his mom became pregnant with Woody, everything changed. The couple had two more sons after Woody. One of his brothers played for the 49ers in the Nineties and lives in Oregon today. His other brother works with underserved high school kids in New Jersey, helping them get into college. Woody shares some impressions of his first 10 years or so of life by describing The City in the mid-Seventies. Yes, kids played in the streets and rode Muni to Candlestick Park and The Tenderloin to go bowling. It was also the era of Patty Hearst and the SLA, Jonestown, and the Moscone/Milk murders. But for 10-year-old Woody, it was home. It felt safe, like a village. Because I'm a dork, I ask Woody to share his memories of when Star Wars came out. Obliging me, he goes on a sidebar about how the cinematic phenomenon came into his world in San Francisco. He did, in fact, see Star Wars in its first run at the Coronet. He attended Sacred Heart on Cathedral Hill when it was an all-boys high school. He grew up Catholic, although you didn't have to be to go to one of SF's three Catholic boys' high schools. Woody describes, in broad terms, the types of families that sent their boys to the three schools. Sacred Heart was generally for kids of working-class folks. After school, if they didn't take Muni back home to the Richmond District, Woody and his friends might head over to Fisherman's Wharf to play early era video games. Or, most likely, they'd head over to any number of high schools to talk to girls. Because parental supervision was lacking, let's say, Woody and his buddies also frequently went to several 18+ and 21+ spots. The I-Beam in the Haight, The Triangle in the Marina, The Pierce Street Annex, Enrico's in North Beach, Mabuhay Gardens. There, he saw bands like The Tubes and The Dead Kennedy's, although punk wasn't really his thing. Woody was more into jazz, RnB, and late-disco. We chat a little about café culture in San Francisco, something that didn't really exist until the Eighties. To this day, Woody still spends his Friday mornings at Simple Pleasures Cafe. And we end Part 1 with Woody's brief time at UC Berkeley (one year) and the real reason he even bothered to try college. Check back next week for Part 2 with Woody LaBounty. And this Thursday, look for a bonus episode all about We Players and their upcoming production of Macbeth at Fort Point. We recorded this episode in Mountain Lake Park in March 2025. Photography by Jeff Hunt

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  A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Grace Lee Boggs said, “History is not the past. It is the stories we tell about the past. How we tell these stories – triumphantly or self-critically, metaphysically or dialectally – has a lot to do with whether we cut short or advance our evolution as human beings.” In our current chaotic time, it feels like we are intentionally ignoring history. Our lack of awareness feels like a de-evolution, as our education department is gutting, books are banned, and so many American institutions are at risk, it feels as though a critical analysis of history is being ignored.  On Tonight's APEX Express, Host Miko Lee focuses on Wong Kim Ark and the importance of Birthright Citizenship. She speaks with historian David Lei, Reverend Deb Lee and lawyer/educator Annie Lee and activist Nick Gee. Discussed by Our Guests: What You Can Do To Protect Birthright Citizenship Our history is tied to the legacy of Wong Kim Ark and birthright citizenship, and it will take ongoing advocacy to protect this fundamental right. Here are four ways you can stay involved in the work ahead: Invite a friend to attend an event as part of Chinese for Affirmative Action's weeklong series commemorating Wong Kim Ark. Take action and oppose Trump's executive order banning birthright citizenship. Learn about Wong Kim Ark and Trump's executive order to end birthright citizenship. Sign up to join Stop AAPI Hate's Many Roots, One Home campaign to fight back against Trump's anti-immigrant agenda.   How you can get engaged to protect immigrants: https://www.im4humanintegrity.org/ https://www.bayresistance.org/ Bay Area Immigration: 24 Hour Hotlines San Francisco 415-200-1548 Alameda County 510-241-4011 Santa Clara County 408-290-1144 Marin County 415-991-4545 San Mateo County 203-666-4472   Know Your Rights (in various Asian languages) Thank you to our guests and Chinese for Affirmative Action for the clip from Wong Kim Ark's great grandson Norman Wong   Show Transcript: Wong Kim Ark Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   Miko Lee: [00:00:35] Grace Lee Boggs said history is not the past. It is the stories we tell about the past, how we tell these stories. Triumphantly or self critically metaphysically or dialectically, has a lot to do with whether we cut short or advance our evolution as human beings. I. Well, in our current chaotic times, it feels like we are intentionally ignoring history. Our lack of awareness feels like a de-evolution. As our education department is gutted and books are banned, and so many of our American institutions are at risks, it feels as though a critical analysis of history is just being intentionally ignored. So welcome to Apex Express. I'm your host, Miko Lee, and tonight we're gonna delve back into a moment of history that is very much relevant in our contemporary world. Tonight's show is about long Kim Ark. There's a famous black and white photo of a Chinese American man. His hair is pulled back with a large forehead on display, wide open eyes with eyebrows slightly raised, looking at the camera with an air of confidence and innocence. He is wearing a simple mandarin collared shirt, one frog button straining at his neck, and then two more near his right shoulder. The date stamp is November 15th, 1894. His name is Wong Kim Ark. Tonight we hear more about his story, why it is important, what birthright citizenship means, and what you could do to get involved. So stay tuned. Welcome, David Lei, former social worker, community activist, lifelong San Franciscan, and amazing community storyteller. Welcome to Apex Express.    David Lei: [00:02:21] Thank you, Miko.    Miko Lee: [00:02:23] Can you first start with a personal question and tell me who are your people and what legacy do you carry with you?    David Lei: [00:02:31] I'm now on the board of Chinese Historical Society of America. Chinese American History is pretty important to me for my identity and the story of Chinese in America is American history, and that's where I'm at now.   Miko Lee: [00:02:50] And what legacy do you carry with you from your ancestors?    David Lei: [00:02:56] To pass on the wisdom they pass to me to future descendants. But I'm here in America, so I know after a few generations, my descendants won't look like me. Most likely they won't speak Chinese. They're going to be Americans. So. The lessons and values and wisdoms, my ancestors passed to me, I'm passing to America.   Miko Lee: [00:03:30] we are talking on this episode about Wong Kim Ark and as a community storyteller, I wonder if you can take me back to that time, take me back to Wong Kim Ark growing up in San Francisco, Chinatown, what was happening in San Francisco, Chinatown at that time    David Lei: [00:03:48] Okay, this is the end of the 19th century and we have the Exclusion Act in 1882 where Chinese were excluded from coming to America with few exceptions like merchants, diplomats, and scholars. So if you're Chinese and you're a laborer you just can't come. And there were concerns about. Going, even if you were here, there's a process for your return, the documents you will need. But even that was iffy. But for Chinese in general, there was birthright citizenship. So if you were born here, you have citizenship and that because of the 14th amendment. So many Chinese thought birthright citizenship was important 'cause you can vote, you have more rights, less chance that you will be deported. So the Chinese, born in America, right at 1895, formed a Chinese American Citizens Alliance. The concept of being a American citizen was in everybody's mind in Chinatown at that time. The Chinese been fighting for this birthright citizenship ever since the Exclusion Act. Before Wong Kim Ark, there was Look Tin Sing in the matter regarding Look Tin Sing was a CA federal Court of Appeal case. Look Tin Sing was born in Mendocino, so he's American born. He assumed he was a citizen. His parents sent him back to China before the Exclusion Act, and when he came back after the Exclusion Act, of course he didn't have the paperwork that were required , but he was born here. So to prove that he was a citizen. He had to have a lawyer and had to have white witness, and it went to the federal Court of Appeal, ninth Circuit, and the Chinese sixth company. The City Hall for Chinatown knew this was important for all Chinese, so gave him a lawyer, Thomas Den, and he won the case. Then in 1888, this happened again with a guy named Hong Yin Ming. He was held and he had to go to the Federal Court of Appeal to win again, then Wong Kim Ark 1895. He was stopped and. This time, the Chinese six company, which is a city hall for Chinatown they really went all out. They hired two of the best lawyers money could buy. The former deputy Attorney General for the United States, one of which was the co-founder of the American Bar Association. So these were very expensive, influential lawyers. And because Wong Kim Ark was a young man under 25, he was a cook, so he was poor, but the community backed him. And went to the Supreme Court and won because it was a Supreme Court case. It took precedent over the two prior cases that only went to the Court of Appeal.    Now you might think, here's a guy who has a Supreme Court case that says he's an American citizen. Well, a few years later in 1901, Wong Kim Ark went to Mexico to Juarez. When he came back to El Paso the immigration stopped him at El Paso and says, no you are just a cook. you're not allowed to come in because we have the 1882 Exclusion Act. Wong Kim Ark Says, I have a Supreme Court case saying I'm a US citizen, and the El Paso newspaper also had an article that very week saying they're holding a US citizen who has a Supreme Court case in his favor saying that he is a US citizen. However, immigration still held him for four months in El Paso. I think just to hassle. To make it difficult. Then by 1910, Wong Kim Ark had a few sons in China that he wants to bring to the us so he arranged for his first son to come to America in 1910. His first son was held at Angel Island. Interrogated did not pass, so they deported his firstborn son. So he says, wow, this is my real son, and he can't even get in. So this is dealing with immigration and the US laws and the racist laws is unending. Just because you win the Supreme Court case, that doesn't mean you're safe as we are seeing now. So it takes the community, takes a lot of effort. It takes money to hire the best lawyers. It takes strategizing. It takes someone to go to jail, habeas corpus case oftentimes to test the laws. And even when you win, it's not forever. It's constantly challenged. So I think that's the message in the community. Chinese community had push back on this and have pushed for Birthright citizenship from the very beginning of the Exclusion Act.    Miko Lee: [00:09:48] Thank you so much for that. David. Can we go back a little bit and explain for our audience what the Six Companies meant to Chinatown?    David Lei: [00:09:57] From the very beginning, there were a lot of laws racist laws that were anti-Chinese, and the Chinese always felt they needed representation. Many of the Chinese did not speak English, did not understand the laws, so they formed the Chinese Six Companies. Officially known as the Chinese Consolidated Benevolent Association. most Chinese come from just the six districts from Guangdong Province. They're like counties. However, in China, each counties most likely will have their own dialect. Unintelligible to the county next to them. They will have their own food ways, their own temples. almost like separate countries. So there were six major counties where the Chinese in America came from. So each county sent representatives to this central organization called the Chinese six companies, and they represented the Chinese in America initially in all of America. Then later on, different states set up their own Chinese Consolidated Benevolent Association, so they would tax their own membership or get their own membership to pay fees. They had in-house lawyers to negotiate with city government, state government, federal government, and they would raise the money. They were the GoFundMe of their days. Almost every month they were hiring lawyers to protect some Chinese, somewhere in America against unfair unjust laws. The Chinese six company was very important to the Chinese in America, and they were the first to really push back on the Chinese exclusion Act between 1882 and 1905. 105,000 Chinese in America after the exclusion Act sued a federal government more than 10,000 times. This is about 10% of the Chinese population in America, sued the federal government. I'm not including state government, counties nor municipalities. This is just the federal government. About 10% of the Chinese here sued and almost 30 of these went to the Federal Supreme Court, and it was the sixth company that organized many of these winning for all Americans and not just the Chinese right. To a public education. Even if you are an immigrant tape versus Hurley in 1885. Then we have the Yick Wo versus Hopkins case that gave equal protection under law for everyone. Now, the 14th Amendment does have this clause equal protection under law, but everybody thought that meant you had to write a law that was equal for everybody. But in the case of Yick Wo versus Hopkins, it was also important that the law is executed and administered equally for everyone. That's the first time where it was made very clear that equal protection under law also means the administration and the execution of the law. So that is the core of American Civil Rights and the Chinese won this case for all Americans. Of course, Wong Kim Ark.    The concept of political asylum, public law 29 was a Chinese case passed by Congress in 1921, and then we have Miranda Act. If you look into the Miranda Act, it was based on a Chinese case, 1924 Ziang Sun Wan versus the US two Chinese were accused of murder in Washington DC They were tortured, denied sleep. Denied food, denied attorneys, so they confessed. But when it came to trial. They said we didn't do it, we confessed 'cause we were tortured and they won in the Supreme Court, but it was a Washington DC case only applicable to federal jurisdictions. So when Miranda came up, the Supreme Court said, well, we decided this in 1924, but now we'll just make it applicable to state, county and municipality. And then of course, as recently as 1974 Chinese for affirmative action helped bring the Lao versus Nichols case. Where now is required to have bilingual education for immigrant students, if there are enough of them to form a class where they can be taught math, science, history in their original language. These and many more. The Chinese brought and won these cases for all Americans, but few people know this and we just don't talk about it.    Miko Lee: [00:15:35] David, thank you so much for dropping all this knowledge on us. I did not know that the Miranda rights comes from Asian Americans. That's powerful. Yes. And so many other cases. I'm wondering, you said that Chinese Americans and the six companies sued, did you say 10,000 times?    David Lei: [00:15:53] We have 10,000 individual cases. In many of these cases, the Chinese six company helped provide a lawyer or a vice.    Miko Lee: [00:16:03] And where did that come from? Where did that impetus, how did utilizing the legal system become so imbued in their organizing process?   David Lei: [00:16:14] Well, because it worked even with the exclusion act, during the exclusion period most Chinese. Got a lawyer to represent them, got in something like 80%. In many of the years, 80% of the Chinese that hire a lawyer to help them with the immigration process were omitted. So the Chinese knew the courts acted differently from politics. The Chinese did not have a vote. So had no power in the executive branch nor the legislative branch. But they knew if they hire good lawyers, they have power in the court. So regardless of whether their fellow Americans like them or not legally the Chinese had certain rights, and they made sure they received those rights. By organizing, hiring the best lawyers, and this was a strategy. suing slowed down after 1905 because the Chinese lost a important case called Ju Toy versus the us. The Supreme Court decided that since the Chinese sue so much, their courts of appeal were tied up with all these cases. So the Supreme Court says from now on, the Supreme Court will give up his rights to oversight on the executive branch when it comes to immigration because the Chinese sue too much. And that's why today the executive branch. Has so much power when it comes to immigration, cause the court gave up the oversight rights in this ju toy versus the US in 1905. So if we go to the history of the law a lot of the legal policies we live in today, were. Pushback and push for by the Chinese, because the Chinese were the first group that were excluded denied these rights. but the Chinese were very organized one of the most organized group and push back. And that's why we have all these laws that the Chinese won.    Miko Lee: [00:18:30] And in your deep knowledge of all this history of these many cases, what do you think about what is happening right now with all the conversations around birthright citizenship? Can you put that into a historical perspective?    David Lei: [00:18:44] So being an American. We always have to be on the guard for our rights. Who would've thought Roe v. Wade would be overturned? So all these things can be challenged. America's attitude change. Civil disobedience, the Chinese are actually, we have on record the largest number of people practicing civil disobedience over a long period of time. In 1892, when the Exclusion Act, Chinese Exclusion Act had to be renewed, they added this. New requirement that every Chinese must carry a certificate of residency with their photo on it. Well, this is like a internal passport. No one had to have this internal passport, but they made the Chinese do it. So the Chinese six company. Says, no, this is not right. Only dogs need to carry a license around to identify. Itself and only criminals needs to register with a state. And we Chinese are not dogs and we're not criminals, so we're not going to do it 'cause no one else needs to do it. So the six company told all the Chinese 105,000 Chinese not to register. 97% refuse to register. In the meantime, the six companies sued the federal government again. Saying the Federal Go government cannot do this. The Chinese lost this case in the Supreme Court and everybody then had to register, but they didn't register until two years later, 1894. So they held. Held out for two years.   Miko Lee: [00:20:31] How many people was that?    David Lei: [00:20:32] About a hundred thousand. 97% of the 105,000 Chinese refused to do this. So if you look at these certificate of residencies that the Chinese were forced to carry. They were supposed to register in 1892. Almost all of them are 1894. Some of them in fact many of them are May, 1894, the last second that you can register before they start deporting you. So the Chinese. Also practiced civil disobedience and the largest incidents, a hundred thousand people for two years.    Miko Lee: [00:21:15] How did they communicate with each other about that?   David Lei: [00:21:18] The Chinese were very well connected through the six companies, their district association, their surname association oftentimes because of. The racism segregation, the Chinese were forced to live in Chinatowns or relied on their own network. To support each other. So there, there's a lot of letter writing and a lot of institutions, and they kept in touch.That network was very powerful. In fact, the network to interpret a law for everybody interpret uh, any rules of business, and. Just how to conduct themselves in America. They have a lot of institutions doing that. We still have them in the 24 square blocks we call Chinatown. We have almost 300 organizations helping the immigrants. Chinese there with language, with how to do your taxes tutoring for their kids. Advice on schools paying their bills and so on. We have surnames associations, we have district associations, we have gills, we have fraternal organizations, and we certainly have a lot of nonprofits. So it's very, very supportive community. And that's always been the case.    Miko Lee: [00:22:42] I'm wondering what you feel like we can learn from those organizers today. A hundred thousand for civil disobedience. And we're often portrayed as the model minority people just follow along. That's a lot of people during that time. And what do you think we can learn today from those folks that organize for civil disobedience and the Chinese Exclusion Act?    David Lei: [00:23:03] It takes a community. One person can't do it. You have to organize. You have to contribute. You have to hire the best lawyers, the very best. In fact, with the Yik Wo versus Hopkins case, the equal protection under law, the Chinese immediately raised 20,000 equivalent to half a million. It takes collective action. It takes money. You just have to support this to keep our rights.    Miko Lee: [00:23:29] And lastly, what would you like our audience to understand about Wong Kim Ark?    David Lei: [00:23:35] Well, Wong Kim Ark, he was just an average person, a working person that the immigration department made life miserable for him. Is very difficult to be an immigrant anytime, but today is even worse. We have to have some empathy. He was the test case, but there were so many others. I mentioned Look Tin Sing, whose adult name is Look Tin Eli. We know a lot about Look Tin Eli and then this other Hong Yin Ming in 1888 before Wong Kim Ark and so generations of generations of immigrants. Have had a hard time with our immigration department. It's just not a friendly thing we do here. And you know, we're all descendants of immigrants unless you're a Native American. Like I mentioned Look Tin Sing, who was the first case that I could find. For birthright citizenship. His mother was Native American, but Native American didn't even get to be citizens until 1924. You know, that's kind of really strange. But that was the case.    Miko Lee: [00:24:50] That's very absurd in our world.    David Lei: [00:24:52] Yes, Chinatown is where it is today because of Look Tin Sing, his adult name, Look Tin Eli. He saved Chinatown after the earthquake. He's the one that organized all the business people to rebuild Chinatown like a fantasy Chinese land Epcot center with all the pagoda roofs, and he's the one that saved Chinatown. Without him and his Native American mother, we would've been moved to Hunter's Point after the earthquake. He later on became president of the China Bank and also president of the China Mayo Steamship Line. So he was an important figure in Chinese American history, but he had to deal with immigration.   Miko Lee: [00:25:39] David Lei, thank you so much for sharing your wisdom with us. I appreciate hearing this story and folks can find out when you are part of a panel discussion for Wong Kim Ark week, right?    David Lei: [00:25:50] Yes.    Miko Lee: [00:25:51] Great. We will be able to see you there. Thank you so much for being on Apex Express. Annie Lee, managing director of Policy at Chinese for affirmative action. Welcome to Apex Express.    Annie Lee: [00:26:01] Thank you so much for having me Miko.    Miko Lee: [00:26:02] I wanna just start with this, a personal question, which is, who are your people and what legacy do you carry with you?    Annie Lee: [00:26:10] I am the daughter of monolingual working class Chinese immigrants. And so I would say my people hail from Southern China and were able to come to the United States where I was born and was allowed to thrive and call this place home. I do this work at Chinese for Affirmative Action on their behalf and for other folks like them.    Miko Lee: [00:26:31] Thanks Annie, Today we're recording on March 17th, and I'm noting this because as we know, things are changing so quickly in this chaotic administration. By the time this airs on Thursday, things might change. So today's March 17th. Can you as both an educator and a lawyer, give me a little bit of update on where birthright citizenship, where does it stand legally right now?    Annie Lee: [00:26:55] As an educator and a lawyer, I wanna situate us in where birthright citizenship lives in the law, which is in the 14th Amendment. So the 14th Amendment has a birthright citizenship clause, which is very clear, and it states that people who were born in the United States, in subject to the laws thereof are United States citizens. The reason. This clause was explicitly added into the 14th Amendment, was because of chattel slavery in the United States and how this country did not recognize the citizenship of enslaved African Americans for generations. And so after the Civil War and the Union winning that war and the ends of slavery . We had to make African Americans citizens, they had to be full citizens in the eye of the law. And that is why we have the 14th Amendment. And that clause of the 14th Amendment was later litigated all the way to the Supreme Court by Wong Kim Ark, who was born in San Francisco, like me, two Chinese immigrant parents. When he left the United States, he went to China to visit his family. He tried to come back. They wouldn't let him in. and he said, I am a citizen because I was born in the United States and this clause in your 14th amendment, our 14th amendment says that I'm a citizen. It went all the way to Supreme Court and the Supreme Court agreed with Wong Kim Ark. Does not matter your parents' citizenship status. Everyone born in the United States is a US citizen, except for a very, very narrow set of exceptions for the kids of foreign diplomats that really is not worth getting into. Everyone is born. Everyone who's born in the United States is a citizen. Okay? So then you all know from Trump's executive order on day one of his second presidency that he is attempting to upends this very consistent piece of law, and he is using these fringe, outlandish legal arguments that we have never heard before and has never merited any discussion because it is just. Facially incorrect based on the law and all of the interpretation of the 14th amendment after that amendment was ratified. So he is using that to try to upend birthright citizenship. There have been a number of lawsuits. Over 10 lawsuits from impacted parties, from states and there have been three federal judges in Maryland, Washington State, and New Hampshire, who have issued nationwide injunctions to stop the executive order from taking effect. That means that despite what Trump says in his executive order. The birthright citizenship clause remains as it is. So any child born today in the United States is still a citizen. The problem we have is that despite what three judges now issuing a nationwide injunction, the Trump's government has now sought assistance from the Supreme Court to consider his request to lift the nationwide pause on his executive order. So the justices, have requested filings from parties by early April, to determine whether or not a nationwide injunction is appropriate. This is extraordinary. This is not the way litigation works in the United States. Usually you let the cases proceed. In the normal process, which goes from a district court to an appeals court, and then eventually to the Supreme Court if it gets appealed all the way up to the Supreme Court. This is very different from the normal course of action and I think very troubling.    Miko Lee: [00:30:36] So can you talk a little bit about that? I know we constantly say in this administration it's unprecedented, but talk about how there's three different states that have actually filed this injunction. , how typical is that for then it or it to then go to the Supreme Court?    Annie Lee: [00:30:53] Just to clarify, it's not three different states. It's judges in three different states. In fact, more than many, many states, 18 more than 18 states. There have been two lawsuits related, brought by states one that California was a part of that had multiple states over 18 states as well as San Francisco and District of Columbia. Then there was another lawsuit brought by another set of states. and so many states are opposed to this, for different reasons. I find their complaints to be very, very compelling. Before I get into the fact that multiple judges have ruled against the Trump administration, I did want to explain that the reason states care about this is because birthright citizenship is not an immigration issue. Birthright citizenship is just a fundamental issue of impacting everyone, and I really want people to understand this. If you are white and born in the United States, you are a birthright citizen. If you are black and born in the United States, you are a birthright citizen. It is a fallacy to believe that birthright citizenship only impacts immigrants. That is not true. I am a mother and I gave birth to my second child last year, so I've been through this process. Every person who gives birth in the United States. You go to the hospital primarily, they talk to you after your child is born about how to get a social security card for your child. All you have to do is have your child's birth certificate. That is how every state in this country processes citizenship and how the federal government processes citizenship. It is through a birth certificate, and that is all you need. So you go to your health department in your city, you get the birth certificate, you tell, then you get your social security card. That is how everyone does it. If you change this process, it will impact every state in this country and it will be very, very cumbersome. Which is why all of these states, attorneys general, are up in arms about changing birthright citizenship. It is just the way we function. That again applies to re regardless of your parents' immigration status. This is an issue that impacts every single American. Now, to your question as to what does it mean if multiple judges in different states, in different federal district courts have all ruled against. Donald Trump, I think it really means that the law is clear. You have judges who ha are Reagan appointees saying that the birthright citizenship clause of the 14th amendment is crystal clear. It has, it is clear in terms of the text. If you are a textualist and you read exactly what the text says, if you believe in the context of, The 14th Amendment. If you look at the judicial history and just how this clause has been interpreted since ratification, like everything is consistent, this is not an area of law that has any gray area. And you see that because different judges in different district courts in Maryland, in Washington, in New Hampshire all have cited against Donald Trump.    Miko Lee: [00:33:54] So what is the intention of going to the Supreme Court?    Annie Lee: [00:33:59] I mean, he is trying to forum shop. He's trying to get a court that he believes will favor his interpretation and that is why the right has spent the last half century stacking federal courts. And that is why Mitch McConnell did not let Barack Obama replace Antonin Scalia. The composition of the Supreme Court is. So, so important, and you can see it at times like this.    Miko Lee: [00:34:28] But so many of the conservatives always talk about being constitutionalists, like really standing for the Constitution. So how do those things line up?   Annie Lee: [00:34:38] Oh, Miko, that's a great question. Indeed, yes, if they were the textualist that they say they are, this is a pretty clear case, but, Law is not as cut and dry as people think it is. It is obviously motivated by politics and that means law is subject to interpretation.   Miko Lee: [00:34:59] Annie, thank you so much for this breakdown. Are there any things that you would ask? Are people that are listening to this, how can they get involved? What can they do?    Annie Lee: [00:35:09] I would recommend folks check out StopAAPIHate. We are having monthly town halls as well as weekly videos to help break down what is happening. There's so much news and misinformation out there but we are trying to explain everything to everyone because these anti-immigration. Policies that are coming out be, this is anti-Asian hate and people should know that. You can also check out resources through Chinese for affirmative action. Our website has local resources for those of you who are in the Bay Area, including the rapid response lines for bay Area counties if you need any services, if you. See ICE. , if you want to know where their ICE is in any particular location, please call your rapid response line and ask them for that verifiable information. Thank you.    Miko Lee: [00:36:00] Thank you so much, Annie Lee for joining us today on Apex.    Ayame Keane-Lee: [00:36:04] You are listening to 94.1 KPFA and 89.3 KPFB in Berkeley, 88.1 KFCF in Fresno, 97.5 K248BR in Santa Cruz, 94.3 K232FZ in Monterey, and online worldwide at kpfa.org.   Miko Lee: [00:36:23] Welcome, Nicholas Gee from Chinese for affirmative action. Welcome to Apex Express.    Nicholas Gee: [00:36:29] Thanks so much, Miko. Glad to be here.    Miko Lee: [00:36:31] I'm so glad that you could join us on the fly. I wanted to first just start by asking you a personal question, which is for you to tell me who you are,, who are your people and what legacy do you carry with you.   Nicholas Gee: [00:36:46] I'll start off by saying Miko, thanks so much for having me. My name is Nicholas Gee and I am a third and or fourth generation Chinese American, born and raised in Houston, Texas. And for me, what that means is, is that my great-great-grandparents and great-grandparents migrated from Southern China, fleeing war and famine and looking for opportunity in the middle of the early, like 19 hundreds. And they wanted to start an opportunity here for future generations like me. My people are my family who migrated here over a hundred years ago. who were settling to start a new life. My people are also the people that I advocate with, the Language Access network of San Francisco, the Immigrant Parent Voting Collaborative, my colleagues at Chinese for affirmative action and stop AAPI hate. I think about my people as the people that I'm advocating with on the ground day to day asking and demanding for change.   Miko Lee: [00:37:41] Thank you. And what legacy do you carry with you?    Nicholas Gee: [00:37:45] I carry the legacy of my elders, particularly my grandparents who immigrated here in around the 1940s or so. And when I think about their legacy, I think a lot about the legacy of immigration, what it means to be here, what it means to belong, and the fight for advocacy and the work that I do today.    Miko Lee: [00:38:05] Thanks so much, Nick, and we're here doing this show all about Wong Kim Ark, and I know Chinese for affirmative action has planned this whole week-long celebration to bring up as we're talking about legacy, the legacy of Wong Kim Ark. Can you talk about how this one week celebration came to be and what folks can expect?    Nicholas Gee: [00:38:26] Yeah. As folks may know we are in the midst of many executive orders that have been in place and one of them being the executive order to end birthright citizenship. And Wong Kim Ark was actually born and raised in San Francisco's Chinatown, particularly on seven. 51 Sacramento Street. In the heart of the community and local partners here in this city, we're really trying to figure out how do we advocate and protect birthright citizenship? How do we bring momentum to tell the story of Wong Kim Ark in a moment when birthright citizenship is, in the process of being removed And so we really wanted to create some momentum around the storytelling, around the legacy of Wong Kim Ark, but also the legal implications and what it means for us to advocate and protect for birthright citizenship. And so I joined a couple of our local partners and particularly our team at Chinese for affirmative action to develop and create the first ever Wong Kim Ark Week. Officially known as born in the USA and the Fight for Citizenship, a week long series of events, specifically to honor the 127th anniversary of the Landmark Supreme Court case, US versus Wong Kim Ark, which affirmed birthright citizenship for all in the United States.    Miko Lee: [00:39:44] What will happen during this week-long celebration?   Nicholas Gee: [00:39:48] We have several scheduled events to raise awareness, mobilize the community, and really to stand up for the rights of all immigrants and their families. One is an incredible book Talk in conversation with author and activist Bianca Boutte. Louie, who recently authored a book called Unassimilable. And she tells a personal narrative and provides a sharp analysis for us to think about race and belonging and solidarity in America, particularly through an Asian American lens. This event is hosted by the Chinese Historical Society of America. Following. We have a live in-person community symposium on Wong Kim Ark legacy and the struggle for citizenship. There'll be a powerful community conversation with legal advocates, storytellers, movement builders, to have a dynamic conversation on the impact of birthright citizenship. Who is Wong Kim Ark? What is his enduring legacy and how people can join us for the ongoing struggle for justice? And you know, we actually have a special guest, Norman Wong, who is the great grandson of Wong Kim Ark. He'll be joining us for this special event. We have a couple of more events. One is a Chinatown History and Art Tour hosted by Chinese Culture Center, this is a small group experience where community members can explore Chinatown's vibrant history, art, and activism, and particularly we'll learn about the legacy of Wong Kim Ark and then lastly, we have a in-person press conference that's happening on Friday, which is we're gonna conclude the whole week of, Wong Kim Ark with a birthright, citizenship resolution and a Wong Kim Ark dedication. And so we'll be celebrating his enduring impact on Birthright citizenship and really these ongoing efforts to protect, our fundamental right. and the San Francisco Public Library is actually hosting an Asian American and Pacific Islander book display at the North Beach campus and they'll be highlighting various books and authors and titles inspired by themes of migration, community, and resilience. So those are our scheduled, events We're welcoming folks to join and folks can register, and check out more information at casf.org/WongKimArk    Miko Lee: [00:42:04] Thanks so much and we will post a link to that in our show notes. I'm wondering how many of those are in Chinese as well as English?    Nicholas Gee: [00:42:13] That is a fantastic question, Miko. We currently have the community symposium on Wong Kim Ark legacy in the struggle for citizenship. This event will have live interpretation in both Mandarin and Cantonese.    Miko Lee: [00:42:46] What would you like folks to walk away with? An understanding of what.    Nicholas Gee: [00:42:30] We really want people to continue to learn about the legacy of birthright citizenship and to become an advocate with us. We also have some information on our website, around what you can do to protect birthright citizenship. As an advocate, we are always thinking about how do we get people involved, to think about civic engagement intentional education and to tie that back to our advocacy. And so we have a couple of ways that we're inviting people to take action with us. One is to invite a friend to consider attending one of our events. If you're based here in the San Francisco Bay area or if you're online, join us for the book Talk with Bianca. , two, we're inviting folks to take action and oppose the executive order to ban birthright citizenship. Chinese for affirmative action has. A call to action where we can actually send a letter to petition , to oppose this executive order to send a message directly to our congressman or woman. and lastly, you know, we're asking people to learn about Wong Kim Ark as a whole, and to learn about the impacts of birthright citizenship. My hope is that folks walk away with more of an understanding of what does it mean here to be an advocate? What does it mean to take action across the community and really to communicate this is what resilience will look like in our community    Miko Lee: [00:43:44] Nick Gee, thank you so much for joining me on Apex Express. It was great to hear how people can get involved in the Wong Kim Ark week and learn more about actions and how they can get involved. We appreciate the work you're doing.    Nicholas Gee: [00:43:56] Thanks so much Miko, and I'm excited to launch this.   Miko Lee: [00:43:58] Welcome, Reverend Deb Lee, executive Director of Interfaith Movement for Human Integrity and part of the Network on Religion and justice. Thank you so much for coming on Apex Express.    Rev. Deb Lee: [00:44:09] Great to be here. Miko.    Miko Lee: [00:44:11] I would love you just personally to tell me who are your people and what legacy do you carry with you?   Rev. Deb Lee: [00:44:17] Wow. Well, my people are people in the Chinese diaspora. My family's been in diaspora for seven generations, from southern China to southeast to Asia. and then eventually to the United States. What I carry with me is just a huge sense of resistance and this idea of like, we can survive anywhere and we take our love and our family and our ancestor we gotta carry it with us. We don't always have land or a place to put it down into the ground, and so we carry those things with us. , that sense of resistance and resilience.    Miko Lee: [00:44:56] Thank you so much. I relate to that so much as a fifth generation Chinese American. To me, it's really that sense of resilience is so deep and powerful, and I'm wondering as a person from the faith community, if you could share about the relevance of Wong Kim Ark and Birthright citizenship.   Rev. Deb Lee: [00:45:12] Yeah, Wong Kim Ark is critical because he was somebody who really fought back against racist laws and really asserted his right to be part of this country, his right to have the Constitution apply to him too. I'm just so grateful for him and so many of the other Chinese Americans who fought back legally and resisted against in that huge wave of period of Chinese exclusion to create some of the really important immigration laws that we have today. I wouldn't be a citizen without birthright citizenship myself. Wong Kim Ark really established that every person who is born on this soil has a right to constitutional protection, has a right to be a citizen. And in fact, the Constitution in the 14th Amendment also applies to let equal treatment for everyone here, everyone who is here. You don't even have to be a citizen for the constitutional rights. And the Fourth Amendment, the fifth Amendment, the first amendment to apply to you. And those things are so under attack right now. It's so important to establish the equality. Of every person and the right for people here in this country to have safety and belonging, that everyone here deserves safety and belonging.    Miko Lee: [00:46:24] Thank you so much for lifting up that activist history. as, a person who was raised in a theological setting at a seminary, I was really raised around this ethos of love as an active tool and a way of fighting for civil rights, fighting for things that we believe in. And I'm wondering if you could talk about how you see that playing out in today. And especially as you know, this Trump regime has had such incredible impacts on immigrants and on so much of our activist history. I'm wondering if you have thoughts on that?    Rev. Deb Lee: [00:47:00] Well, so much of the civil rights history in this country, you know, going back to like the activism of Chinese Americans to establish some of those civil rights. You know, it goes back to this idea of like, who is fully human, who can be fully human, whose humanity will be fully recognized? And so I think that's what's connects back to my faith and connects back to faith values of the sacredness of every person, the full humanity, the full participation, the dignity. And so I think, Wong Kim Ark and the other, like Chinese American activists, they were fighting for like, you know, we don't wanna just be, we're gonna just gonna be laborers. We're not just going to be people who you can, Bring in and kick out whenever you want, but like, we want to be fully human and in this context of this nation state, that means being fully citizens.And so I think that that struggle and that striving to say we want that full humanity to be recognized, that is a fundamental kind of belief for many faith traditions, which, you know, speak to the radical equality of all people and the radical dignity of all people, that can't be taken away, but that has to really be recognized. What's under attack right now is. So much dehumanization, stigmatization of people, you know, based on race, based on class, based on gender, based on what country people were born in, what papers they carry, you know, if they ever had contact, prior contact with the law, like all these things. You know, are immediately being used to disregard someone's humanity. And so I think those of us who come from a faith tradition or who just share that kind of sense of, value and, deep humanism in other people, that's where we have to root ourselves in this time in history and really being, you know, we are going to defend one another's humanity and dignity, at all costs.   Miko Lee: [00:48:55] Thank you for that. I'm wondering if there are other lessons that we can learn from Wong Kim Ark, I mean, the time when he fought back against, this was so early in 1894, as you mentioned, the Chinese exclusion acts and I'm wondering if there are other lessons that we can learn from him in, in our time when we are seeing so many of our rights being eroded.   Rev. Deb Lee: [00:49:17] I think that there's so many ways, that we think about how did people organize then like, you know, it's challenging to organize now, but if you can imagine organizing then, and I'm thinking, you know, when Chinese people were required to carry identification papers and you know, on mass they refused to do that and they. Practice, like a form of civil disobedience. And I think we're at this time now, like the Trump administration's telling anybody here who's unauthorized to come forward and to register well, I think people need to think twice about that. And people are, there are many other things that they're trying to impose on the immigrant community and I think one like lesson is like, how do people survive through a period of exclusion and we are today in a period of exclusion. That really goes back to the mid 1980s, when there was, last, a significant immigration reform that created a pathway to citizenship. Only for about 3 million people. But after that, since that time in the mid 1980s, there has been no other pathways to citizenship, no other forms of amnesty, no other ways for people to fix their status.So in fact, we are already in another 40 year period of exclusion again. And so one of those lessons is how do people survive this period? Like right, and left. They're taking away all the laws and protections that we had in our immigration system. They were very narrow already. Now even those are being eliminated and any form of compassion or discretion or leniency or understanding has been removed. So I think people are in a period of. Survival. How do we survive and get through? And a lot of the work that we're doing on sanctuary right now we have a sanctuary people campaign, a sanctuary congregations campaign is how do we walk alongside immigrants to whom there is no path. There is no right way. there is no opening right now. But walk with them and help support them because right now they're trying to squeeze people so badly that they will self deport. And leave on their own. This is part of a process of mass expulsion but if people really believe that they want to stay and be here, how do we help support people to get through this period of exclusion until there will be another opening? And I believe there will be like our, our history kind of spirals in and out, and sometimes there are these openings and that's something I take from the faith communities. If you look at Chinese American history in this country, the role that faith communities played in walking with the immigrant community and in supporting them, and there's many stories that help people get through that period of exclusion as well.   Miko Lee: [00:51:52] Deb, I'm wondering what you would say to folks. I'm hearing from so many people [say] I can't read the news. It's too overwhelming. I don't wanna get involved. I just have to take care of myself. And so I'm just waiting. And even James Carville, the political opponent, say we gotta play dead for a few years. What are your thoughts on this?    Rev. Deb Lee: [00:52:11] Well, we can't play totally dead. I wish the Democrats wouldn't be playing dead, but I think that a person of faith, we have to stay present we don't really have the option to check out and we actually have to be in tune with the suffering. I think it would be irresponsible for us to. You know, turn a blind eye to the suffering. And I wanna encourage people that actually opportunities to walk with people who are being impacted and suffering can actually be deeply, fulfilling and can help give hope and give meaning. And there are people who are looking for solidarity right now. We are getting a lot of calls every week for someone who just wants them, wants someone to go to their court or go to the ice, check-in with them, and literally just like walk three blocks down there with them and wait for them. To make sure they come out. And if they don't come out to call the rapid response hotline, it doesn't take much. But it's a huge act like this is actually what some of the immigrant communities are asking for, who are millions of people who are under surveillance right now and have to report in. So those small acts of kindness can be deeply rewarding in this. Sea of overwhelming cruelty. And I think we have an obligation to find something that we can do. , find a way, find a person, find someone that we can connect to support and be in solidarity with and think about people in our past. Who have accompanied us or accompanied our people and our people's journey. And when those acts of kindness and those acts of neighbors and acts of friendship have meant so much I know like my family, they still tell those stories of like, this one person, you know, in Ohio who welcome them and said hello. We don't even know their names. Those acts can be etched in people's hearts and souls. And right now people need us.    Miko Lee: [00:53:59] Oh, I love that. I've talked with many survivors of the Japanese American concentration camps, and so many of them talk about the people of conscience, meaning the people that were able to step up and help support them during, before and after that time. Lastly, I'm wondering, you're naming some really specific ways that people can get engaged, and I know you're deeply involved in the sanctuary movement. Can you provide us with ways that people can find out more? More ways to get involved in some of the work that you are doing.    Rev. Deb Lee: [00:54:29] I'll put a plug in for our website. It's www dot I am number four, human integrity.org. So it's, iam4humanintegrity.org. We work with families that are impacted facing deportation, looking for all kinds of ways to get the community to rally around folks and support and we work with faith communities who are thinking about how to become sanctuary congregations and how to be an important resource in your local community. The other organizations, I would say sign up for Bay Resistance. They're organizing a lot of volunteers that we call on all the time we're working with. We're, you know, working with many organizations, the Bay Area, to make sure that a new ice detention facility does not get built. They are looking at the potential site of Dublin. We've worked really hard the last decade to get all the detention centers out of Northern California. We don't want them to open up a new one here.   Miko Lee: [00:55:27] Deb Lee, thank you so much for joining us on Apex Express and folks can actually see Deb on Tuesday night in Wong Kim Ark Week as one of the speakers. Thank you so much for joining us.    Rev. Deb Lee: [00:55:38] Thank you, Miko.    Miko Lee: [00:55:39] Thank you so much for joining us on Apex Express. We're gonna close this episode with words from Norman Wong, the great grandson of Wong Kim Ark.   Norman Wong: [00:55:49] So let's fight back. Threats to birthright citizenship will only divide us, and right now we need to come together to continue the impact of my great grandfather's. This is my family's legacy, and now it's part of yours too. Thank you    Miko Lee: [00:56:11] Please check out our website, kpfa.org to find out more about our show tonight. We think all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important. Apex Express is created by Miko Lee, Jalena Keane-Lee, Preti Mangala-Shekar, Swati Rayasam, Aisa Villarosa, Estella Owoimaha-Church, Gabriel Tanglao, Cheryl Truong and Ayame Keane-Lee.    The post APEX Express – 3.20.25- Wong Kim Ark appeared first on KPFA.

This episode is a sequel podcast nearly five years in the making. We last talked with poet Josiah Luis Alderete back in 2020, over Zoom, in the early COVID days. In this podcast, we pick up, more or less, with where we left off that summer. Back in those days, Josiah Luis still worked at City Lights Bookstore in North Beach. He walks us through that store's process of rearranging around social-distancing protocols that were new at the time. He says that the early days of the pandemic meant hunkering down at home and reading-reading-reading. But once it was deemed safe to reopen City Lights, Josiah was really happy to be back. One of his coworkers at City Lights came up with the idea of doing poetry out the window onto Columbus Avenue. The first poet to read up there was Tongo Eisen-Martin. Josiah says that the reaction from passersby, the looks of joy on their faces, is one of his favorite memories from this time. Then we talk about Josiah's monthly Latinx reading series, Speaking Axolotl, which has been going strong for more than six years now. It started pre-pandemic in Oakland, pivoted to Zoom from early in the pandemic, and resumed in-person in the Mission once that was possible. But we're getting ahead of ourselves now. Josiah reminds us that he was evicted from his home in the Mission back during the first dotcom wave of the Nineties, and that he hadn't been able to move back until recently. Before getting the job at City Lights, he owned and ran a taco shop up in Marin for 20 years. He told himself toward the end of that long run that he never wanted to own a business again. But then he went into Alley Cat Books one day and was talking with that store's owner, Kate Razo. Josiah had been putting on events at Alley Cat for his friend for years, but now, Kate mentioned that she was considering selling the bookstore. To explain his reaction, Josiah begins to talk about how much the Mission means to him. Having given so much to him, his life and his poetry, Josiah felt he owed the neighborhood. He knew that if he didn't step up and take over the space as a book store, it would be prone to whatever trendy gentrifying business happened to move in. But he also knew that it would take a lot of work and a lot of money to do what he felt had to be done. And so he assembled a group of folks and they approached Kate Razo with an offer. That was in August. They opened Medicine for Nightmares a few months later, in November. He originally envisioned keeping his job at City Lights while helping to open the new store in the Mission. But the enormity of the task had other ideas. Some of those folks he'd gathered to do the work also fell off, which seems natural in hindsight. Nonetheless, defying odds and perhaps expectations, the new book store opened. Originally, after having gone through the Alley Cat book inventory and given much of that back to Kate, they opened “bare bones.” Around Day 2 or Day 3 of being open, Josiah realized that he couldn't be both there and City Lights. It was obvious that he needed to quit his job in North Beach, a tearful process he describes. We end Part 1 with Josiah taking listeners through the space that Medicine for Nightmares inherited from Alley Cat Books. Check back next week for Part 2 with Josiah Luis Alderete. We recorded this podcast at Medicine for Nightmares Bookstore and Gallery in February 2025. Photography by Mason J.

=== Sign up for the Ron & Don Newsletter to get more information atwww.ronanddonradio.com====To schedule a Ron & Don Sit Down to talk about your Real Estate journey, go towww.ronanddonsitdown.com ====Thanks to everyone that has become an Individual Sponsor of the Ron & Don Show. If you'd like to learn more about how that works:Just click the link and enter your amount athttps://glow.fm/ronanddonradio/RonandDonRadio.comEpisodes are free and drop on Monday's , Wednesday's & Thursday's. From Seattle's own radio personalities, Ron Upshaw and Don O'Neill.Connect with us on FacebookRon's Facebook PageDon's Facebook Page====

A rainy night in North Beach brought together Audio Terrorist's creative circle to celebrate 40 years of collaboration.

As a young architectural historian in San Francisco, Shayne Watson would take lunchtime walks near her office, pondering how and where the city's lesbian history took shape. She discovered that one of the earliest lesbian bars once stood right up the street in North Beach, a neighborhood that served as the birthplace of the city's lesbian community—though you'd never know it just by looking. After earning her USC master's degree in 2009, Shayne decided to do something about underrecognized LGBTQ history in San Francisco. She never looked back and is now a national leader in LGBTQ preservation.Producer Willa Seidenberg took a walk with Shayne in North Beach to see some sites from her thesis, Preserving the Tangible Remains of San Francisco's Lesbian Community in North Beach, 1933 to 1960. They discuss the neighborhood's roots in tourism, its transformation after Prohibition, and its uncertain fate in the face of the affordable housing crisis.Photos, links, and transcript on episode pageConnect with us on Instagram, Facebook, and LinkedIn!

Allen and Alexis head to North Beach to enjoy some incredible Italian food. They even take a stroll after dinner. However, he cannot figure out why he can't get her to go out again.

On this week's podcast, Pat Cobe, senior menu editor of Restaurant Business, and Bret Thorn, senior food & beverage editor of Nation's Restaurant News and Restaurant Hospitality, discussed Bret's trip to the San Francisco Bay area, where he went for The Culinary Institute of America's annual Worlds of Flavor conference in Napa.  The theme this year was Borders, Migration, and the Evolution of Culinary Tradition, which Bret acknowledged was quite a mouthful, but basically it was a discussion of how cooks adjust their food based on what ingredients are available and what customs and traditions are around them, as well as their own life experiences. In short: It's all fusion. Highlights included a demonstration of southern Italian spaghetti and tomato sauce made like it was risotto and accompanied by a lecture of how spaghetti and tomatoes got to Italy, and lentil fritters that combined the traditions of West Africa and East Africa. Bret then spent the weekend in San Francisco, and a culinary highlight was a pastrami sandwich with horseradish and red pepper aïoli at Mario's Bohemian Cigar Store Café in the North Beach neighborhood.  Pat stayed in New York City and checked out a Cambodian restaurant called Bayon. It was her first time trying that particular cuisine and she found it lighter and more subtle than the cuisines of its neighbors, Vietnam and Thailand. She also had brunch at Sarabeth's, a long-standing concept with four locations in New York City, where she enjoyed tasty popovers and mushrooms with eggs. Then Bret shared an interview with Cheng Lin, chef and owner of Shota Omakase in the Brooklyn neighborhood of Williamsburg. The chef discussed the importance of rice in sushi and of cultivating regular customers.

In this episode of Seattle Hall Pass, we dive into Seattle Public Schools' proposal to close and consolidate four elementary schools: North Beach, Sacajawea, Stevens, and Sanislo. Christie, Jane, and Jasmine explore critical questions surrounding the district's decision-making process, including the criteria used for selecting these schools, the potential impacts on special education services, and how transitions might affect students and staff. We discuss community concerns, staffing changes, and the broader implications for the SPS landscape.See our Show Notes.Contact us.Support the showMusic by Sarah, the Illstrumentalist, logo by Carmen Lau-Woo.

Seattle's Public School District is grappling with a nearly 100 million dollar budget shortfall, as student enrollment in the district has dropped in recent years. In a letter last month, Superintendent Brent Jones said that SPS was proposing the closure of North Beach, Sacajawea, Sanislo, and Stevens elementary schools next year, pending school board approval. The district says the latest plan will save around $5 million dollars - much less, notably, than the close to 30 million the broader closure plan was expected to yield. So, where will the rest of the money come from to shore up the budget?  Seattle Public Schools Superintendent Brent Jones sat down with Soundside host Libby Denkmann to talk school closures, highly capable programs, and more. Thank you to the supporters of KUOW, you help make this show possible! If you want to help out, go to kuow.org/donate/soundsidenotes Soundside is a production of KUOW in Seattle, a proud member of the NPR Network. Guest: Dr. Brent Jones, Seattle Public Schools Superintendent Relevant Links: 4 Seattle schools up for closure revealed - KUOW Seattle Public Schools enrollment ticks up slightly as district moves ahead with closures - KUOW School closures: No answers for my 5-year-old - Seattle Times Seattle private school enrollment spikes, ranks No. 2 among big cities - Seattle Times See omnystudio.com/listener for privacy information.

In Part 2, we pick up where we left off in Part 1. Aaron talks about volunteering at a nonprofit in The City called the Trust for Public Land, where he learned about land acquisition for parks and open spaces. Through that gig, he got a paid internship and eventually, a job. In fact, he met Nancy, the woman he would later marry, there. He eventually moved into Nancy's apartment in North Beach, his first apartment in SF. The move came shortly after the couple visited Nepal to climb in the Himalayas. It was October 1989, when the Loma Prieta earthquake happened.   We fast-forward to 2000, the year I moved to San Francisco. I set the stage for my first brush with Aaron at this point in the recording. My first apartment was on California Street near Larkin. The cable car runs on that block. One day, still very new in The City, I spotted a politician on a cable car campaigning. Back then, I had no idea what the Board of Supervisors was. But lo and behold, it was Aaron Peskin, campaigning for his first term on the Board.   Aaron then tells the story from his point of view, backing up just a few years.   In his time at the Trust for Public Land, he worked with elected officials often. He learned his way around Sacramento and DC. But more pertinent to this story, Aaron also worked with a North Beach tree-planting organization—Friends of the Urban Forest, in fact—and the Telegraph Hill Dwellers to be specific. The work involved getting volunteers together, convincing folks who'd lived in the neighborhood for decades to plant trees on the sidewalks in front of their houses.   It was the late-Nineties. The first dotcom boom was still happening. Willie Brown was at the height of his mayoral power. Chain stores were trying their hardest to move into North Beach. Aaron remembered that he knew the mayor from his work with the trust, and got a meeting with Brown. He brought several disparate groups together with the mayor. Brown told Peskin, "If you don't like the way I run this town, why don't you run for office?"   From that dismissive comment, Aaron got involved in the upstart mayor campaign, in 1999, of Supervisor Tom Ammiano. Through this, he met many folks from many grassroots and neighborhood organizations. Ammiano, a write-in candidate, forced a December runoff, which he lost to Willie Brown. But the experience transformed Aaron Peskin.   Ammiano urged Aaron to run for the DCCC shortly after the election. Looking over what he'd already accomplished, he ran and got a seat on the committee. It was March 2000. That fall would see the resumption of supervisor district elections, vs. at-large contests where the top-11 vote-getters won seats on the Board that had been in place since 1980. Again, Ammiano nudged Aaron to run for the newly created District 3 supervisor seat. He thought, Why not try once?   He won the seat. Aaron credits campaign volunteers with earning that victory. He ended up serving two four-year terms as the D3 supervisor.   We fast-forward a bit through those eight years. Highlights include Matt Gonzalez's run for mayor in 2003, Aaron's dive into areas of public policy he had been uneducated on prior to his time in office, and bringing people together to get stuff done.   I ask Aaron if it's all ever overwhelming. He says yes, and rattles off the various ways—hiking, canoeing, yoga— he deals with that. We talk about his addiction to alcohol as well, something he's kicked for the last three years.   Aaron was termed out in 2008, and says he saw it as the end of a chapter of his life. He ran for the DCCC again, where he won a seat and was the chair of that group from 2008–2012. He helped get out the vote for Barack Obama in 2008, working to send volunteers to Nevada. After 2012, he figured he was totally finished with politics. He went back to the Trust for Public Land. But then a funny thing happened.   Aaron's chosen successor for D3 supervisor, David Chiu, won the seat and took over after Aaron was termed out in 2008. Then, in 2014, Chiu ran for an California Assembly seat and won. Then-Mayor Ed Lee appointed Julie Christensen. A special election in late-2015 saw Peskin run against Christensen, mostly at the urging of Rose Pak. He won that election, as well as the "normal" district election the following year. By the end of this year, he'll be termed out again.   Highlights of Aaron's second stint on the Board of Supervisors, for him, include: He's become the senior member of the Board, having served with 42 different other members. He's also come to relish the role of mentor for new supervisors. He goes over a litany of other legislation he's either written or helped to get passed   Moving forward to the issues of today and Aaron's run for mayor, he starts by praising the Board and the Mayor's Office for coming together to deal with COVID. Then he talks about ways that he and Mayor London Breed have worked together in their times in office.   And then we get into Aaron's decision, which he announced this April, to run for mayor. It was a love for The City and the people who live here. It was a lack of what he deems "real choices" in the race. But it was also what Aaron and many others, including myself, see as a billionaire-funded, ultra-conservative attempt to take over politics in San Francisco. It all added up to something he felt he had to do.   Aaron says that, unlike his first run for supervisor, when it comes to his candidacy for mayor, he's "in it to win it."   We recorded this podcast at Aaron Peskin for Mayor HQ in July 2024.   Photography by Jeff Hunt

Amina Goodyear began her performance career in the mid-60's at the Bagdad Cabaret dancing nightly in San Francisco's North Beach district during that city's golden era of Middle Eastern dance and until the Arabic clubs closed in that area. She founded her dance company, The Aswan Dancers, in 1975, and celebrates over 40 years of continuous performance and entertainment. She also founded the Cairo Cats, now a percussion ensemble led by her daughter Susu Pampanin, among many other music and percussion projects. Amina was inducted into the American Academy of Middle Eastern Dance (AAMED) Hall of Fame with a Lifetime Achievement award in New York in 1994. She also received a Humanitarian Award in 2001 from MECDA, a Lifetime Achievement award in 2003 from BDUC in Long Beach and a Lifetime Achievement award in 2015 from Isis and the Belly Dance Chronicles in Texas.In this episode you will learn about:- Belly dance realities of 1960s - Learning to dance under the guidance of musicians- Giza Club project- Sexualization of belly dancers now and before- Biggest changes in belly dance industry over the last 60 yearsShow Notes to this episode:Find Amina Goodyear on Instagram, FB, and website.Details and training materials for the BDE castings are available at www.JoinBDE.comFollow Iana on Instagram, FB, and Youtube . Check out her online classes and intensives at the Iana Dance Club.Find information on how you can support Ukraine and Ukrainian belly dancers HERE.Podcast: www.ianadance.com/podcast

Looking Back Kathmandu to Everest Photographs from 1973 by Lloyd Johnson Looking Back Kathmandu to Everest is a photo journey by photography Lloyd Johnson, not as a conqueror of mountains, but rather a photographic journey of the people, the culture, and the natural environment. The year was 1973 when Lloyd traveled with his Nikon F cameras. He went beyond the confines of the city of Kathmandu and stepped back in time. After leaving the city, the entire trip was completely without electricity, indoor plumbing, telephone, guest houses or hotels. Out of respect for the people and their way of life, all photographs were taken spontaneously and never set up or posed. Lloyd simply tried to capture the moments of life. Over the  three-week period, he trekked from Kathmandu along the Lamosangu and the Khumbu region. All areas through which climbers or trekker passed on their way to the Everest summit. Lloyd's journey led him through small villages, monasteries, market places, beautiful scenery, and into a life completely different than what we live today.The book gives people an opportunity to look back and see what it was like to live as they did for thousands of years.Lloyd Johnson's interest in photography was inspired during the 1960's while living among a community of artists in Sausalito, California. Lloyd was so captivated by this medium of expression that he opened a photographic studio in North Beach, San Francisco, specializing in interior design and fashion Still a free and creative spirit he now resides in Cloverdale, California where we enjoys photography, gardening, and wine making.https://norfolkpress.com/looking-back-kathmandu-to-everest-lloyd-johnson/https://darkroomart22.com/http://www.ReadersMagnet.com   http://www.bluefunkbroadcasting.com/root/twia/82224ljrm.mp3   

Before the 1960s, coffee was a faceless commodity: hot brown beanwater with caffeine. Alfred Peet began a revolution in America's coffee culture when he opened his first shop in Berkeley in 1966. Peet changed the way coffee was imported, the way it was roasted, the way it was sold, and even the way it was savored. He also trained multiple generations of people who would go on to be leaders in the coffee industry, including the founders of Starbucks. Today's episode explores the long history of coffee in the Bay Area. In addition to covering Peet's widespread influence, we discuss how beatniks got buzzed in the Italian cafes of North Beach; the somewhat murky origins of Irish coffee and the latte; the birth of 3rd wave, cupping, cowboys, and much more. Listen now to hear a conversation with coffee industry veteran Evan Gilman of The Crown, a “Coffee Lab and  Tasting Room” in Oakland, where you can sample and learn about some of the world's finest coffee beans.  Don't forget to follow the East Bay Yesterday Substack for updates on events, tours, exhibits, and other local history news: https://substack.com/@eastbayyesterday Special thanks to the sponsor of this episode: UCSF Benioff Children's Hospitals Oakland, home of UCSF's Center of Excellence for Immigrant Child Health and Wellbeing, an initiative that addresses the health of immigrant children through advocacy, education, and evidence-based clinical services.  This volunteer-run pediatric health center provides care that makes a critical difference: https://immigrantchild.ucsf.edu/home East Bay Yesterday can't survive without your donations. Please make a pledge to keep this show alive: www.patreon.com/eastbayyesterday.

In this enlightening interview, host Steve Roby speaks with Adam Theis, the trombonist, bassist, composer, and co-founder of Jazz Mafia. Throughout their conversation, Adam shares the origin story of Jazz Mafia, which began in the late 1990s in San Francisco's North Beach at a venue called Black Cat. Adam describes how the venue's manager encouraged musicians to break boundaries and experiment with new sounds, leading to the creation of the Jazz Mafia collective, which now incorporates a variety of musical genres, including electro, hip-hop, world, classical, and jazz. Steve and Adam delve into specific projects within Jazz Mafia, focusing on the Grateful Brass. This unique ensemble reimagines the music of the Grateful Dead using brass, drums, and vocals. Adam explains how his experiences with Grateful Dead members Mickey Hart and Bob Weir influenced this concept and how the project evolved from an initial challenge to a celebrated musical venture. The interview also highlights the upcoming release of a Grateful Brass album and an exclusive Jerry Garcia birthday Celebration show at Blue Note in Napa. Throughout, Adam provides anecdotes about his musical journey, the creative process behind Jazz Mafia's various projects, and the positive reception from both Jazz Mafia fans and Grateful Dead enthusiasts. The discussion is peppered with a preview of tracks like "China Cat Sunflower" and "Birdsong," showcasing the innovative spirit of Jazz Mafia.

Steve and Amy investigate violent paranormal activity at a family home in North Beach, Maryland. Steve looks into the mysterious death of a former resident, while Amy confronts an entity who tortures the children in the house. Hosted on Acast. See acast.com/privacy for more information.

Racine County boasts a diverse landscape of cities, villages, and towns, offering a blend of urban and rural experiences. In this episode, we delve into the rich history and Danish heritage of Racine, home to the renowned O&H Danish Bakery, and explore its active arts community and educational initiatives, such as the Ardagh Glass Company's partnership with Burlington's STEM program. Recognized for its vibrant downtown scene, Racine has earned accolades for events like First Fridays and the Party on the Pavement, while Burlington hosts the lively Jamboree and Experience Burlington Days. Outdoor enthusiasts can revel in the natural beauty of Lake Michigan at North Beach and partake in activities like the Aquaducks water skiing show at Brown's Lake. Additionally, the county offers a plethora of recreational amenities, from parks like Jonathan - Pritchard Park to attractions like the Racine Zoo and dining establishments ranging from Well Brothers Pizza to Fred's Burgers. Economic development initiatives, such as the Microsoft Data Center and Breakwater 233, underscore the county's commitment to growth and prosperity.Learn more about Racine County here:Racine County: https://bit.ly/4aCHlBFExplore Burlington: https://bit.ly/4550P0zRacine Downtown: https://bit.ly/4dQTbeeVisit Racine County: https://bit.ly/4azmGP3Explore Waterford:https://bit.ly/4aJIoQiSponsored By: Racine County: https://bit.ly/4aCHlBF

Part 2 begins with a chat about how, when we were both younger and just arriving in San Francisco, neither Brett nor I had any idea that we'd be here so long.   After living on Market, Brett moved back to the Mission, where he's lived ever since. His great aunt passed away and left him some money. It proved to be enough for a down payment on a space on Capp Street just off 16th. 65 Capp Street is the address of the original location of The Lost Church, and happens to be where Brett and his family live today.   Then Brett shares the story of meeting his wife, Lost Church co-owner Lizzy. In 1997, he went to Burning Man for his first time, an experience he relates in detail. He went back in 1999 and that's when he met his future wife. Despite her being eight years younger than him, Brett noticed that Lizzy was much more mature than he was. Days after Burning Man, she visited Brett in San Francisco from her home in Sacramento. They eloped in Tahoe two months later and have been together ever since.   Lizzy went through quite an adjustment in her new home on Capp Street. Brett then goes on a sidebar about his many musical adventures. He started a band with people he had met in his time at SF State in the Music program. They played out, most regularly at The Rite Spot. But they broke up and Brett got sick. He joined the stagehands' union to get health insurance. It was around this time that he and Lizzy decided to start their own band, this time with the explicit intention to tour.   They cut up the Capp Street spot into multiple studio spaces to rent out to others. Lizzy and Brett lived and played music in one of the small spaces they had created. Juanita and the Rabbit was born. And they toured ... for most of the next two years.   When they got back, Lizzy and Brett decided to try to have a kid. Around that same time, Brett had been having a not-so-good time with the stagehands' union. Lizzy was working as a stylist for photo shoots, making good money. This all allowed Brett to build out his own theater at the Capp Street space. The plan was to do "ridiculous" rock 'n' roll musicals.   Then we get into how they came up with the name "Lost Church," which Brett says isn't as good a story as many people want to hear. Brett had his own record label, was doing sound design for video games, and wanted to get into sound for movies. His website was split into the two halves: half record label, half his sound design work. For that site and to encompass all that he was doing at the time, he had a few names he was kicking around—The Last School, The Lost School, The Last Church, and The Lost Church. He liked them all because of their community vibes. He's never been a religious person, but for him, the idea of church meant more. He settled on "The Lost Church."   At first, though, it was just for his own creative endeavors. Visiting his website, you were directed to either "The Lost Church of Light and Sound" or "The Lost Church of Rock 'n' Roll." When he and Lizzy decided to turn their space into a theater, the name was already there.   Brett talks about their intentionality of creating a theater-like environment for musicians, one with seats for the audience and the bar in a separate room. Then he shares stories of some of the first performances of the newly minted Lost Church. He says he's not sure how people found him, but shortly after those early shows, musicians started emailing him wanting to play there. (Brian Belknap came in early and Brett hired him to host shows).   Then Brett dives into the story of why The Lost Church had to uproot from its original location. They survived for years without permits, mostly because they never envisioned it lasting long. Once the Entertainment Commission visited and pointed out all the shortcomings, they started to realize how much it would take to get the space up to code.   By the time COVID hit, Brett and Lizzy had already started thinking about a new spot. They had opened their second location up in Santa Rosa when they were forced to shut both down. Relief money started piling in and they hired their Santa Rosa point person. They also used that money to get the new SF location secured, running, and up to code.   It took Brett around nine months to find the new spot. So many criteria went into it that the task became difficult. It took a last-chance, random look at Craigslist to find what became The Lost Church San Francisco on Columbus on the northern edge of North Beach. The doors opened in September 2022 and they've never looked back.   We end the podcast with Brett responding to this season's theme—We're all in it.   Visit The Lost Church online at their website, thelostchurch.org. Follow them on Instagram @thelostchurchsf   Photography by Jeff Hunt

On April 12, 2024, Eleanor Coppola, artist, filmmaker, mother and wife of director Francis Ford Coppola, died at her home in the Napa Valley surrounded by family. She was 87 years old and had lived a most remarkable life.Shortly before her death, Eleanor had completed her third memoir. In it she wrote:“I appreciate how my unexpected life has stretched and pulled me in so many extraordinary ways and taken me in a multitude of directions beyond my wildest imaginings.”On May 6, 2008, on the occasion of the release of her second memoir, Notes on a Life, Eleanor and Davia sat down together at The Commonwealth Club of California and had this conversation before a live audience.Our thanks to The Commonwealth Club of California for sharing this 2008 recording. This conversation was part of their Good Lit Series, underwritten by the Bernard Osher Foundation.The Kitchen Sisters' San Francisco studio is located in Francis and Eleanor's Zoetrope building in North Beach. Ellie has been a part of our lives since the day we came here some three decades ago. Our love goes to the many generations of the Coppola family.

Specs bar in North Beach celebrated a big anniversary yesterday and some people here are so segregated they don't go to different neighborhoods. Weird. --- Send in a voice message: https://podcasters.spotify.com/pod/show/sanfranciscodamn/message Support this podcast: https://podcasters.spotify.com/pod/show/sanfranciscodamn/support

When you walk into the historic, beloved City Lights in San Francisco's North Beach, it's easy to get lost in the winding shelves packed with thousands of titles from classic literature, poetry and philosophy to contemporary fiction. There's a legendary man behind the careful curation. Chief book buyer Paul Yamazaki has worked at City Lights since the 1970's and has dedicated his career to filling the shelves with titles that spark conversations between books and readers. “Any single book has a constellation of conversations, consequences, and causes,” Yamazaki says in his new book “Reading the Room: A Bookseller's Tale.” We'll talk to Yamazaki about independent bookstores and what he sees for the future of books. Guests: Paul Yamazaki, chief book buyer, City Lights Bookstore - In 2023, Paul won the National Book Foundation's Literarian Award for Outstanding Service to the American Literary Community Melinda Powers, head book buyer, Book Shop Santa Cruz; president, California Independent Booksellers Alliance Stephen Sparks, owner, Point Reyes Books and Wayfinder Bookshop Hannah Oliver Depp, owner, Loyalty bookstore

We get to know Boneshard and Gark the Troll in the hot and humid heights on Ancora. The party is bumpin' and the whole gang is caught up in the chaos of a long and wild night... Check out the authors of this amazing module we are running at their great website! https://www.boroughbound.com/ Borough Bound provides system agnostic content to use in your games, and we were able to blend it with our own game in a super fun way! Please take the time to check out the specific Borough we are visiting this time, Ancora Bay! https://www.boroughbound.com/ancora-bay Like the new music? Check out Will Savino's great tunes that he provided for the Ancora Bay RPG resources. It really sets the tone! https://wsavino.com https://boroughbound.bandcamp.com/album/ancora-bay CREDITS: Cheyenne Vazquez Benjamin Weiner Michael Giacomelli Jesse Shiroma Zachary Moore-Smith ORIGINAL SOUNDTRACK: Composed & Arranged by Darkbriar (Ben Weiner) 'I Can Feel It Coming,' 'Ethernight Club,' 'Tiki Bar Mixer,' 'Street Party,' 'Bumba Crossing,' 'Aquarium,' By Kevin MacCleod Licensed under Creative Commons: By Attribution 4.0 License (incompetech.com) http://creativecommons.org/licenses/by/4.0/ Additional Music from Syrinscape Old Jaw Bone by Orchestrium https://orchestrium.bandcamp.com/

Ceci est une MÉDITATION GUIDÉE créée exclusivement pour nos abonnés adolescents et adultes. Parce que, pourquoi les jeunes enfants seraient-ils les seuls à s'amuser avec les méditations, n'est-ce pas ?Le voyage de ce mois nous emmène à travers le quartier de North Beach à San Francisco, depuis la Coit Tower, en descendant les escaliers de Filbert Street et l'escalier caché, à travers les arômes de ce quartier italien et enfin jusqu'au parc Washington Square.Profitez de cette visualisation guidée alors que vous traversez l'un des quartiers emblématiques de la ville. Découvrez de nouveaux lieux ou délectez-vous de la joie d'écouter vos repaires familiers.Dans cette expérience apaisante, les auditeurs sont doucement guidés vers un moment serein, dirigeant leur attention sur le rythme de leur respiration tandis qu'ils s'immergent dans les tons apaisants de la méditation guidée. Parfait pour ces moments où vous avez besoin de vous détendre, de vous ressourcer et d'appuyer sur le bouton de réinitialisation. Alors, trouvez un espace confortable, prenez une profonde respiration, et laissez cette méditation guidée être votre compagne vers la tranquillité.Intro/Outro music by Jef ShadoanSupport the Show.Big Belly Breathing (BBB) is an audio program primarily for kids in English and French focusing on health and wellness, started by Vanessa Hutchinson-Szekely. As a teacher, a parent of bilingual kids & a yoga instructor/social emotional learner facilitator and holistic health & wellness coach, Vanessa wants to encourage children to thrive through establishing daily health habits.Healthy Habits = Happy KidsWhile listening, kids learn techniques to increase their creativity and attention spans. By practicing mindfulness, breathing, & gratitude kids experience mini-moments of deep rest that help them to reset, restore and recalibrate. In today's busy world of multi-tasking, BBB is a place to help kids get centered, grounded and feel good. By practicing techniques learned here, kids develop their own self-care rituals, routines and habits. These tools benefit their mind, body and heart health and set them up for greater joy in their present lives, and as adults. So that kids aren't the only ones reaping these benefits, Vanessa has also included meditations specifically for older teens or adults! Join her on IG @BigBellyBreathing , on YouTube for her BookNook stories or visit www.bigbellybreathing .com!

This is a GUIDED MEDITATION created exclusively for our teen and adult subscribers. Because why should younger kids have all the fun with meditations, right?This month's journey takes us through San Francisco's North Beach neighborhood, from Coit Tower, down the Filbert Street stairs and the hidden staircase, through the aromas of this Italian neighborhood and finally to Washington Square park.Enjoy this guided visualization as you travel through one of the city's iconic areas. Discover new places or relish in the joy of listening to your familiar haunts. In this calming experience, listeners are gently guided into a serene moment, directing their attention to the rhythm of their breath as they immerse themselves in the soothing tones of the guided meditation. Perfect for those moments when you need to unwind, restore, and hit the reset button. So, find a comfortable space, take a deep breath, and let this guided meditation be your companion to tranquility.Intro/Outro music by Jef ShadoanSupport the showBig Belly Breathing (BBB) is an audio program primarily for kids in English and French focusing on health and wellness, started by Vanessa Hutchinson-Szekely. As a teacher, a parent of bilingual kids & a yoga instructor/social emotional learner facilitator and holistic health & wellness coach, Vanessa wants to encourage children to thrive through establishing daily health habits.Healthy Habits = Happy KidsWhile listening, kids learn techniques to increase their creativity and attention spans. By practicing mindfulness, breathing, & gratitude kids experience mini-moments of deep rest that help them to reset, restore and recalibrate. In today's busy world of multi-tasking, BBB is a place to help kids get centered, grounded and feel good. By practicing techniques learned here, kids develop their own self-care rituals, routines and habits. These tools benefit their mind, body and heart health and set them up for greater joy in their present lives, and as adults. So that kids aren't the only ones reaping these benefits, Vanessa has also included meditations specifically for older teens or adults! Join her on IG @BigBellyBreathing , on YouTube for her BookNook stories or visit www.bigbellybreathing .com!

For fans of Karen Russell's Swamplandia! comes a new tale of found family and magic.After his mother dies, Peter Berry collects memories in broken watches the way others collect photographs. Peter takes his box filled with broken watches and flees his childhood home to a battered apartment complex in San Francisco—his mother's favorite city—in an attempt to bury the box with the dark truths of her haunting memory before she returns to take him too. The night Sofia Morales's daughter disappears, Sofia begins to hear her daughter's voice. Her world crumbles—her marriage crumbles. After demanding her husband leave, Sofia runs from Buenos Aires, Argentina to San Francisco—a city she always wanted to visit—renting an apartment in a beat-up complex at the edge of North Beach and blasting the radio to escape the voice of whom she can't bear to listen. Peter and Sophia become close friends in the confined space of the city, finding companionship in the shadow of their unspoken nightmares. When Sofia receives a letter from her estranged husband, and Peter proves unable to bury his box of watches, the ghosts of their pasts once more threaten the lives they have created, now tearing at the fabric of their friendship with the tormented memories they keep, whether real or imagined. Unfolding over three decades, Life Between Seconds sets Peter and Sophia on a collision course with their respective pasts propelling them toward either redemption or damnation. Engrossing, heartbreaking, and surreal Douglas Weissman's first adult novel is a meditation on trauma, family, and how to heal after a great loss. --- Send in a voice message: https://podcasters.spotify.com/pod/show/daniel-lucas66/message

North Beach resident, expert tour guide, lover of art and music, known to visitors and locals alike as a go-to conversationalist and community guide -- Blandina Farley chats with the podcast at A. Cavalli Cafe located at one of the crossroads of North Beach. Recorded February 28, 2024.

Hi, I'm Traci Ramos, and this is BoozeNation, the Podcast where I talk to members of the bar industry of San Francisco about all things bars and all things San Francisco. BoozeNation is available on Apple Podcasts, iHeartradio, Spotify, and other listening places. Also, BoozeNation is on the socials of Instagram, YouTube and Threads. It's January 2024. Happy New Year! By the time this episode is out, it will be at the end of the month, but happy New Year. I hope the start of 2024 has been smooth and the transition from 2023 to 2024 wasn't too hard for you. I'm just kidding - all transitions are usually rocky - so get used to it. And that's my advice section of the Podcast. My guest today is one of the co-hosts of Bitch Talk Podcast, Angela Tabora. In my previous episode with Erin of bitch talk, I talked about how I discovered the BT podcast in March of 2020 - but here is a quick rundown of my discovery of Erin and Ange - I was scrolling on Instagram when San Francisco was about to go into lockdown. I saw Ange and Erin drink their way into a pandemic at a bar in North Beach. That was so encouraging and uplifting. And when you listen to Ange and Erin, that's really who they are: uplifting and encouraging people.  That's why I was soooo thrilled when they agreed to be guests on my Podcast. And I have a little bit of a confession. I would have interviewed Ang and Erin at the same time; I mean, that's what makes sense, but I didn't know how to interview two people via Zoom.  So that's why this is a two-parter cause I only know how to interview and record one person at a time. But in 2024, one of my goals is to learn how to interview more than one person at a time. I'm going to do it. Right now, I'm jumping into the interview.     The Nomadic Family Project The Bitter End Bender's Sweetie's Art Bar Sundance Film Festival The Fig Bubba Gump The Showdown #maddoginthefog Planned Parenthood #tessathompson #bewater Ali Wong #thegreatestnightinpop Lionel Richie Casements Bar

Last time we spoke about the aftermath of the Arawe landing and the drive towards Sio. The Komori detachment did everything they could to bottle up the new American beachhead at Arawe. Meanwhile after the fall of Wareo, the Australians decided it was time to drive towards Sio. General Katagiri had just got his men to Sio, but would have little time to prepare defenses as the Australians were quick on their heels. Likewise the Australians were also expanding past Dumpu, seeing multiple patrols fan out, probing for where the Japanese were massing their forces. In Tokyo, Hideki Tojo invited Japan's allies for the east asian conference, reiterating Pan-Asia unity against the west. Yet for all the talk, in reality Japan sought to dominate its Asian allies, really as a means to an end. In Cairo the allies held a conference of their own, trying to keep Chiang Kai-Shek in the fold. This episode is Landings at Cape Gloucester  Welcome to the Pacific War Podcast Week by Week, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about world war two? Kings and Generals have an assortment of episodes on world war two and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel you can find a few videos all the way from the Opium Wars of the 1800's until the end of the Pacific War in 1945.  General Douglas MacArthur faced daunting challenges during the Pacific War. One of these challenges was in the shape of Rabaul, one of Japan's strong points from which she exerted force in the region. To neutralize Rabaul, MacArthur sought to seize some airfields in Western New Britain, but to do this would also require securing control over the Vitiaz strait between New Britain and New Guinea. General HQ sought to use airfields at Cape Gloucester and on the south coast to help neutralize Rabaul. Thus Operation Dexterity was born. It was to be twin landings against originally Gasmata, but then for necessity changed to Arawe and Cape Gloucester. This was but a cog in the major plan within MacArthur's mind to return to the Philippines, one could argue within a greater plan for the white house. The landings at Arawe were largely successful and with that in hand General Krueger felt his Alamo Force could now launch operation backhander. The battle-hardened 1st Marine division was earmarked for the landings against Cape Gloucester. It was to be their first action after a prolonged period of rest and recuperation in South Australia following their heroic campaign on Guadalcanal. The 1st marines were now under the command of Major-General Rupertus. You probably could not ask for better men for the job, they were well refreshed physically, mentally and militarily. They had acquired an enormous amount of experience on Guadalcanal and with it a high degree of morale. The marines began training with the new types of landing crafts available to them, things they did not have during the Gaudalcanal days. Meanwhile Krueger carried out a programme of reconnaissance based on aerial photography, mosaics, older maps and some amphibious patrolling. There were 3 Australian officers who played key roles aiding in the effort. The first was Major John V. Mather, AIF, a former labor contractor in the Solomons who had been attached to the 1st Division for the Guadalcanal operation. He remained an integral component of the D-2 Section, where his proficiency with Pidgin English and grasp of native psychology proved most useful. The second was Sub-Lieutenant Andrew Kirkwall-Smith, RANVR, one of the versatile islanders who could turn his hand to nearly anything, and who had been a coastwatcher in the Cape Gloucester region at the time the Japanese first moved in. The third man and the one most more familiar with the ground and inhabitants was the Reverend William G. Wiedeman, who had operated the Anglican Mission at Sag Sag for several years prior to the war and, like Kirkwall-Smith, he was a commissioned Navy lieutenant to give military status to his present activities. A number of amphibious patrols was performed by the Alamo scouts. The first patrol was led by 1st Lieutenant John D. Bradbeer, who set out for New Britain's western coast by PT boat on September 24th. Around midnight, he cut the motors off on his PT boat around a mile off Grass Point, and his scouts paddled in from there in an inflated rubber boat, landing on a beach at the mouth of the second stream to the south at 0100 on the 25th. After hiding their craft with great care, they proceeded inland through dense secondary jungle growth up the western slopes of Mt. Tangi. There they found enemy defenses in the vicinity of Aisega. After this they turned northward heading through heavy foliage to the upper Gima River and there interrogated the inhabitants. The natives had been excluded from the airdrome area and the coast since the previous July, but they had some information to impart. There was a motor road connected Ongaia and the airdrome, and 12 to 14 Anti aircraft guns were emplaced between these two points; radio stations were located at Aisega, the airdrome, Sakar Island and Rooke Island; barge traffic was heavy on the Itni River and along the coast. Relations between the native population and the Japanese had deteriorated to a low level, although a few quislings still operated in the area. The natives related that the enemy expected an invasion of the Cape Gloucester region. Finally, they retraced their steps; and in the early morning hours of 6 October the Alamo Scouts climbed on board the waiting torpedo boat and returned to Goodenough Island to make their report. The next significant patrol was carried out on the night of 14 October by Captain W. A. Money, AIF, two other Australians, a Marine sergeant and six natives went ashore about one mile south of Higgins Point on Rooke and remained there until the early hours of 26 October. Captain Money reported there were few Japanese on the island, which doubtlessly influenced the later decision to defer a landing there. Shortly before midnight on November 20th two PT boats throttled down to a halt just south of Dorf Point on New Britain's west coast. Eleven men aboard had the general mission of reconnoitering the beach for an offensive landing, but more specifically they were to study beach approaches, beach conditions and inland terrain between Potni and Sumeru. They were commanded by Major Mather. With plans carefully laid the men stealthily made their way ashore, but luck under such conditions could not always hold up, and the Japanese became aware of the patrol's presence almost as soon as it reached the beach. Thirty minutes after leaving the PT boats, they were back on board, but in that time they had obtained enough information to declare the beach unfavorable for a landing operation. The significant patrol occurred on the night of 21 December, and was done to study two beaches at Tauali. Once again Major Mather acted as overall commander. Splitting the patrol into two seven-man groups, Bradbeer took the first on a reconnaissance of "South Beach" while First Lieutenant Joseph A. Fournier of the 1st Marines took the other for a look at "North Beach." The patrol recommended the latter as the more favorable of the two for a landing. It was duly labeled Green Beach, and 2d Battalion, 1st Marines, made its D-Day amphibious operation there. Such amphibious patrolling helped Krueger figure out where not to land. Meanwhile the 7th fleet had just come under the command of Admiral Kinkaid and was assigned the naval responsibility for the Gloucester landing. Admiral Barbey would have at his disposal 12 destroyers, taking the USS Conyngham as his flagship, 3 minesweepers, 10 APDs, 16 LCIs and 24 LSTs for the main landings; with another two destroyers 14 LCMs, 12 LCTs and two rocket DUKWs for the secondary landing on Beach Green at Tauali. Covering them would by Admiral Crutchley's task force 74 consisting of 4 cruisers, 8 destroyers and two rocket LCI's. The 1st echelon carried by the APDs Stringham, Crosby, Kilty, Dent and Ward was the 3rd Battalion, 7th Marines; and APDs Brooks, Gilmer, Sands, Humphreys and Noa would carry the 1st Battalion, 7th Marines. The 2nd Echelon of six LCIs would carry the 2nd Battalion, 7th Marines; and four LCIs for the 3rd Battalion, 1st Marines. The 3rd Echelon was seven LSTs, each carrying 500 troops of 1st Marines and 150 tons of supply, escorted by destroyers Drayton, Lamson, Mugford and Bagley. The 4th Echelon was seven LSTs, each carrying 480 troops of 1st and 7th Marines and 150 tons of supply The 5th Echelon was five LSTs, each carrying 240 troops of 12th Defense Battalion and 250 tons of supply. And the 6th Echelon was five LSTs, each carrying 250 Marine engineers and 250 tons of supply.   For air support, General Kenney assigned Brigadier-General Frederic Smith's 1st Air Task Force (FATF). The FATF contained about ⅓ of all the squadrons in the allied air force. It had flown fighter and bomber missions for all ground operations excluding those in the Ramu valley. To support the coming offensive, between November 19th to December 13th, 1241 tons of bombs were dropped over Brogen Bay. For the next 11 days, daylight bombings were intensified with over 1207 bomber sorties being performed, dropping more than 2684 tons of bombs.Their favored point of attack was Target Hill because it was so easily discerned. Gun positions at the airstrip were also given attention, with eighty 2,000-lb. bombs being dropped on 17 December. A few direct hits were claimed on gun positions. Bunkers and supply dumps, protected from view by the lush jungle growth, were fairly safe from air attacks, but the lines of supply suffered heavily. Daylight runs were not all that was performed, simultaneously the allies introduced harassing night tactics as well, to keep the enemy under additional mental strain. You see the Japanese anti-aircraft teams and pilots tried to sleep at night, but the B-24's would continuously drop bombs, grenades and even beer bottles over bivouac areas simply to keep them dazed.   On December 21st, a final rehearsal was carried out at Cape Sudest and 3 days later, Colonel Julian Frisbie's 7th marines boarded Barbey's vessels at Buna Harbor. On Christmas day at 6am the convoy was moving. At 4pm the convoy rendezvous with Colonel William Whaling's 1st marines at Cape Cretin while the 2nd battalion reinforced with H battery of the 11th marines proceeded to Beach Green in their own smaller convoy.    However, as they made their way towards their objective, the main convoy was spotted by a Japanese reconnaissance plane. The convoy would arrive at its destination unmolested. Commander of the southeast area fleet, Admiral Jinichi Kusaka had incorrectly assessed the convoy was bound for Arawe bearing reinforcements and as a result ordered a heavy air strike against the Arawe area instead of Cape Gloucester. At 6am on the 26th Crutchley's cruisers and destroyers began a naval bombardment followed up an hour later with Smith's B-24's, B-25's and A-20's. The 5th air force had tossed B-24's from Dobadura who dropped their payloads all the way from Target Hill to Cape Gloucester. The B-25 medium bombers followed this dropping their heavier loads and the A-20's focused on the landing areas making sure to strafe the beaches until the first wave would be just 500 yards away.   For the next hour and a half the landing craft launched towards the beaches. Two LCI's outfitted with multiple rocket launchers led the first wave. A considerable amount of smoke screen was set over the area, hindering some of the landing craft from finding their marks. One group carrying elements of the 3rd battalion, 7th marines missed their beach altogether and hit the shore some 300 yards further west. The 3rd battalion led by Lt Colonel William Williams landed at Yellow at 7:46, with Lt Colonel John Weber's 1st battalion doing the same at Yellow 2. The men charged down the lowered ramps of their LCVP's seeing marines find unmanned trenches, abandoned guns and a handful of scared shipping engineers cowering in dugouts, too stunned by the naval and aerial bombardments to fight or flee.    The allies had achieved tactical surprise as Matsuda was not expecting an invasion to come to these beaches. Major-General Iwao Matsuda's had deployed his 53rd regiment around the Tsurubu airdrome and Natamo Point. Storming forward, the 3rd battalion reached a region known as the “damp plat” which according to one Marine “was 'damp' up to your neck”. To the Japanese this was known as “swamp forest” and it held some of the most treacherous terrain, thus the Japanese did not expect the enemy to come by it. The forward momentum was beginning to peter out as men were wading through thick mud, with vines tearing at their bodies. A heavy congestion hit the beaches, greatly hamping the unloading process. As the men advanced, trees literally fell around them, rotten to the core from the bombing. The first marine casualty would actually be a result of a falling tree.   Meanwhile the 1st battalion advanced towards Target Hill and Silimati Point. Company B seized their key elevation points by noon. Behind these men came the first echelon of LSTs bearing the 2nd battalion led by Lt Colonel Odell Conoley. They beached their LCI's and drove straight inland some 900 yards through mud and water all the way up to the center of the new beachhead perimeter on a patch of dry ground. At 2:30 after the LST's were pulling out a force of 25 Vals and 63 Zeros emerged at low altitude who made a very fast bombing and strafe run against the beaches and shipping. The back and forth firing from the Japanese aircraft and allied forces was intense.  A formation of FATF B-25s, coming in at treetop level, suddenly found themselves snarled up with the Japanese flight almost directly over the beach. In the excitement, two were shot down by friendly fire and two seriously damaged before the gunners aboard the LSTs could cool their trigger fingers. Possibly because they wanted to jettison their explosives, or possibly because they mistook their target, the B-25s then proceeded to bomb and strafe the Silimati point position occupied by 1st Battalion, 11th Marines, killing one officer and wounding 14 enlisted Marines. One correspondent had this to say "the most inexcusable small scale blunder of the war." The Japanese attacked Barbey's vessels covering the retreat of the first echelon of LSTs tangling with allied CAP. The destroyer Brownson was sunk, destroyers Lamson, Shaw and Mugford were damaged and two LSTs were driven off. 13 vals and 4 zeros were destroyed, for the allies it was 4 fighters and 3 B-25's. Meanwhile the 3rd battalion was still securing its right flank as Whaling's 1st Marines supported by Sherman tanks were coming up behind on LCI's. Their commander landed at 10:15 with the division command post in operation ashore within the hour as the 1st marines drove towards the airdrome. Lt Colonel Joseph Hankins 3rd battalion ran into one of Colonel Sumiya's roadblocks. It consisted of 4 fortified bunkers with machine guns and a system of rifle trenches manned by  1st, 2nd and 1st Machine-Gun Companies of the 53rd Regiment. The assault was quickly shattered. K company lost its commander and executive officer in a matter of minutes. Everything seemed to go wrong. Bazooka rockets did not explode in the soft earth covering the bunkers; flamethrowers malfunctioned and an LVT carrying ammunition got wedged between two trees. The Japanese defenders were so amped up seeing the chaos, they rushed out of their bunkers trying to swarm the trapped LVT. They managed to kill two men manning its machine guns, but the driver refused to lose his head and skillfully drove the vehicle right over the nearest bunker providing infantry to storm behind him with grenades. The daring LVT maneuver allowed the men to take the bunkers, stealing victory out of the chaos. Behind them was Whaling's 1st battalion led by Lt Colonel Walker Reaves who were bogged down in the damp flat. Whaling quickly changed his plan of advance as a result. He ordered his 3rd battalion to advance in a column along the narrow shelf of firm ground while the 1st battalion covered their left rear, speeding up the progress. Yet as the 3rd battalion moved out to expand their perimeter westwards, Sumiya's men began infiltrating unoccupied gaps, forcing Colonel Julian Frisbie to recall his Marines and wait for reserves to pull up. By nightfall Frisbies Marines had secured the beachhead. The landing was so well scheduled that the big LSTs began dropping their ramps on the beaches 40 minutes after the first assault waves had landed. By 1pm, they had unloaded and cleared the area to make way for the second echelon. However, close encroachment of the "damp flat" greatly curtailed the area available for dump dispersal and necessitated some hurried improvising by the Shore Party. According to an officer of the 1st Motor Transport Battalion: “The true cause of the traffic congestion can be attributed directly to Army personnel who manned 150 odd 6x6 trucks with preloaded cargo. These drivers had been scraped up from an artillery regiment in New Guinea and supplied with salvaged trucks into which had been loaded practically all the supplies. The trucks theoretically were to discharge their cargo at the dumps, return to the LSTs they had debarked from and return to New Guinea for the second load. The plan failed in one respect, as there were no immediate dump areas to unload the trucks in due to the "Damp Flat." It was decided to leave the cargo in the trucks until dump areas were established. This caused consternation in the ranks of the Army drivers, who consequently abandoned their trucks in an effort to get back on the LSTs… This naturally left 150 trucks stranded on the beach exits for quite a time. Eventually the trucks were unloaded by Marines and proved to be a big aid to transportation starved organizations.” Meanwhile Whalings battalions set up their own perimeter for the night with both flanks on the beach, a technique they repeated each evening until the airdrome was captured. Further to the west Lt Colonel James Masters 2nd battalion, 1st marines with H battery of the 11th marines codenamed STONEFACE group landed at Beach Green at 8:35. By 10am they had established a perimeter; E company held the left, G company the center and F company the right. The H battery unit was unable to emplace its 75mm pack howitzer satisfactorily on the rugged jungle terrain so they reorganized themselves into 3 platoons of infantry and took up a mobile reserve at the front line. Stoneface's task was to cut off the coastal road. When Masters men looked around they found the beach completely unoccupied, numerous positions had been abandoned with their weapons. Masters figured the defenders must have fled to the hills during the bombardment, so he ordered patrols to fan out. The only contact made that day was a small group roughly 1000 yards north of the beachhead near the village of Sumeru seeing a small firefight. Yet unbeknownst to Masters, Sumiya had sent a provisional unit consisting of elements of the 3rd and 4th companies, 53rd regiment with the 3rd battalion ,23rd field artillery regiment to drive out the marines via a secondary road east of Mount Talawe. The force was led by 1st Lt Takeda, and was thus called the Takeda Provisional battalion For Barbey the first day saw 13,000 troops and 7600 tons of materials landed on either side of the cape. However many men had landed in swamps so dense and deep that maneuvering out of such areas was quite difficult. General Matsuda was well aware of this and seized the opportunity. Matsuda ordered Colonel Katayama to leave token garrisons at Aisega, Nigol and Cape Bushing while he brought the bulk of his 141st regiment to Magairapua, this would take until December 30th to occur. Yet Matsuda had made one mistake, he thought he was facing just 2500 men. How the 65th brigade staff came to this conclusion is unknown. Perhaps it was became the smoke screen during the landings had made visual observation limited; perhaps the loss of Target Hill so fast also limited further observation of the enemy. The Marines had achieve tactical surprise by landing on undefended beaches, but other than that, they did not do all that much on the first day, perhaps the lack of activity also factored in Matsuda's head. The only real fight of the day had been a brief affair at the roadblock where the invaders, instead of throwing infantry frontally against powerful bunkers in the glorious banzai manner, had awaited supporting weapons to knock out the position. Perhaps to Matsuda this spelled weakness or timidity, or both. Regardless, like most Japanese commanders Matsuda was obsessed by the then-current Japanese doctrine of "annihilate-at-the-water's-edge," so he ordered his own major assault unit hurled in an all-out attack against the center of the invaders' perimeter. Thus instead of reinforcing Sumiyas forces at the airdrome, or withdrawing forces to more defensible areas like Borgen Bay, or even waiting for Katayam's troops to arrive, Matsuda decided to make a daring attack directly at the center of the marine perimeter with only his 2nd battalion, 52rd regiment.   At 3am on December 27, the Japanese attacked the sector held by the 2nd battalion, 7th marines, during one of the worst monsoon storms the Americans had ever seen. Because of the storm, many of the Japanese failed to find gaps existing on each side of the battalions flanks. Thus instead the Japanese hurled themselves frontally against very well dug in positions. By 7am, the surviving Japanese finally began to pull out, Matsuda's men suffered 200 deaths with over 100 wounded. The Marines suffered 8 deaths and 45 wounded, added together for the day the total loss for the Americans was 28 deaths and 68 wounded. After Matsuda's terrible defeat, Whaling's battalions resumed their drive towards the airdrome. While they advanced in columns along the road, patrols were sent into the jungle to hunt down the enemy, but they encountered no resistance. The 1st marines were able to dig in for the night after advancing 5000 yards.   To the east, Frisbie's 2nd battalion had expanded their perimeter towards the bank of Suicide Creek where they would continue to face short and sharp attacks by Matsuda's 2nd battalion. Despite the heavy punishment he was served, Matsuda continued to believe in the destroyer-at-the-water's edge tactics. His men began constructing defensive positions, bunkers, trenches, rifle pits and so forth, so close to the American lines the Americans could hear them doing it. Meanwhile the engineers of the 17th marines performed their own work, widening the Japanese coastal road to allow the movement of supplies. Despite their valiant work, the volume of traffic was immense, coupled with the storm made the narrow coastal road a logistical nightmare.    The next morning the Marines expected to encounter some heavy resistance. The marine artillery crews increased their rate of fire and General Kenney's aircraft bombed Colonel Sumiya's strongpoints. With tank support, Whaling resumed his advance at 11am, with Company I finally hitting the first enemy positions about 12:15. They ran into a Japanese strong point consisting of a system of mutually supporting bunkers and rifle trenches, well armed with anti-tank guns and 75mm guns. The way forward was littered with land mines and barbed wire. The defenders enjoyed an added advantage in the heavy jungle lying a short distance inland which limited the tanks' field of maneuver to the comparatively narrow area directly to their front, facing the flank of the Japanese position which thus became, in effect, a defense in depth for the entire extent of its east-west length: approximately 300 yards.   At 12:00, I Company was fired upon with small arms from the front, followed by 75mm shells along the road area. 15 minutes later the leading elements led by Captain Carl Conron began attacking the fortifications alongside the tanks. They were facing the  2nd Company, 53rd Regiment and the 1st Machine Gun Company, 53rd Regiment and the strong point was quickly nicknamed Hell's Point. Later it would be renamed Terzi Point in honor of Company K's commanding officer who died on the landing day. Within the heavy rain, the tanks surged forward and smashed Sumiya's bunkers, while A company dashed to the left, emerging from kunai grass just 500 yards from the bunkers. Enjoying excellent cover, the defenders' fire successfully stopped the American advance, although the Marines themselves also easily broke up two Japanese frontal assaults and one attempt to turn their flank.    Ammunition began to run low, forcing A company to withdraw at around 3:45. Yet K Company closer to the beach held enormous firepower in the form of Sherman tanks that obliterated 12 bunkers rather quickly.  In the words of Company K's commander: “I was given three tanks (the other two were out of action, one with engine trouble and one with a jammed breech of its 75) to accomplish this mission. I put one squad of the Second Platoon behind each tank and deployed the Third Platoon to set up a skirmish line behind the tanks. We encountered twelve huge bunkers with a minimum of twenty Japs in each. The tanks would fire point blank into the bunkers, if the Japs stayed in the bunkers they were annihilated, if they escaped out the back entrance (actually the front as they were built to defend the beach) the infantry would swarm over the bunker and kill them with rifle fire and grenades. By the time we had knocked out twelve bunkers the Second Platoon . . . were out of ammunition and had been replaced by the Third Platoon and they too were out or down to a clip of ammunition per man. I called a halt and sent for the First Platoon. By the time the First Platoon arrived and ammunition was resupplied forty-five minutes had elapsed. We continued the attack and found two more bunkers but the enemy had in the meantime escaped.” The immense power of the tanks forced the defenders to retreat.    During this action the 1st marines suffered 17 deaths and 52 wounded and claimed to have counted 300 Japanese corpses. The capture of Hell's Point enabled the Americans to establish a position at Blue Beach to reduce the distance for supplies. General Rupertus command post was also moved there by Deemer 28th. The next day the American advance was delayed until the arrival of Colonel John Seldens 5th marines. General Rupertus feared he might be outnumbered at the airdrome so he played it safe. During the fighting at Hell's Point, a curious misadventure befell Corporal Shigeto Kashida of the 1st Machine Gun Company. The trench in which he was defending suddenly caved in, burying him helpless up to the neck. An astonished Marine, observing Shigeto's apparently disembodied head blinking at him, paused to debate whether to shoot or shovel, which dilemma was resolved by the arrival of an intelligence officer who ordered the corporal disinterred and made prisoner. Shigeto painted a depressing picture of his battalion's situation, but he mentioned the original plan for the 2nd Battalion was to reinforce the 1st, something that might still be accomplished; he also mentioned the presence somewhere in the vicinity of the 141st and 142d Regiments, possibly within striking distance. Since Colonel Sumiya had conducted withdrawals following every action to date, it could be presumed that a good part of his force remained intact. Thus Rupertus was right in his belief the Japanese may have large numbers at the airdrome.   The 1st Battalion under Major William H. Barba and the 2nd Battalion under Lieutenant-Colonel Lewis W. Walt got aboard 9 APD's at Cape Sudest and arrived off Cape Gloucester during the morning. However during the transit, there was a large storm that caused some confusion, leading some elements to land at Yellow 2 and others at Beach Blue. General Rupertus planned for the 1st Marines to continue their advance along the coastal road while the 5th Marines would perform a wide sweep on the left flank to attack airstrip No.2. At 3pm following the artillery and aerial bombardment, the Marines launched a fierce offensive. The 2nd battalion, 5th marines attacked simultaneously with the 1st Marines along the coast road and both ground immediately inland. Major William H. Barba's 1st Battalion was just struggling out of the swamp and jungle near the line of departure. The unexpected terrain difficulties, however, kept the plan from being carried out. Both battalions sent out patrols in an effort to establish contact, but a combination of darkness and unfamiliar territory prevented positive results.  Supported by tanks, artillery, mortars and rocket launchers, Whaling's 1st Battalion successfully reached the eastern end of Strip No. 2 at 5:55 and immediately commenced setting up a defensive perimeter. The 3rd battalion followed behind and extended the perimeter to the left, with Selden's 2nd battalion arriving at 7:25pm extending the perimeter around airstrip No 1 towards the beach. It seemed Colonel Sumiya realized the futility of attempting a defense upon the open ground against American armor, so he pulled his units away towards Razorback Hill from which they could launch harassment maneuvers against the new American perimeter. The Japanese had begun firing artillery and mortars into the airdrome. The Marines, somewhat astonished by such goings-on, called for mortar and artillery support of their own. They reported that, according to their best estimates, the enemy had reoccupied the defenses in at least full company strength.  The marines were formulating a plan to deal with the menace and the Japanese took advantage of the lull time to launch a banzai charge that failed to gain any ground. The Japanese continued their harassment, until the Marines received some tank support to launch an offensive. Platoons from different units got together to perform a sweeping maneuver, advancing 300 yards from the defensive line. They ran into bunkers, foxholes and trenches manned by Japanese. The marines mopped them up with grenades and automatic weapons, then at 11:30 suddenly all the fighting ceased. No more enemy seemed to remain near the front. The marines had suffered 13 deaths and 19 wounded, but counted 150 dead Japanese. With more tanks on hand, the Marines gradually pushed the Japanese to flee back towards Razorback Hill. Meanwhile, because of the repeated attacks, Colonel Masters men had been patrolling, trying to pinpoint where the Japanese were concentrated. At 1:55am on December 30th, the 3rd and 4th companies of the 54th regiment had discovered an excellent approach towards the Marine perimeter. As was always the favored Japanese strategy, to concentrate force against a narrow sector, they chose to attack at this place called Coffin Corner, a natural causeway connected to ridges. The two companies attacked under the cover of a storm. The Japanese unleashed mortars and machine gun fire and quickly overran a machine gun position, but G company launched a counter attack pushing them back. The battle raged for nearly 5 hours, but by 7am it ceased. The marines had 6 deaths, 17 wounded and would count 89 Japanese dead with another 5 captured. Yet that concludes the action in Cape Gloucester for today, for now we need to jump back to New Guinea. Back on December 8th, General Nakai commenced an offensive against Kesawai, dispatching the Saito Volunteer unit for the task. The unit had the aid of native guides who gave them detailed information on the terrain, allowing the Japanese to infiltrate behind a forward Papuan platoon led by Lt C.E Bishop. They explode all of their booby-traps, allowing the 1st battalion, 78th regiment to advance behind them into Kesawai 2 without much difficult, annihilating the Papuan platoon and securing the eastern portion of the highland. Meanwhile the 3rd battalion crossed the Boku River and captured Koropa, cutting off the commandos at Isaria; the 2nd battalion, 239th regiment crossed the Boku river and assaulted the commando position at Ketoba, but the Australians resisted until nightfall before withdrawing towards Isariba. Nakai's enveloping maneuver was a success, forcing the commandos and Papuans to withdraw towards the Evapia River. On December 9th, Brigadier Eather ordered A and C companies of the 2/25th battalion to advance forward as the commands pulled back towards the Mene River. Meanwhile at 7:15am at Isariba, the Japanese had begun a series of attacks. The attacks were repelled with vicker guns, grenades and a quick air strike from 20 Kittyhawks and Boomerangs that bombed and strafed the attackers. The 2/25th companies arrived at Evapia and one of their patrols managed to ambush several Japanese parties over the next few days. On December 12th, Nakai arrived at Kesawai where he ordered his 1st and 3rd battalions, 78th regiment to attack the 2/25th positions by nightfall. C Company's machine gun fire managed to halt the enemy assault from the north, but another came from the south. A Company found itself surrounded as the Japanese managed to get between the two Australian companies, firing their Woodpeckers from multiple directions. It was a 5 hour battle until the Australians repelled the enemy who gradually pulled back west. At 5am on the 13th, the Australians were running low on ammunition and were forced to withdraw. The 2/25th advanced through think jungle and deep swamps, by 8am they had managed to get to safety after suffering 5 deaths and 14 wounded but killing an estimated 67 Japanese. The companies withdrew east of the Evapia River, rejoining the rest of their battalion. Nakai expected his enemy was attempting an offensive against Madang and ordered his men to return to their former defensive positions, leaving token garrisons at Koropa and Kesawai. Because of the heated attacked, General Vasey worried it was preliminary to something much bigger, so he ordered the 2/16th battalion to perform punitive attack along Shaggy Ridge and Eather's 2/33rd battalion would retake Kesawai. The 2/33rd Battalion advanced under the cover of darkness to the 5800 Feature to attack any Japanese there, and to move the Papuans across the Evapia to establish a patrol base for the Koben-Koropa-Solu River area . With three of his companies Colonel Cotton of the 2/33rd moved off an hour and a half after midnight on the 18th-19th December towards the summit of the 5800 Feature arriving just before dawn . At 2.10 p.m. a section made contact with the enemy about 700 yards south of the highest pinnacle on 5800. The patrol withdrew while the artillery fired 120 rounds. By 5 p.m. the enemy had had enough and withdrew enabling one company to occupy the pinnacle . Next day the battalion patrolled the whole area and found evidence of Japanese occupation and a hasty withdrawal.    I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. The allies finally unleashed operation backhander, the amphibious assault of Cape Gloucester. The 1st Marines had a long rest after Guadalcanal and would now be the spearhead to reconquer New Britain. However the Japanese were not going to just roll over easily.  

Hi, I'm Traci Ramos, and this is BoozeNation, the Podcast where I talk to members of the bar industry of San Francisco about all things bars and all things San Francisco. BoozeNation is available on Apple Podcasts, iHeartradio, Spotify, and other listening places. Also, BoozeNation is on the socials of Instagram, YouTube and Threads. I want to give a special shout-out to The Uptown Bar on 17th and Capp St. I'm so sorry that this bar didn't make it. I have such wonderful memories of this bar. They even cut off on my birthday one year because I was having too much wonderfulness. Yeah, I deserved to be cut off that night. But thank you again for everything, and I hope the bartenders will be pouring spirits someplace soon. This is my final episode of 2023, and I'm closing out the year with Erin Lim, a fellow bartender and podcaster who co-hosts the spectacular Bitch Talk podcast with Angela Tabora. I discovered Bitch Talk at the beginning of the pandemic in March 2020 It was that fateful Sunday pretty boy Newsome had announced the shutdown of the restaurant and bar industry to try and curb the rise of coronavirus. I was scrolling on Instagram, not really freaking out about what was happening but not knowing what to do. And Bitch Talk podcast popped up on my feed, and Erin and Ange were at a bar in North Beach, The Saloon; in real-time, they were drinking and dancing. They were having so much fun in the wake of a pandemic. I thought, 'Wow, they don't care what pretty boy Newsome said two hours ago they are at a bar.'  And they are going big.  That was my introduction to Erin and Ang and Bitch Talk podcast. Here is Bitch Talk's tagline,   - Bitch Talk is a podcast that boldly highlights the ongoing need for BIPOC women's representation in media, film, and the arts.  Hell Yeah, there's a need for more representation. I 100 % agree with that! Long story short, we became podcast friends and real-life friends, which I still can't believe a little bit because they are so legit. They have been in the podcast game for some time. They just had their 10th anniversary. I love it.    This episode is brought to you by Descript. Try Descript now! Descript Check out my site - Traci Ramos The Socials; Instagram YouTube Specs Bar 540 Club The Social Study #royalcuckcoo The Front Porch The Rock Bar Bitch Talk Podcast Storied SF #thesaloon Ali Wong Sundance Film Festival #gasolinerainbow Ross Brothers #bloodynoseemptypockets Storied SF - Traci Ramos     #sfpodcaster #sfpodcast #nodoomloop #supportsmallbusiness #womanpodcasters #innerrichmond #coolestneighborhood #supportlocal #missionsf #sfrestaurants #sfbars #representationinmedia #bipoc #sundancefilmfestival #womeninmedia #pandemictalk  

Talk It Out Radio: Friday, December 15 at 3:00pm on KPFA Radio (94.1 FM Berkeley and beyond, or livestream at kpfa.org) Deepening Compassion and Hope: A Conversation About Supporting the Unhoused Population Join Talk It Out Radio host Nancy Kahn with special guest Kristie Fairchild, Executive Director of North Beach Citizens, in a poignant discussion, Deepening Compassion and Hope: A Conversation About Supporting the Unhoused Population. Kristie shares her experience as a longtime community leader supporting critical programs for the unhoused in San Francisco's North Beach and surrounding communities. She outlines critical data and ways to bring compassion and hope to those who are in need of housing security. About Kristie: Kristie Fairchild has served as Executive Director since 2002.  In this position she is tasked with ensuring short and long-range strategies. Throughout her career she has actively participated in local working groups addressing homelessness and poverty issues including the Local Homeless Coordinating Board and recently serving on the ALL HOME Regional Impact Council's Technical Committee. In 2014, San Francisco Commission and Department on the Status of Women in partnership with Mayor Ed Lee and the SF Board of Supervisors celebrated Kristie at a City Hall celebration honoring Women of Character, Courage, and Commitment. In 2014, she was recognized with the National Jefferson Award for Social Impact. Listen live or, after the show, visit the show archives on KPFA, or listen on iTunes. The post Deepening Compassion and Hope: A Conversation About Supporting the Unhoused Population appeared first on KPFA.

A ramble about San Francisco, men, dating, North Beach and the Jackson's. --- Send in a voice message: https://podcasters.spotify.com/pod/show/sanfranciscodamn/message Support this podcast: https://podcasters.spotify.com/pod/show/sanfranciscodamn/support

In Life Between Seconds (Addison & Highsmith, 2022), Douglas Weissman explores found family and magic.  After his mother dies, Peter Berry collects memories in broken watches the way others collect photographs. Peter takes his box filled with broken watches and flees his childhood home to a battered apartment complex in San Francisco—his mother's favorite city—in an attempt to bury the box with the dark truths of her haunting memory before she returns to take him too. The night Sofia Morales's daughter disappears, Sofia begins to hear her daughter's voice. Her world crumbles—her marriage crumbles. After demanding her husband leave, Sofia runs from Buenos Aires, Argentina to San Francisco—a city she always wanted to visit—renting an apartment in a beat-up complex at the edge of North Beach and blasting the radio to escape the voice of whom she can't bear to listen. Peter and Sophia become close friends in the confined space of the city, finding companionship in the shadow of their unspoken nightmares. When Sofia receives a letter from her estranged husband, and Peter proves unable to bury his box of watches, the ghosts of their pasts once more threaten the lives they have created, now tearing at the fabric of their friendship with the tormented memories they keep, whether real or imagined. Unfolding over three decades, Life Between Seconds sets Peter and Sophia on a collision course with their respective pasts propelling them toward either redemption or damnation. Engrossing, heartbreaking, and surreal Douglas Weissman's first adult novel is a meditation on trauma, family, and how to heal after a great loss. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

On this Tuesday topical show, we present Part 1 of the Hacks & Wonks 2023 Post-Election Roundtable which was live-streamed on November 13, 2023 with special guests Katie Wilson, Andrew Villeneuve, and Robert Cruickshank. In Part 1, the panel breaks down general election results in Seattle City Council Districts 1 through 6. Similarities and differences between the contests are discussed as well as the impact of low voter turnout, lopsided outside spending, and campaign messaging. Stay tuned for Part 2 of the roundtable releasing this Friday for more election analysis! As always, a full text transcript of the show is available below and at officialhacksandwonks.com. You can follow Hacks & Wonks on Twitter at @HacksWonks. Find the host, Crystal Fincher on Twitter at @finchfrii and find guest panelists, Katie Wilson at @WilsonKatieB, Robert Cruickshank at @cruickshank, and Andrew Villeneuve at https://www.nwprogressive.org. More info is available at officialhacksandwonks.com.   Katie Wilson Katie Wilson is the general secretary of the Transit Riders Union and was the campaign coordinator for the wildly successful Raise the Wage Tukwila initiative last November.    Andrew Villeneuve Andrew Villeneuve is the founder of the Northwest Progressive Institute (NPI) and its sibling, the Northwest Progressive Foundation. He has worked to advance progressive causes for over two decades as a strategist, speaker, author, and organizer.   Robert Cruickshank Robert is the Director of Digital Strategy at California YIMBY and Chair of Sierra Club Seattle. A long time communications and political strategist, he was Senior Communications Advisor to Mike McGinn from 2011-2013.   Resources Hacks & Wonks 2023 Post-Election Roundtable Livestream | November 13th, 2023   Transcript [00:00:00] Shannon Cheng: Welcome to Hacks & Wonks. I'm Shannon Cheng, Producer for the show. You're listening to Part 1 of our 2023 Post-Election Roundtable that was originally aired live on Monday, November 13th. Audio for Part 2 will be running this Friday, so make sure you stay tuned. Full video from the event and a full text transcript of the show can be found on our website officialhacksandwonks.com. Thank you for tuning in! [00:00:38] Crystal Fincher: Good evening everyone, and welcome to the Hacks and Wonks Post-Election Roundtable. I'm Crystal Fincher, a political consultant and the host of the Hacks & Wonks radio show and podcast, and today I am thrilled to be joined by three of my favorite Hacks and Wonks to break down what happened in last week's general election in Washington. We are excited to be able to live stream this roundtable on Twitter, Facebook and YouTube. Additionally, we're recording this roundtable for broadcast on KODX and KVRU radio, podcast, and it will be available with a full text transcript at officialhacksandwonks.com. Our esteemed panelists for this evening are Katie Wilson. Katie is the general secretary of the Transit Riders Union and was the campaign coordinator for the wildly successful Raise the Wage Tukwila initiative last November. Andrew Villeneuve is the founder of the Northwest Progressive Institute and its sibling, Northwest Progressive Foundation. He has worked to advance progressive causes for over two decades as a strategist, speaker, author, and organizer. And Robert Cruickshank - Robert's the Director of Digital Strategy at California YIMBY and Chair of Sierra Club Seattle, a longtime communications and political strategist, and he was Senior Communications Advisor to Mayor Mike McGinn from 2011 to 2013. Welcome, everyone. [00:02:02] Robert Cruickshank: Thanks for having us. [00:02:04] Katie Wilson: Yeah, thanks, Crystal. [00:02:04] Crystal Fincher: Well, absolutely. Let's start talking about the City of Seattle City Council races. There are quite a number of them - we'll break them down by district. So there were 7 districted positions. This was the first election since the latest redistricting process, so these districts are not exactly the same as they were the last time we had an election, so that may have played a little role - we'll talk a little about that later. But going into Position 1 - as we see, Rob Saka currently holds a commanding lead and he will win the race for Seattle City Council District 1 with 54% of the vote to Maren Costa's 45% of the vote. Turnout in this election was 46%, compared to 2019's 54%. Quite a bit difference. Starting with Robert, what was your take on this race? [00:03:09] Robert Cruickshank: You know, I have to say I was a little surprised at the margin of victory for Rob Saka here - for a couple reasons. One is that I thought Maren Costa ran what seemed to me to be a strong campaign that potentially would have resonated with a majority of voters, not just 45% of voters in West Seattle and in Georgetown-South Park. But also Maren Costa got endorsed by all of the other candidates in the primary aside from Rob Saka. And one might have thought that that would have conferred added legitimacy and certainly support for the campaign. It does not seem to have turned out that way. One thing I think we'll certainly want to talk about tonight is the effect of lower turnout - did that wind up sinking progressive candidates or was it other factors? But here you see the first of the seven districts - significantly lower turnout. Now if we had 2019 level turnout, would that have been enough to bring Maren Costa to victory? Hard to say. Maybe not. But this certainly is one where Maren Costa, who had a great record of standing up to Amazon - she was one of the two employees who was fired by Amazon for doing climate organizing, and then wound up getting a settlement as a result of that. I'd be interested to dive more deeply into what happened there. But it's also - one thing I would keep in mind is West Seattle - voters there have been pretty cranky and upset ever since the pandemic began - because while for the rest of us in Seattle, pandemic 2020 meant lockdowns, it meant protests, it meant a lot of disruption. For West Seattle, it also meant being cut off from the rest of the city because the bridge went out. The bridge closed right around the time the lockdowns began due to safety concerns it might collapse. And having spent a little bit of time there in West Seattle lately and talking to voters out there - there is a strong sense of disconnection, of anger and frustration, at City Hall and it's possible that got taken out on Maren Costa, who's seen as a progressive candidate. There's definitely a narrative that the business community - and their wealthy PACs and Seattle Times - tried to tell to paint progressives as a kind of incumbents here. And it's entirely possible that that was another factor here too. But certainly worth looking at to see what happened in District 1. [00:05:23] Crystal Fincher: Definitely. What do you think about this, Andrew? Oh, you are currently muted. [00:05:35] Andrew Villeneuve: I was surprised too. I think this was a result that not a lot of people maybe saw coming because if you look at the top two results, Maren had a significant lead - plurality lead, but a lead. You look at the difference - they are in two different brackets when you have - Maren Costa's up there in the 30s, Rob Saka's back there in the 20s. So I think a lot of people assumed in the general election that there was going to be a significant advantage for Maren Costa, especially having the support of all of these rivals who had not made it to the general election. But I think when you look at Rob Saka's message, I think we have to conclude that it did resonate with the voters in the district. And I'm looking at his website and just checking out all of his enendorsements - and he emphasized he was endorsed by Seattle Mayor Bruce Harrell - I think that was a key endorsement that he got. I think the mayor is very popular - our organization does quite a bit of polling - some of Hacks & Wonks listeners may know. And in all of our polling this year we've seen the mayor is very popular with Seattle voters. And that includes District 3 voters, voters across the city - really he's popular all over the place. So having that endorsement and touting that as prominently as he did - I think that was a key factor. And then of course The Seattle Times - I think they have more pull in certain districts than others. And District 1, I think, is a district where I think that they have more pull than some of the other publications that endorsed in the race. I think The Stranger's endorsement matters more in District 3 than it does in District 1. And I think we saw the result of that here with this result. And it could have been closer if there had been higher turnout. I have to agree with that as well. And the fact is right now we may see the lowest turnout in the history of the state of Washington in a general election. It's not clear yet if we're actually going to get to that worst turnout marker but we are certainly close. Currently I am looking to see how many ballots are left because the Secretary of State is saying - Well, we think the turnout is going to be somewhere between 36% and 39% - that's statewide. And if we don't surpass 37.10% then it is the worst turnout 'cause that was the low mark set in 2017. And as we can see, Seattle has higher turnout than the state as a whole, but it's lower than it has been in past odd years. This is part of a disturbing trend where we keep seeing turnout declining in odd-year elections - it is not going in a healthy direction, so that could definitely have an effect. If there is an opportunity later we can talk about even-year elections and what that could do for Seattle, but I'll leave it there and we'll continue to talk about the other races. [00:08:13] Crystal Fincher: Definitely. What did you see? We will go over to this next slide here - looking at the role of independent expenditures in addition to campaign fundraising, did you see the role of money in this race being significant, Katie? [00:08:33] Katie Wilson: Yeah, totally. I haven't actually studied in detail all of the slides you put together, but this is obviously telling that there is a pretty massive independent expenditure contributions here against Maren Costa. And you have to believe that that was a significant factor. I hope that maybe you, Crystal, or someone can speak to the relative weight of independent expenditures in the different City races because I haven't looked at that but I wonder to what extent that can help us to understand some of the results. But I think the spending against Maren was really significant. I will say this was one of the races that also surprised me. Partly because whereas we saw in a couple of other districts some of the more progressive labor unions actually lined up with the more moderate candidate, in this race labor - maybe not 100%, but was pretty strong for Maren and so it also surprised me to see this margin. The last thing I'll say, because I know we have a lot to get through, is that I'm really curious about what is so horrible about Rob Saka that all of his opponents in the primary came out for Maren, so perhaps we will get to learn that - maybe that's a silver lining. [00:09:40] Crystal Fincher: Hopefully we learn he can rise above that given he is going to be a councilmember. It will certainly be interesting to see what his prime agenda is. He's certainly talked a lot about public safety, police - a lot of public safety talk involved with a lot of different issue areas. So it's going to be really interesting to see what his priorities are as he begins to govern. I want to talk about Seattle City Council District 2. And this is one that saw a pretty tantalizing result - had us all on the edge of our seats. On Election Night, which is just a partial tally because we have vote by mail - those come in day after day, it takes us days to count them. We saw Tammy Morales overtake Tanya Woo after a few days of counting. This is a very, very close race. We can see here the breakdown of what the daily ballot returns were and how those changed over time. Robert, what did you see with this race, and why do you think Tammy was able to prevail when so many of the other progressive candidates were not? [00:10:54] Robert Cruickshank: This is not the first time Tammy Morales has been in a very close election in District 2. She ran for the seat the first time in 2015 against then-incumbent councilmember Bruce Harrell and narrowly lost by roughly 400 votes. She did get, of course, elected in 2019 and now re-elected here in 2023. I think part of the story here is incumbency does help. I think the fact that Morales has worked really hard to show her voters that she delivers in southeast Seattle also goes a really long way. Obviously there was frustration among a lot of voters in the Chinatown International District area - that shows up in the results so far - Tanya Woo did very well there. But in other parts of District 2 - Columbia City and points south - Morales held her own and did well. I think you've seen in the four years Morales has been in office, she's been a champion for workers, a champion for renters. She's fought very hard to tax Amazon, supported the JumpStart Tax. She's been very attentive to the needs of the district. When a number of people were struck and killed along MLK Boulevard there, Morales stepped up and met with people, fought hard and is continuing to fight hard at the City and with Sound Transit to make safety improvements. Morales is seen by a lot of people in southeast Seattle as someone who is attentive to the district, attentive to concerns, and responsive - along with being a progressive who's delivered results. So I think those are the things that insulated Tammy Morales from a more maybe conservative-moderate wave this year. Tanya Woo certainly ran, I think, a strong campaign - obviously a very close result. But I think a lesson here is that progressives who get in office and try very hard and very overtly to show their voters that they are working hard for them, that they share their values and are trying to deliver - that can go a really long way. [00:12:56] Crystal Fincher: I definitely agree with that. How did you see this, Andrew? [00:13:00] Andrew Villeneuve: I see Councilmember Morales as someone who is willing to do the work and that really matters. In a local campaign, doorbelling counts, organizing counts. I looked at Councilmember Morales' website while I was writing our election coverage last week and I was noticing how many of the pictures that she has are her with other people - and they're holding signs and look very excited. I look a lot at how do candidates present themselves and who do they surround themselves with. And there's something about these pictures that struck me as - it's not so conventional, it's very fresh. I thought that was a good image for her to put out to the electorate. This is a hard-working councilmember who's got a lot of supporters - a lot of grassroots support - focused on the needs of the neighborhood. Incumbency matters, as Robert said. I was looking at her 2019 results as well. In 2019 she had 60.47% of the vote in that contest. And that was a sharp change from 2015 when she was facing off against Bruce Harrell and lost by only a few hundred votes. So I think that that big victory four years ago was helpful in setting the stage for this closer election this year where it was a tougher environment - the district's changed and of course you had an opponent who was well funded and trying to get the seat. And I think a more credible, perhaps a better opponent - someone The Seattle Times and others could really rally around more than Mark Solomon from four years ago. So I think that's what made the race closer. But Councilmember Morales brought a lot of strength to this race, and you can see in the late ballots that that dominance was key. And that's why it's so important that that lead change occurred last week, because if Tammy was still behind this week it would be hard to pull it out. And we're seeing that in those other two races that we'll talk about later where things got really close but there's no lead change. [00:14:51] Crystal Fincher: What was your evaluation of this race, Katie? [00:14:54] Katie Wilson: I don't have a lot to add but I'll just say I think with a margin that small everything matters, right? And so, kudos to the folks who ran that campaign and who were out knocking on doors and making phone calls and sending texts - because with just a few hundred votes that makes a difference. Fewer than a thousand votes difference in that race would be looking more like the District 7 race and we'd all be singing a very different tune. And I will just say - the implications of that race - Tammy being theon council again is going to be super important for social housing, for the success of Initiative 135, because she's really been kind of a champion of that on council and now will be able to continue that work - that was one of the things looking at the initial results that was running through my mind is - oh gosh, who's gonna carry the standard for social housing? [00:15:54] Crystal Fincher: That's a great point. I also want to look at the spending in this race where Tanya Woo and independent expenditures in support of her and in opposition to Tammy Morales were substantial. And in this race, as in District 1 and a few others, we saw some very sharp and pointed criticisms coming through in mailers, in commercials. It was quite the direct voter messaging campaign. Do any of you think it went too far? Do you think it backfired at all? How did you evaluate that in this race? [00:16:38] Robert Cruickshank: I don't know that it -- obviously it didn't succeed. But again I agree with Katie that in every close - super close election like this, every little bit makes a difference. I think it's clear that it certainly helped Tanya get to a very near victory. It's entirely possible though that it also may have backfired in some ways. I think that generally speaking, voters want to hear from candidates positive things about why you should elect them. They don't want to hear a candidate delivering negative hits. Someone else delivers the negative hits - it shouldn't be the candidate themselves. So it's entirely possible that Tanya Woo maybe put a ceiling on herself by going personally directly negative. But then again just a couple of shifts here and there and we're talking about a Tanya Woo victory. [00:17:30] Crystal Fincher: Yeah, you raise a great point. In a race this close, everything matters. Been involved in close races before - you dissect every single little thing. Wonderful to be on the winning end, agonizing to be on the losing end of this - for the candidate and staff. As we look to the District 3 race, this was an interesting race because we had one of the most notorious active incumbents in Kshama Sawant, who had gotten a lot of ire from The Seattle Times, from some of the TV news - were not a fan of her. She was a Socialist, not a Democrat, and pointed that out fairly frequently. Was a lightning rod but you can't say she didn't represent her district. She was reelected. She withstood a recall attempt but she decided not to run for reelection, so we had Alex Hudson and Joy Hollingsworth competing to be a new representative in this district. What do you think this race was about, and why do you think we got the result that we did? We'll start with Andrew. [00:18:39] Andrew Villeneuve: So this is a race that we actually polled at NPI. We do as much polling as we can locally during odd numbered cycles, but it's tough because there's so many jurisdictions and some of them are too small to poll. But in this jurisdiction, there were enough voters that we could do a poll which was great. And in our poll we found a significant lead for Joy Hollingsworth. In the aggregate, which is a combination of a series of questions that we asked - Joy Hollingsworth got 52%, Alex Hudson got 28%, 16% said they were not sure, 3% didn't recall how they voted - that's the early voters, part of them. And 1% would not vote. So what we saw in the election was - of course, the late ballots have now come in - and what's interesting is Joy Hollingsworth's number is not very far off from the number she got in the poll. So basically it looks like the people who were planning to vote for Joy, or did vote for Joy already, did that. So they followed through - that's what they did. And it looks like Alex Hudson picked up most of the undecided voters and brought that race much closer. But Joy had this built-in lead that the poll showed was out there. Joy had done the work to build a majority coalition of voters in this election and our pollster did a good job modeling the election. They had to figure out who is going to turn out, and that's always a guess. They looked at 2019 turnout, 2017 turnout, 2021 turnout - tried to get a feel for who's that likely electorate going to be. And what we saw basically is the dynamic that was captured in the poll is what played out in the election. Joy had a majority and that majority was able to get Joy elected. Alex took the undecideds, the not sure folks, brought them in and made it a much closer race. But didn't do well enough in the late ballots to change the outcome, and that's despite District 3 being a very, very, very progressive district - a district that I think The Stranger has more influence in than other districts in the city. So I think it's really great that we were able to take a look at this race. I wish we could have done all 7 districts. But we have a poll write-up where we talked about what we heard from voters because we actually asked them - Why are you backing this candidate? We did a follow-up question. It was a ground breaking thing for us in a local poll to ask the why behind the vote. And people told us that Joy is from the district. People said she grew up in Seattle, she's genuinely invested in the community, not everyone with a political science degree knows what's best. She has extensive experience across a lot of relevant areas - greatly focused on public safety, had the mayor's endorsement, long Central area presence. So those are some of the comments that we heard. People who were supporting Alex said that she was an urbanist, she had a better set of plans. There were some really positive things people said about her. We didn't get a lot of negativity in the poll so people weren't really trashing the other candidate, but they were praising the one that they had decided to support. And I like to see that. I like to see that positive focus. So I think that's why we saw the result we did. Joy ran a really strong campaign, she connected with people. She was all over the place - I heard from District 3 voters saying, She doorbelled my home or she made herself accessible. I really liked that. And people just like to see someone from the Central District running for this council position. And my hat is off to Alex for putting together a great set of plans, running a strong campaign as well - it's just that in this election, Joy was her opponent and Joy was able to seal the deal with the voters. [00:21:59] Crystal Fincher: How did you see this, Katie? [00:22:03] Katie Wilson: I think Andrew gave a good rundown there. What I would have to add is this is one of those districts where some of the labor unions that you might think would line up with the person who is perceived as the more progressive candidate actually went for Joy. UFCW 3000 and Unite Here Local 8 both endorsed Joy and she got MLK Labor's endorsement. I think that probably mattered. I live in District 3 and I got in the mail an envelope, and when you open it there was a card from Unite Here Local 8 - pro-Joy. And so I think that for a lot of people who maybe are not in a hyperpolitical bubble, there was not a clear contrast between the two candidates in terms of who was the lefty pick and who was the more moderate pick. So yeah, I mean, and I think basically everything that Andrew said resonates with me as well. [00:23:02] Crystal Fincher: Robert, do you think that the contract - or contrast or lack of a contrast played a role in this race? [00:23:09] Robert Cruickshank: I absolutely do. I think there's an interesting column from Danny Westneat of all people in Seattle Times over the weekend, but what made it interesting is quoting a Seattle University professor who said he talked to his students and the students said - Yeah, they both seem progressive. They both seem pretty similar. And I think if you look at their campaign literature and their websites, that comes through. There's a longstanding strategy of a more moderate business-friendly candidate like Hollingsworth blurring those lines. I remember the 2013 election when Mike McGinn, the incumbent, narrowly lost to Ed Murray. And Murray ate into McGinn's base on Capitol Hill partly by blurring those lines. Jenny Durkan did a very similar strategy to Cary Moon in 2017. Blur the lines, make yourself seem progressive, make it seem like both are fine. A couple other things stand out as well. The Washington Community Alliance puts together this great general elections dashboard. And I was looking at the results so far, precinct that we have - not complete results, but so far from 2023 in District 3 - and comparing it to what we saw there in 2019. And something stood out to me immediately, and Andrew alluded to this. On Capitol Hill itself, Alex Hudson did really well, so did Kshama Sawant. In the northern part of the district - North Capitol Hill, Montlake, and anywhere along the water, Leschi, Madrona - Egan Orion in 2019, and Joy Hollingsworth did well in those areas. In the Central District, Kshama Sawant put up 60, 65, 70% in those precincts. In 2023, Joy Hollingsworth won most of those Central District precincts. That seems to be where the battle for District 3 was won by Joy Hollingsworth and lost by Alex Hudson. So I think that's a big part of it. I think the fact that Hollingsworth is from the community, is herself a woman of color, I think that resonated really strongly there. I think that those factors meant Alex Hudson had a real hill to climb, literally and figuratively, getting up there in District 3. And I don't think Alex was able to do it. You know, we at the Sierra Club endorsed Alex, but we interviewed all the candidates, and they were all really strong candidates there. I think ultimately, there's an interesting contrast with Sawant and Hudson that - I haven't figured out where I am on this, but it's interesting to think about. You know, Sawant won four elections in Seattle, the last three of which were in District 3 against huge corporate opposition. And one of the ways she prevailed was by mobilizing a strong base and by showing she delivers for her base. She delivers for workers, she delivers for renters - everybody knows that. And her base of activists from Socialist Alternative are out there aggressively getting votes. They did a great job of it. Unfortunately, Hudson is much more of a wonk candidate. She has extensive experience with housing and transit, knows local government inside and out. And when Sawant was in office, you'd hear a lot of progressives lament Sawant's approach, lament Sawant's attitude and style. And wish they had someone who was more of a wonk who'd work within City government - that's definitely Alex Hudson, but you gotta get elected. And what we see is that there's something to Sawant's approach - not that you have to agree with all of it - there's something to her approach to winning elections that I think progressives can learn from. And I think that - looking back, I think Hudson may have wished she could be more overtly progressive, especially when it comes to finding the things and finding the issues that motivate the base to show up. That's one of the only ways you would be able to overcome Hollingsworth's strength in that key battleground in the 3rd District, which is the Central District. [00:26:55] Crystal Fincher: Yeah, I think you've hit on something there. And I think it's something that we see in the Tammy Morales race, that we've seen from Kshama Sawant - that if you are a progressive, playing it safe, trying to not be that progressive - not saying that these candidates were overtly trying to not be progressive. But you have to show that you're willing to fight and willing to deliver. You have to show that there's some basis to believe that not only are you talking the talk, but you can also walk it. And I think this race could have benefited for more of that on the progressive end. But it's gonna be interesting to see because Kshama was unique in many ways, but lots of lessons to learn from her just epic ground game that she had race after race. And do have to hand it to Joy Hollingsworth, where I think - similar to Andrew and others - have heard anecdotally for quite some time that she has been out there knocking on doors, that she has been out there talking to community. And that is extremely important and only helps a candidate to be in contact with so many people in the community. So going to District 4 - which this is a race that still isn't called, still is too close to call for a lot of people. What do you see happening here? And what do you think is this dynamic happening in this district, Robert? [00:28:19] Robert Cruickshank: You know, I think this is another one where it is a very sharply divided district within itself, similar to District 3. You've got not just the U District - obviously is going to vote more progressive. So was most of Wallingford and areas around Roosevelt and even parts of Ravenna. But then once you get further north and further east towards the water, you get a bit more moderate, even more conservative. And once you're of course out in like Laurelhurst or Windermere, you're among the wealthy class. But Davis fought hard, fought very closely - nearly won. I don't know that there are enough remaining ballots as of here on Monday night to give Davis enough room to make that 300 vote gain that he needs. But he fought really close and really hard against a huge mountain of corporate money. This is one where I really have to wonder - if we saw 2019 levels of turnout, would we see a Davis victory? The results certainly suggest, especially as the later ballots came in, that might well be the case. Davis ran, I thought, what was a very strong campaign, certainly one that connected with a lot of people in the district. But so did Rivera. And I think this is a interesting test case for how did sort of The Seattle Times-Chamber of Commerce narrative play out? Was Davis able to really overcome that and tell his own narrative of where we should go in Seattle? It certainly seems like in a lot of these races, any progressive candidate faced a lot of headwinds from just a constant narrative that the city is unsafe, city's on the wrong track, it's the fault of progressives and the city council, we have to make a change. And that drumbeat was really loud and really constant. And as you see here on the slide, Davis was outspent significantly greater - nearly half a million dollars spent against him to defeat him by putting out that message. How do you overcome that? You've gotta try to build a base, you've gotta try to actually get out there and sell a strong progressive agenda. I think Davis did as much as he could, but it clearly wasn't enough. This is one race where, gosh, I would love to be able to see good polling after the fact and take a deep dive into what happened here. Because I think if you wanna find a candidate who isn't an incumbent, is a progressive, and who tried to win against all this money - Davis ran what I think a lot of us would have considered to be a smart campaign. But I'm sure there are things that were missed, mistakes were made - that I think are worth taking a closer look at once we have more data. [00:30:54] Crystal Fincher: Do you think it was possible to win this race given the headwinds, Katie? [00:31:02] Katie Wilson: Well, I mean, with a margin that small, you have to say yes. I mean, again, small things matter. But I mean, I guess I think what I would say here - and this is not really just about this race, but as we're going through these races district by district and picking out the little things about the candidates or the spending or whatever - I think it is important to keep in mind something that Robert alluded to, which is turnout. And Danny Westneat had this piece, which Robert mentioned, that really just laid out kind of like - not only is turnout way down from 2019, like double digits down, but it's young voters who didn't turn out. And I really have to think, I mean, I think that like if we had seen 2019 levels of turnout with that demography, this race would have turned out differently. I think it's even possible that Districts 1 and 3 could have turned out differently. I mean, the difference is so great in turnout and in who voted. And that is not just a Seattle thing. That's not a, so I mean, that was something that Westneat seemed to kind of emphasize the "Sawant effect" or something, but this is bigger than Seattle, right? This is like countywide, statewide - you look at the turnout numbers and turnout across the state is way, way lower than 2019. And it is young voters who would have voted strongly progressive who didn't turn out. So I think that's just a really significant thing to keep in mind as we kind of nitpick all of these races. Sorry, crying baby. [00:32:25] Crystal Fincher: We're doing baby duty and that happens and we're fine. Andrew, what did you think? [00:32:30] Andrew Villeneuve: Yeah, some great things have been said by Robert and Katie about this race. I was so impressed with Ron Davis as a candidate. I just found him extremely thoughtful. I'm like - why can't we have candidates like this in every city? Maritza Rivera also had some really interesting things in her campaign that I liked. But I think what was really striking for me is Rivera, if you go on her endorsements page, you'll see Bob Ferguson is the very first endorsement listed there. And that's really interesting. And not everyone can get an endorsement from Bob Ferguson. Maritza Rivera had one and made sure that people knew that she had that endorsement. Also, you see Mayor Harrell's endorsement there. The mayor's doing well in this election. His candidates are doing well, and I don't think that's a coincidence. And I also noticed Sara Nelson's endorsement there. Sara Nelson gets a lot of flak from folks in Seattle, especially on the left, perhaps deservedly so for some of the positions she's taking. But in our polling, she's actually got a pretty good approval rating relative to other members of the council. I say relative because these things are relative. So Sara Nelson is perceived better right now than other members of the council - and that includes Councilmember Sawant, who's leaving her district with a horrible, awful job performance rating, including from her own constituents. It's not just citywide. Our polling was very, very clear on that. People are not happy with her job performance. So she was able to get elected several times, she built an amazing coalition. But then that support has eroded away. And I think that's why she didn't seek re-election. I think she realized she was going to have some difficulty getting re-elected if she sought re-election. So exiting allows to avoid a defeat, which I think is a good strategy, because then you can go and take your experience in elected office and do something else. But I just thought Davis had a tremendous set of ideas. He engaged with groups that other candidates didn't, from what I heard. And what I really liked was, again, he had this thoughtful, urbanist-centered vision. It really appealed to me personally. If I was in District 4, I'd be like - wow, this is just really exciting vision for Seattle. And his voters' pamphlet statement just talked about how everyone deserves a home in Seattle. And the themes that I saw there were very powerful. And I'm a little surprised that he didn't quite have a stronger Election Night performance. I thought Rivera might lead, but to see him down by as much as he was, that wasn't quite what I thought we might see. And I don't do predictions, so I'm always willing to be open-minded and see what happens. But I was thinking that the race would be closer on Election Night, and then it would be possible for there to be a lead change by the end of the week if that were the case. But instead, Maritza Rivera has kept a lead throughout this count. So I think, unfortunately, Ron Davis is out of runway to turn this around. But he came really close. And I think he should definitely run for office again. [00:35:23] Crystal Fincher: Yeah, a lot of great ideas that we heard. Go ahead, Katie. [00:35:25] Katie Wilson: Sorry, just to add one thing to what I was saying before from the Westneat column. This is roughly 40,000 fewer Seattleites showed up for this election than in 2019. So if you look at that, we're talking about an average of 5,700 votes in each district that would have been added. And so you look at these margins, and that would have shifted several of these races. [00:35:47] Crystal Fincher: Yeah, I agree. And then I also-- I'm looking at this difference in spending. And the spending isn't just money. It's communication. It's the commercials that you see, it's the mailers that you get, it's the digital ads that you see. And those do move some voters. Are they going to close a 25-point deficit? No. But can they move a race 5, 10 points? Absolutely. And so as I'm looking at this, I'm looking at just how close this race is. And it seems to me that money definitely impacted this race, as did turnout, as did so many other things. But it just seems really hard to be able to go up against that amount of communication when you don't have it - to be outspent, to be out-communicated by that degree. And given that, I do think Ron Davis mounted a really, really good campaign for hopefully his first campaign and not his last, because he did contribute a lot of great policy ideas, concrete policy ideas, that I think would do the city good. Moving to District 5, where we saw ChrisTiana ObeySumner versus Cathy Moore. This race was pretty conclusive as of the first tally on Election Night. What was your evaluation of this, Andrew? [00:37:11] Andrew Villeneuve: Well, this was the one race I think that everyone could say - That's done - on Election Night. That's a done race. We can see where things are going. And of course, there has been a shift in the late ballots, but not enough of one to threaten Cathy Moore's position. So I guess what we saw is Cathy Moore had a campaign of enormous strength, resonated with the electorate. And we just didn't see the same from the other side. I mean, I know The Stranger made a very powerful case. But you look at the top two field, and there were other candidates - Nilu Jenks was running and didn't quite make it. But I feel like the fact that there wasn't a stronger vote for ObeySumner in the top two, that sort of set up the general election. I think you want to have as much support as you can get in the top two. And then you want to be able to run as strong of a general election campaign as you can. And I think that here, there might not have quite been the same resonance with the electorate for that candidacy. And I think that that's part of the issue - when you are having trouble connecting with voters for whatever reason, then you're going to see that kind of lopsided results. And sometimes there's nothing you can do about it because for whatever reason, you're just not clicking. But I heard from a lot of folks who-- I asked every District 5 voter, who are you voting for? And everybody basically told me Cathy Moore - that I talked to. And I ran out of people to ask to see if I could find any ObeySumner voters. But to me, that sort of spoke for people had talked to their neighbors, they had considered their choices, and they settled on Moore. And so that's where we were on Election Night. And of course, again, late ballots - we saw some change, but not a whole lot of change. And so again, I think hats off to Cathy Moore for running a campaign that brought together a lot of people, excited a lot of folks. And we'll see now how Cathy does on the council as Debora Juarez's successor. [00:39:16] Crystal Fincher: And Robert? [00:39:18] Robert Cruickshank: Yeah, I'm a District 5 resident - voted for ChrisTiana, but have had many conversations with Cathy Moore. And Cathy Moore is definitely not easy to pigeonhole as a corporate moderate. Cathy has, I think, some pretty strong progressive background and positions. This is an interesting district up here in District 5 too, that - people assume it's so far north that we're almost suburbs, and that's kind of true. But there are also large pockets of immigrant populations, people of color, low-income folks. And if you look at the map so far of the precincts - votes that have come in so far - ChrisTiana, they've only won a single precinct in Pinehurst, but they're pretty close in areas like Licton Springs, north Greenwood, Lake City. They're almost neck and neck with Cathy Moore in some of those areas - these are some of the denser parts of the district as well. Again, I don't think anyone's surprised that Cathy Moore prevailed by a fairly wide margin here. Again, given what Andrew pointed out in the primary, that that seemed foretold there. But I just wanna emphasize that Cathy Moore did not run the same race that maybe Rob Saka or Maritza Rivera or Bob Kettle or Pete Hanning ran. And I think that certainly helped. It's a district that four years ago, handily reelected Deborah Juarez over Ann Davison, who's of course now our city attorney. Which suggests that in District 5, there's definitely a lot of support for a left of center, but not too far left of center candidate. Well, again, we'll see what Cathy Moore does on the council. I think Cathy also ran a campaign that was good, but also kind of promises a lot of things to a lot of people. And the rubber will meet the road in the next few months on the council, especially as some important decisions come up around budget, around police contract, and around transportation levy. [00:41:17] Crystal Fincher: Now, moving on to District 6 - this is where we saw incumbent Councilmember Dan Strauss wind up overtaking and winning the race over Pete Hanning. How did you see this race, Andrew? [00:41:34] Andrew Villeneuve: So this was a race where we saw our first lead change, and Councilmember Strauss was fortunate in that he had the advantage of incumbency. He also, I think, had a district that perhaps, he felt like - okay, I can handle this redistricting, like I can handle some adjustments to the lines. I think he was well-prepared to face a slightly different electorate than what he faced in his last campaign. And he also was mindful of his public safety posture as he went into the campaign, realizing that - we're gonna talk about District 7 next - but realizing that it's important for people to perceive you on public safety as being someone that understands the issues that are out there in the community, which we know are significant. We know some people are concerned about property crime. We know some small business owners are very vocal about the issues they're going through, they're looking for more help from the city. And I think Councilmember Strauss was ready for that dynamic. I also think he made an effort to present himself as someone who's gotten things done. And he got not the most enthusiastic endorsement from The Stranger, but it didn't seem to hurt him too much. I mean, they sort of riffed on his "Ballard Dan" moniker. I went to his website and was reading about how he presented himself, and he's talking in his campaign bio about non-political things. And I think that's a really interesting and smart choice is to show yourself as not just a politician, but also a fellow community member, someone who has different interests. You're not just interested in politics - that's not the only thing you care about. And I think that that helped him connect with voters. I think it's very important for people to see who you are - that helps them identify with you. It's very important that people identify with you when they go to vote, because elections tend to turn on identity and trust more than anything else. Issues do matter, of course. And those of us who are very much in the wonkish space, we love people's issues, positions - we love to evaluate them. But I think a lot of voters are more in the mindset of - Do I want this person representing me in government? And they think about it at a very basic level. They don't think necessarily about people's issue positions. And they certainly don't have an Excel spreadsheet where they run a calculator to see whose position they're closest to. So I think that was one of the key things that I saw here was just, again, Strauss presenting himself as someone that folks could identify with and empathize with. And I also think Pete Hanning could have run a stronger campaign here - not as much resources on Hanning's side as I thought we might've seen, and that could have been a difference maker. Again, in a close race with a lead change, it's like just what we were talking about earlier - anything can make the difference. So we could talk about a lot of different factors, but what I saw was an incumbent who was interested in getting reelected and put in some of the work. And made sure that there were reasons for people to identify with him. And I think that we saw that worked out for him, and he was the first of the two incumbents to get that lead change on Thursday. So congratulations, Councilmember Strauss, on your reelection. [00:44:37] Crystal Fincher: How did you see this, Katie? [00:44:41] Katie Wilson: Yeah, I don't - sorry, I'm a little bit distracted. But yeah, I mean, I think that Councilmember Strauss definitely did somewhat of a pivot to the right, or just trying to kind of blow with the winds of his district and that paid off. And yeah, I'll pass it on to Robert. [00:45:02] Robert Cruickshank: Yeah, I think a couple of things stand out. Certainly the slide that's being displayed right now - notice there's no independent expenditure against Dan Strauss. Strauss clearly cozied up to the Chamber here, he cozied up to Mayor Harrell. So his blowing with the wind, which I think is an apt description, worked. It also worked when Dan put out mailers saying, I voted against defunding the police. Dan has been very active in trying to get encampments cleared at Ballard Commons Park and other areas in the neighborhood. So I think we who are progressive - who don't want to see a renewal of the War on Drugs, we don't feel comfortable when we see sweeps happening, we're not totally comfortable with this current mayor - have to do some reflection here. And the fact that Strauss took these positions that we who are progressive don't really like and prevailed with it - isn't great for us. And I think we've got to be honest about that and reflect on what that might mean, and how we pivot, and how we handle things differently. It doesn't mean we should abandon our core values. You never do that in politics, otherwise we should go home. But I think we got to take a look at this race and see why. Now, a couple other factors I want to point out. Again, Strauss is a incumbent and that helps. Also his district is fairly favorable. I think there's sometimes a reputation that like Ballard gets as being a bunch of cranky, conservative Scandinavians and it's just not. If you have a view of the water in District 6, you voted for Hanning. If you don't, you probably voted for Strauss - and that goes as far up as North Beach, North of 85th Street, which is pretty well off, parts of Crown Hill, pretty well off, lots of homeowners in Phinney Ridge and Greenwood, Ballard and Fremont all voting for Dan Strauss by pretty healthy margins. So I think the fact that that district - one that reelected Mike O'Brien in 2015, and I think would have reelected him in 2019 had O'Brien had the stomach for it - it is a favorable one. I think there's more opportunity there then Strauss was able to really make out of it. But again, this is a race where, press as we can point to things that didn't go our way, we didn't get the turnout we wanted, we had a lot of money spent against us, but someone like Dan Strauss who sort of blew with the wind, decided which way the wind was blowing, moved away from a lot of our positions and prevailed. So we have to be honest about that. [00:47:27] Crystal Fincher: Yeah, this race I thought was interesting because he did run away from his record basically and try to correct for that. It's really interesting because we saw two different approaches from two incumbents who both wound up successful. Tammy Morales, who is probably now the most progressive member remaining on the council - one of the most progressive before - showed that she was engaged and she did care. And I think maybe the key is really that - there has been this prevailing idea that progressives just don't care about crime or they wanna go easy on it. And one thing I think both Dan Strauss and Tammy Morales did was show that they cared very deeply and they were willing to stay engaged, stay involved, try and push through public safety, community safety initiatives that both of their districts had been calling for. And being engaged is what helped them. And really showing that they care and showing that they're working on the problem is what helped them - both of them - in those races, even though they have taken very different approaches and Tammy Morales stood by her record, fought hard for the district and a number of different things. So that was interesting for me to see - just the different approaches - but both looking like they were successful as long as they were engaged. [00:48:55] Shannon Cheng: You just listened to Part 1 of our 2023 Post-Election Roundtable that was originally aired live on Monday, November 13th. Audio for Part 2 will be running this Friday, so make sure to stay tuned. Full video from the event and a full text transcript of the show can be found on our website officialhacksandwonks.com. The producer of Hacks & Wonks is Shannon Cheng. You can find Hacks & Wonks on Twitter @HacksWonks, and you can follow Crystal @finchfrii, spelled F-I-N-C-H-F-R-I-I. You can catch Hacks & Wonks on iTunes, Spotify, or wherever else you get your podcasts - just type "Hacks and Wonks" into the search bar. Be sure to subscribe to get our Friday week-in-review shows and our Tuesday topical show delivered to your podcast feed. If you like us, leave us a review wherever you listen. You can also get a full transcript of this episode at officialhacksandwonks.com and in the podcast episode notes. Thank you for tuning in!

In Part 3, we meet Vesuvio bartender Joanna Lioce. Originally from Newport, RI, where her dad was a rock critic, the family moved to LA when he got a job with the Times down there. They landed in Orange County, in fact, a place Joanna left as soon as she could. In fact, the day after she graduated high school, Joanna went to Europe. While she was away, her dad got a job at the San Jose Mercury News and her mom, a pediatric nurse, worked as a public-health official in Berkeley. Joanna was in Europe shortly before Sept. 11, and though she had planned to stay overseas longer, the event made her wonder … but mom said “don't come home.” On a family trip to Ireland when Joanna was 8, she had decided that she wanted to be a bartender. Now it was 2002, and she dropped her bag at a hostel and got a bartending job at O'Shay's Merchant, a pub across the street from the Brazen Head in Dublin. She stayed in Dublin until Christmas, then returned to SoCal, where she had fronted a Riot Grrrrl band called Julia Warhola. But by now, several band members had started doing heroin, so she quit the band and moved to the Bay Area where her family was. Joanna first went to school in the Peralta System in the East Bay, then she got into SF State, where she eventually got her degree. She also finished college at Cambridge in England to study Shakespeare. While going to SF State, she moved to the Mission, specifically 18th and Linda near the Women's Building. She found the place through a Craigslist ad and ending up with six roommates, none of whom she knew previously. Her room set her back only $400, but she wasn't feeling it. From the Mission, Joanna moved to Lower Haight. And 13 years ago, she settled in to her place on Nob Hill, where she lives today. She had a job, hosting then bartending, at Stinking Rose in North Beach. She liked it all right, but when her boss gave credit for a makeover of the bar that she had done to a male co-worker, she knew she had to leave. She gave her two weeks' notice and went for a drink at Vesuvio. While there, a bartender she had befriended offered her the job. She was 21. It was 2003. She's been working at Vesuvio ever since. Photography by Michelle Kilfeather

Mike recalls memories from living in London and San Francisco in 1998. Topics discussed include: "Claire", Keri, Dek, Brighton, The Moon, throwups at Meanwhile, graffiti over graffiti, UFO, Abstract, Phunkateck, Ed Rush, Optical, Sage, Eklektic, GHB, Grove Park Yard with Egs, Network SouthEast trains, Trans Am show, Camdentown, Psycho, breaking car mirrors, removing fingerprints from spray cans, foiled mission at Uckfield Station, Brighton Yard, window-down on BritRail train, Kill All Cars, high speed car chase, falling through a roof, head wound, returning to San Francisco, brief stay with Claire, Jase, Laura, moving into a room near McAllister and Arguello, Kearny Book and Video, North Beach, cool manager, video arcades, cleaning crew, 4-hour videos for homeless people, The Thursday Guy, poppers (amyl nitrate), growing dislike of porn, Animal, Rosie the tweaker flower salesman, The Swiper, Bigfoot, Sam Flores, Kodik Joe, City Lights Bookstore, Jack Kerouac and Charles Bukowski, Avery, Skullz Press, Lisa, solo graffiti mission, Justo from Detroit, Dame, 3rd Street Yard, painting fast, getting tattoo from Nalla, Dase ATT, trackside with KR, Krink, failed mission in Safeway Tunnels, Noah Hurwitz, Imagination Plantation, Wild Brain, 2-week notice at porn shop, Twist, texture mapping, Hershey's kisses commercials, stop-motion animation, Mac and Silicon Graphics computers, Maya, Fern Gully scenes, Toon Render, Golden Eye 007, painting walls with Dalek, getting tattoo equipment from Nalla, red foil National shader, tattooing left leg, tattooing friends for free, 22nd and Illinois wall, Chris Woodcock, Willy Wonka candy, KFC, Jets, replacing bus shelter posters with Apex, Kaws.

This episode is six years overdue. That's because Storied: SF got started in a booth upstairs at one of our favorite spots in all The City: Vesuvio Café. In Part 1, we sit down in that same booth where it all began in 2017 to chat with Vesuvio co-owner Janet Clyde. We begin with a talk about what a great place for bars San Francisco is. Janet brings up touristic spots we love, as I had joined my wife for Irish coffees at the Buena Vista just before our recording in North Beach. Then Janet begins to lay out the history of Vesuvio. The location was originally an Italian bookstore called Cavalli Books, which moved first to the current City Lights spot, and then over to Stockton Street. Then, probably in the 1930s or early '40s, a woman known as Mrs. Mannetti opened Vesuvio as a restaurant. In 1948, Henry Lenoir bought the place from her and turned it into a bar. Lenoir was a Swiss/French bon vivant. He ran it as Vesuvio through the end of the 40s and into the 50s. But by the early '60s, with the Korean War, the place changed as society changed, and Henri wasn't feeling this generational shift at all. He sold the place to Ron Fein, who brought on Leo Riegler to run the bar. Riegler had run Coffee Gallery on Grant, which served beer and wine only. He was an Austrian bon vivant, and he came to Vesuvio and overhauled the bar. Ron Fein hired Shawn O'Shaughnessy to give the place the look and feel we're all familiar with to this day. O'Shaughnessy was inspired by Japanese art, aliens, and other worlds. Janet talks about the “I'm itching to get away from Portland, Oregon” sign, which hangs over the entrance to Vesuvio and which O'Shaughnessy derived from a postcard. We then shift the conversation a little to talk about Vesuvio and the Beat Movement. The bookstore across the alley became City Lights in 1954 when Lawrence Ferlinghetti took over. And that brought writers into the bar. Before that, according to Janet, Vesuvio was a Bohemian hang, really a cross-section of San Francisco. People who worked at the nearby Pacific Exchange (later known as the Pacific Stock Exchange), insurance salespeople, advertisers ... Janet describes the place as “suits and ties having a really good time …” When she arrived, in the late 1970s, the area was home to punk clubs, strip joints, bars, restaurants. Janet had hitchhiked from LA with the intention of landing in Seattle. She was born in Missouri but raised near Cape Canaveral, Florida. She left her family there and moved to LA but never really dug it much. A trip north in 1978 changed her life forever. Check back Thursday for Part 2 with Janet Clyde. For more on the history of Vesuvio, read this article on Found SF. This podcast was recorded at Vesuvio Café in North Beach in October 2023. Photography by Jeff Hunt

On this episode of the California Now Podcast, host Soterios Johnson dives deep into some of San Francisco's most celebrated and lesser-known neighborhoods with three expert guests.  First, Johnson is joined by Evan Goldstein, master sommelier for the San Francisco Giants. With more than 30 years as a professional oenophile, Goldstein shares some fun on-the-job anecdotes along with his perfect wine and snack pairings at Oracle Park. “Sauvignon Blanc and garlic fries is one of my favorites,” he reveals. “And then, of course, you're going to have one of the renowned tri-tip sandwiches that we do. It's funny how people will freak out [about what to pair it with] if it's a sandwich, but if you tell them it's a steak, “Oh, I'll have a Cabernet with it.” Goldstein also explores San Francisco's diverse wine scene, from trendy wine bars in the Dogpatch to neighborhood haunts in the Inner Richmond.  Next, Johnson reconnects with Bay Curious podcast host Olivia Allen-Price. The freshly minted author discusses her new book before getting into some under-the-radar gems in North Beach—including the Dear San Francisco revue. “It's kind of like Cirque de Soleil, but with a San Francisco twist,” she says. “It's a small theater, so you're really close to these people doing amazing tricks with their bodies that just will blow your mind. I went a couple weeks ago and I'm still thinking about it.” The podcaster also tells Johnson where to go for dinner and a show in sunny Potrero Hill.  Finally, Johnson talks culinary and cocktails with Lauren Saria, editor of Eater San Francisco. Saria shares a new way to enjoy a beloved city activity: a cable car bar crawl. After that, Saria breaks down her perfect Saturday—brunch spots, taco shops, and vintage stores included—in hippie haven Haight-Ashbury. The professional foodie also points listeners to some noteworthy happy hours and bars downtown, as well as some splurge-worthy restaurants. “In San Francisco, we are so fortunate because we have so many really lovely and special high-end restaurants where you can have a three- or four-hour dinner, and everything will be perfect” says Saria.

Thoughts about the yearly, sex drug arts party in the Nevada desert, my favorite neighborhood in San Francisco, and the most famous biracial who ever fumbled a royal bag --- Send in a voice message: https://podcasters.spotify.com/pod/show/sanfranciscodamn/message Support this podcast: https://podcasters.spotify.com/pod/show/sanfranciscodamn/support

After our last episode, talking beer and cheese pairings with Anne Becerra, we needed more cheese. As one does. And there are so many parallels between beer and cheese, both in the production and storytelling possibilities. This week we welcome to the show, Megan Vaughan, cheese expert and owner of Vaughan Cheese in North Beach, Maryland to discuss beer-washed cheese. Megan breaks down the cheese-making and aging process that involves washing cheese with beer and how that impacts the cheese during the aging as well as the final product. She also answers Sarah Jane's burning cheese questions: - What is the cheddering process? - Is there cheese terroir? - Can you wash goat cheese? - Should you always eat the cheese rind? Magan also shares why it is so important to support American Artisan Cheesemakers, for many of the same reasons we support American Craft Brewers. Shoutouts: The Culinary Institute of America, Eleven Madison Park, Jasper Hill Farms, Virtue Hard Cider, Chapel's Country Creamery, 16 Mile Brewing Company, Firefly FarmMUSIC CREDIT: The following music was used for this media project:Music: Funky Intro 31 by TaigaSoundProdFree download: https://filmmusic.io/song/9552-funky-intro-31License (CC BY 4.0): https://filmmusic.io/standard-license

Humans are horrible; robotaxis; Trump, X, DMs, set visibility to screwed; OpenAI lawsuits might wipe ChatGPT clean; Snapchat's AI glitches; using AI to ban books; new tools borks images for AI - for now; bots better at beating CAPTCHAs than humans; NFT lawsuits; those smart contracts are meaningless; Elon throttling links he doesn't like; scientists fleeing X; AppleTV+; streaming costs more than cable; people watching less TV; Strange New Worlds & Good Omens; Billions; Painkiller & Dopesick; the Witcher; YouTube crack down on cancer misinformation; class action lawsuits; Dirty Laundry, roleplaying musicals & baseball.Sponsors:Hover - Go to Hover now and grab your very own domain or a few of them at hover.com/gog and get 10% off your first purchase.1Password - Get a great deal on the only password manager recommended by Grumpy Old Geeks! gog.show/1passwordPrivate Internet Access - Go to GOG.Show/vpn and sign up today. For a limited time only, you can get OUR favorite VPN for as little as $2.03 a month.Show notes at https://gog.show/614IN THE NEWSPeople Are Having Sex in Robotaxis, and Nobody Is Talking About ItRobotaxis halt traffic in San Francisco's North Beach day after expansion approvalDriverless Car Gets Stuck in Wet Concrete in San FranciscoSpecial counsel obtained ‘some volume' of DMs from Donald Trump's Twitter accountThe New York Times prohibits AI vendors from devouring its contentReport: Potential NYT lawsuit could force OpenAI to wipe ChatGPT and start overSnapchat's My AI chatbot glitched so hard it started posting StoriesAn Iowa school district is using AI to ban booksScientists Say New Tool Makes Images Worthless for Training AIBots are better at beating ‘are you a robot?' tests than humans areOpenAI is using GPT-4 to build an AI-powered content moderation systemNYC bans TikTok on city-owned devicesBuyers of Bored Ape NFTs sue after digital apes turn out to be bad investmentA key feature of NFTs has completely brokenX is slowing down links to websites Elon Musk has publicly feuded withNYU Professor Locked Out of Twitter After Reportedly Declining to Meet With Elon MuskScientists are pulling back from Twitter and looking for alternativesMEDIA CANDYIt's official, people aren't watching TV as much as they used toStreaming TV costs now higher than cable, as 'crash' finally hitsAnson Mount Recalls Recording ‘Space…The Final Frontier' for ‘Star Trek: Strange New Worlds'In Praise of Bluey, the Most Grown-Up Television Show for ChildrenBillionsPainkillerDopesickThe Witcher Season 3APPS & DOODADSYouTube cracks down on videos promoting 'ineffective' cancer treatmentsApple Will Start Sending Payouts for $500 Million 'Batterygate' Lawsuit SoonTime is running out to file claims for Facebook's $725 million data privacy settlementTHE DARK SIDE WITH DAVEThe CyberWireDave BittnerHacking HumansCaveatControl LoopLina Khan Q&A: Hollywood 'Red Flags', 'Doom Loop' & the Future of M&AStray Gods - The Roleplaying MusicalSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Brought to you by TogetherLetters & Edgewise! In this episode: Author discovers AI-generated counterfeit books written in her name on Amazon CNET is deleting old articles to try to improve its Google Search ranking Google is helping pilots route flights to create fewer contrails, which is better for the climate Amazon Cuts Dozens of House Brands as It Battles Costs, Regulators BlueJeans, Verizon’s Google Meet competitor you’ve never heard of, is shutting down Prepare your Firefox desktop extension for the upcoming Android release Musk dumps remaining Twitter-branded stuff in auction Video calls are coming to X, formerly Twitter, CEO confirms These 5 New High-Speed Trains Are Coming to the U.S. Inspired by attacks on bakery, state law allows doxing victims to sue online harassers for money Weird and Wacky: The Mic Cardi B Threw at a Fan Just Sold for Nearly $100,000 on eBay San Francisco's North Beach streets clogged as long line of Cruise robotaxis come to a standstill Supermarket AI meal planner app suggests recipe that would create chlorine gas Tech Rec: Sanjay - Fold 'N Fly Adam - 10fastfingers.com Find us here: sanjayparekh.com & adamjwalker.com Tech Talk Y’all is a production of Edgewise.Media --- Send in a voice message: https://podcasters.spotify.com/pod/show/techtalkyall/message

In a city that gives the cold shoulder to working class people and creative folks that aren't backed by trust funds or tech money, Medicine for Nightmares Bookstore opens their doors to those who still care about the artistic soul of San Francisco. It's a place where you can walk in and be greeted with a warm "Hey hermano, Hey prima, Hey familia," and strike up a conversation with the booksellers, fellow readers or local writers that frequent the Mission shop. It's a venue where folks can read to a supportive inter generational audience, a gallery space showcasing artists of color, a community sanctuary to just stop in and exhale a deep breath from the chaos of the city. It's a vibe that is tended to and nurtured by co-owner and poet Josiah Luis Alderete. Coming of age in San Francisco in the 90s, he became immersed in the vibrant literary scene bourgeoning in the Mission. "People say North Beach is the heart of a literary scene in San Pancho or in San Francisco, and I'd say, nah, man, it's the Mission," he muses. As bookstores and cafes from that era have shuttered in the neighborhood, Alderete is helping keep the Mission poetry scene alive through organizing and booking local writers to read and share their work at the 24th street bookstore. In our conversation back in March 2022, Josiah shared literary history of the Mission, why Axolotl's show up in his pocho poems, and how his work is a form of memory keeping. Read the transcript

The Bay Area may not have an official sandwich, but “our local sandwiches have an unparalleled layering of textures that can't be found anywhere else,” writes Rocky Rivera in a recent essay for KQED. People here love deli meat on Dutch crunch bread or sourdough and don't skip the avocados! Italian delis such as Little Luca in South San Francisco and Molinari in North Beach have cult followings. Customers line up around the block for Bakesale Betty's fried chicken sandwich. So, what does it take to elevate a sandwich from just tasty to satisfyingly iconic? For our next installment of All You Can Eat, our regular series about Bay Area food cultures with KQED's Luke Tsai, we bite into our favorite local sandos and why we love them. Guests: Saint Boney, owner and chef, The Saint Sandwich Shop Cesar Hernandez, associate restaurant critic, San Francisco Chronicle Albert Ok, owner, Ok's Deli in Oakland Rocky Rivera, emcee and writer, part of KQED's "Frisco Foodies" series Luke Tsai, food editor, KQED Arts & Culture

What's the story behind North Beach and San Francisco's official instrument? Accordion player Tom Torriglia and San Francisco Italian Athletic Club chief operating officer Nick Figone join Total SF hosts Peter Hartlaub and Heather Knight to explain the history of North Beach, take some accordion requests and talk about the Festa Italiana street festival coming up on Saturday and Sunday June 3-4. The festival will feature accordion music, pizza tossing, a children's activities and beer and wine. More information at www.sfiacfoundation.com Produced by Peter Hartlaub. Music from the Sunset Shipwrecks off their album "Community," Castro Theatre organist David Hegarty and cable car bell-ringing by 8-time champion Byron Cobb. Follow Total SF adventures at www.sfchronicle.com/totalsf  Learn more about your ad choices. Visit megaphone.fm/adchoices

Pre-Loved Podcast is a weekly vintage fashion interview show, with guests you'll want to go thrifting with! For more Pre-Loved Podcast, subscribe to our Patreon! Today's episode is with Denise Wingate, the costume designer behind Daisy Jones & the Six! If you haven't seen it yet – run don't walk, the costuming is fabulous – Daisy Jones & the Six is about the rise and fall of a fictional 1970s rock band, based on the novel, written in rock documentary style, by Taylor Jenkins Reid. A Los Angeles native, Denise began her career designing costumes and touring with none other than The Bangles, before segueing into television costuming. Throughout her career, she's always prioritized working with vintage – and because of her true love for vintage fashion and music history, it's really clear that this project was an ultimate dream role for her.  We talk about all this, and the incredible vintage looks in Daisy Jones & the Six, on today's show –   let's just dive right in! DISCUSSED IN THE EPISODE: [3:09] Denise moved to Hollywood at 16 and grew up attending new wave shows. [4:28] Denise goes on a world tour with the Bangles, working as their stylist.  [8:51] Costume design is about developing a character through clothing, and Denise's process for Daisy Jones & the Six.  [13:57] The inspiration for young Daisy Jones was a young Joni Mitchell, young Linda Ronstadt – and then she morphed into Janis Joplin and Stevie Nicks when she becomes a rock star. [14:40] The inspiration for Camila Dunne was a young Ali MacGraw, and then she grows into Bianca Jagger in her rockstar wife era.  [14:50] Suki Waterhouse's character, cool-girl keyboardist Karen, was inspired by Patti Smith, Joan Jett, and Suzie Quatro. [15:52] Staying true to fashion moments mentioned in the book, like Daisy's first recording session outfit, or the beaded kaftan she wears in the pool. [18:45] Denise estimates she had to pull about 1,500 looks for this show! [20:15] Her sourcing process for finding special vintage pieces for the show. [23:40] Daisy Jones' coat collection – that choice for the character, and Denise's favorites, including this one that she sourced in Paris. [26:11] Camilla's transformation into Bianca Jagger would not be complete without this leopard print dress from Pickwick Vintage Market. [28:32] Denise found a patchwork leather jacket from Gandalf the Wizard in Long Beach, which she used for Graham Dunne. [30:27] Denise found a North Beach leather whipstitch white suit that Karen wore for the Aurora cover shoot. [31:44] A lot of the jewelry on the show originally belonged to Denise's grandparents, including Daisy's squash blossom necklaces. [32:45] In the 70s, rockstars would have been wearing vintage from the 30s, 40s, and older, so Denise used those kinds of pieces in the show, too.  [35:27] Daisy Jones' on-stage persona, and how they used costuming to bring that out.  [36:50] The final on-stage look for Daisy Jones was a gold vintage Halston dress that they turned into a cape, and a 1930s crochet metallic dress underneath. [44:55] The beauty and creativity in re-use.  [49:17] Shopping estate sales with her son, also a vintage shopper, in New Orleans. EPISODE MENTIONS:  Watch Daisy Jones & the Six on Amazon @denise_wingate Daisy Jones & the Six book by Taylor Jenkins Reid Listen to AURORA by Daisy Jones & the Six on Spotify The Bangles on Spotify Rock photographers, Neal Preston Riley Keough as Daisy Jones Camila Morrone as Camila Dunne Suki Waterhouse as Karen Working with Love Melody, who did denim patchwork for Elvis – keep in mind Riley Keough is Elvis' granddaughter! @pickwickvintage Meow Vintage Long Beach Flea Market Sam Clafin as Billy Dunne Out of the Closet Vintage on Hollywood Boro, a beautiful Japanese practice of recycling workwear The Amuse Museum boro collection The Quilts of Gee's Bend @centurygirlvintage LET'S CONNECT: 

Episode 165 of A History of Rock Music in Five Hundred Songs looks at “Dark Stat” and the career of the Grateful Dead. This is a long one, even longer than the previous episode, but don't worry, that won't be the norm. There's a reason these two were much longer than average. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Codine" by the Charlatans. Errata I mispronounce Brent Mydland's name as Myland a couple of times, and in the introduction I say "Touch of Grey" came out in 1988 -- I later, correctly, say 1987. (I seem to have had a real problem with dates in the intro -- I also originally talked about "Blue Suede Shoes" being in 1954 before fixing it in the edit to be 1956) Resources No Mixcloud this week, as there are too many songs by the Grateful Dead, and Grayfolded runs to two hours. I referred to a lot of books for this episode, partly because almost everything about the Grateful Dead is written from a fannish perspective that already assumes background knowledge, rather than to provide that background knowledge. Of the various books I used, Dennis McNally's biography of the band and This Is All a Dream We Dreamed: An Oral History of the Grateful Dead by Blair Jackson and David Gans are probably most useful for the casually interested. Other books on the Dead I used included McNally's Jerry on Jerry, a collection of interviews with Garcia; Deal, Bill Kreutzmann's autobiography; The Grateful Dead FAQ by Tony Sclafani; So Many Roads by David Browne; Deadology by Howard F. Weiner; Fare Thee Well by Joel Selvin and Pamela Turley; and Skeleton Key: A Dictionary for Deadheads by David Shenk and Steve Silberman. Tom Wolfe's The Electric Kool-Aid Acid Test is the classic account of the Pranksters, though not always reliable. I reference Slaughterhouse Five a lot. As well as the novel itself, which everyone should read, I also read this rather excellent graphic novel adaptation, and The Writer's Crusade, a book about the writing of the novel. I also reference Ted Sturgeon's More Than Human. For background on the scene around Astounding Science Fiction which included Sturgeon, John W. Campbell, L. Ron Hubbard, and many other science fiction writers, I recommend Alec Nevala-Lee's Astounding. 1,000 True Fans can be read online, as can the essay on the Californian ideology, and John Perry Barlow's "Declaration of the Independence of Cyberspace". The best collection of Grateful Dead material is the box set The Golden Road, which contains all the albums released in Pigpen's lifetime along with a lot of bonus material, but which appears currently out of print. Live/Dead contains both the live version of "Dark Star" which made it well known and, as a CD bonus track, the original single version. And archive.org has more live recordings of the group than you can possibly ever listen to. Grayfolded can be bought from John Oswald's Bandcamp Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Tuning from "Grayfolded", under the warnings Before we begin -- as we're tuning up, as it were, I should mention that this episode contains discussions of alcoholism, drug addiction, racism, nonconsensual drugging of other people, and deaths from drug abuse, suicide, and car accidents. As always, I try to deal with these subjects as carefully as possible, but if you find any of those things upsetting you may wish to read the transcript rather than listen to this episode, or skip it altogether. Also, I should note that the members of the Grateful Dead were much freer with their use of swearing in interviews than any other band we've covered so far, and that makes using quotes from them rather more difficult than with other bands, given the limitations of the rules imposed to stop the podcast being marked as adult. If I quote anything with a word I can't use here, I'll give a brief pause in the audio, and in the transcript I'll have the word in square brackets. [tuning ends] All this happened, more or less. In 1910, T. S. Eliot started work on "The Love Song of J. Alfred Prufrock", which at the time was deemed barely poetry, with one reviewer imagining Eliot saying "I'll just put down the first thing that comes into my head, and call it 'The Love Song of J. Alfred Prufrock.'" It is now considered one of the great classics of modernist literature. In 1969, Kurt Vonnegut wrote "Slaughterhouse-Five, or, The Children's Crusade: A Duty-Dance with Death", a book in which the protagonist, Billy Pilgrim, comes unstuck in time, and starts living a nonlinear life, hopping around between times reliving his experiences in the Second World War, and future experiences up to 1976 after being kidnapped by beings from the planet Tralfamadore. Or perhaps he has flashbacks and hallucinations after having a breakdown from PTSD. It is now considered one of the great classics of modernist literature or of science fiction, depending on how you look at it. In 1953, Theodore Sturgeon wrote More Than Human. It is now considered one of the great classics of science fiction. In 1950, L. Ron Hubbard wrote Dianetics: The Modern Science of Mental Health. It is now considered either a bad piece of science fiction or one of the great revelatory works of religious history, depending on how you look at it. In 1994, 1995, and 1996 the composer John Oswald released, first as two individual CDs and then as a double-CD, an album called Grayfolded, which the composer says in the liner notes he thinks of as existing in Tralfamadorian time. The Tralfamadorians in Vonnegut's novels don't see time as a linear thing with a beginning and end, but as a continuum that they can move between at will. When someone dies, they just think that at this particular point in time they're not doing so good, but at other points in time they're fine, so why focus on the bad time? In the book, when told of someone dying, the Tralfamadorians just say "so it goes". In between the first CD's release and the release of the double-CD version, Jerry Garcia died. From August 1942 through August 1995, Jerry Garcia was alive. So it goes. Shall we go, you and I? [Excerpt: The Grateful Dead, "Dark Star (Omni 3/30/94)"] "One principle has become clear. Since motives are so frequently found in combination, it is essential that the complex types be analyzed and arranged, with an eye kept single nevertheless to the master-theme under discussion. Collectors, both primary and subsidiary, have done such valiant service that the treasures at our command are amply sufficient for such studies, so extensive, indeed, that the task of going through them thoroughly has become too great for the unassisted student. It cannot be too strongly urged that a single theme in its various types and compounds must be made predominant in any useful comparative study. This is true when the sources and analogues of any literary work are treated; it is even truer when the bare motive is discussed. The Grateful Dead furnishes an apt illustration of the necessity of such handling. It appears in a variety of different combinations, almost never alone. Indeed, it is so widespread a tale, and its combinations are so various, that there is the utmost difficulty in determining just what may properly be regarded the original kernel of it, the simple theme to which other motives were joined. Various opinions, as we shall see, have been held with reference to this matter, most of them justified perhaps by the materials in the hands of the scholars holding them, but none quite adequate in view of later evidence." That's a quote from The Grateful Dead: The History of a Folk Story, by Gordon Hall Gerould, published in 1908. Kurt Vonnegut's novel Slaughterhouse-Five opens with a chapter about the process of writing the novel itself, and how difficult it was. He says "I would hate to tell you what this lousy little book cost me in money and anxiety and time. When I got home from the Second World War twenty-three years ago, I thought it would be easy for me to write about the destruction of Dresden, since all I would have to do would be to report what I had seen. And I thought, too, that it would be a masterpiece or at least make me a lot of money, since the subject was so big." This is an episode several of my listeners have been looking forward to, but it's one I've been dreading writing, because this is an episode -- I think the only one in the series -- where the format of the podcast simply *will not* work. Were the Grateful Dead not such an important band, I would skip this episode altogether, but they're a band that simply can't be ignored, and that's a real problem here. Because my intent, always, with this podcast, is to present the recordings of the artists in question, put them in context, and explain why they were important, what their music meant to its listeners. To put, as far as is possible, the positive case for why the music mattered *in the context of its time*. Not why it matters now, or why it matters to me, but why it matters *in its historical context*. Whether I like the music or not isn't the point. Whether it stands up now isn't the point. I play the music, explain what it was they were doing, why they were doing it, what people saw in it. If I do my job well, you come away listening to "Blue Suede Shoes" the way people heard it in 1956, or "Good Vibrations" the way people heard it in 1966, and understanding why people were so impressed by those records. That is simply *not possible* for the Grateful Dead. I can present a case for them as musicians, and hope to do so. I can explain the appeal as best I understand it, and talk about things I like in their music, and things I've noticed. But what I can't do is present their recordings the way they were received in the sixties and explain why they were popular. Because every other act I have covered or will cover in this podcast has been a *recording* act, and their success was based on records. They may also have been exceptional live performers, but James Brown or Ike and Tina Turner are remembered for great *records*, like "Papa's Got a Brand New Bag" or "River Deep, Mountain High". Their great moments were captured on vinyl, to be listened back to, and susceptible of analysis. That is not the case for the Grateful Dead, and what is worse *they explicitly said, publicly, on multiple occasions* that it is not possible for me to understand their art, and thus that it is not possible for me to explain it. The Grateful Dead did make studio records, some of them very good. But they always said, consistently, over a thirty year period, that their records didn't capture what they did, and that the only way -- the *only* way, they were very clear about this -- that one could actually understand and appreciate their music, was to see them live, and furthermore to see them live while on psychedelic drugs. [Excerpt: Grateful Dead crowd noise] I never saw the Grateful Dead live -- their last UK performance was a couple of years before I went to my first ever gig -- and I have never taken a psychedelic substance. So by the Grateful Dead's own criteria, it is literally impossible for me to understand or explain their music the way that it should be understood or explained. In a way I'm in a similar position to the one I was in with La Monte Young in the last episode, whose music it's mostly impossible to experience without being in his presence. This is one reason of several why I placed these two episodes back to back. Of course, there is a difference between Young and the Grateful Dead. The Grateful Dead allowed -- even encouraged -- the recording of their live performances. There are literally thousands of concert recordings in circulation, many of them of professional quality. I have listened to many of those, and I can hear what they were doing. I can tell you what *I* think is interesting about their music, and about their musicianship. And I think I can build up a good case for why they were important, and why they're interesting, and why those recordings are worth listening to. And I can certainly explain the cultural phenomenon that was the Grateful Dead. But just know that while I may have found *a* point, *an* explanation for why the Grateful Dead were important, by the band's own lights and those of their fans, no matter how good a job I do in this episode, I *cannot* get it right. And that is, in itself, enough of a reason for this episode to exist, and for me to try, even harder than I normally do, to get it right *anyway*. Because no matter how well I do my job this episode will stand as an example of why this series is called "*A* History", not *the* history. Because parts of the past are ephemeral. There are things about which it's true to say "You had to be there". I cannot know what it was like to have been an American the day Kennedy was shot, I cannot know what it was like to be alive when a man walked on the Moon. Those are things nobody my age or younger can ever experience. And since August the ninth, 1995, the experience of hearing the Grateful Dead's music the way they wanted it heard has been in that category. And that is by design. Jerry Garcia once said "if you work really hard as an artist, you may be able to build something they can't tear down, you know, after you're gone... What I want to do is I want it here. I want it now, in this lifetime. I want what I enjoy to last as long as I do and not last any longer. You know, I don't want something that ends up being as much a nuisance as it is a work of art, you know?" And there's another difficulty. There are only two points in time where it makes sense to do a podcast episode on the Grateful Dead -- late 1967 and early 1968, when the San Francisco scene they were part of was at its most culturally relevant, and 1988 when they had their only top ten hit and gained their largest audience. I can't realistically leave them out of the story until 1988, so it has to be 1968. But the songs they are most remembered for are those they wrote between 1970 and 1972, and those songs are influenced by artists and events we haven't yet covered in the podcast, who will be getting their own episodes in the future. I can't explain those things in this episode, because they need whole episodes of their own. I can't not explain them without leaving out important context for the Grateful Dead. So the best I can do is treat the story I'm telling as if it were in Tralfamadorian time. All of it's happening all at once, and some of it is happening in different episodes that haven't been recorded yet. The podcast as a whole travels linearly from 1938 through to 1999, but this episode is happening in 1968 and 1972 and 1988 and 1995 and other times, all at once. Sometimes I'll talk about things as if you're already familiar with them, but they haven't happened yet in the story. Feel free to come unstuck in time and revisit this time after episode 167, and 172, and 176, and 192, and experience it again. So this has to be an experimental episode. It may well be an experiment that you think fails. If so, the next episode is likely to be far more to your taste, and much shorter than this or the last episode, two episodes that between them have to create a scaffolding on which will hang much of the rest of this podcast's narrative. I've finished my Grateful Dead script now. The next one I write is going to be fun: [Excerpt: Grateful Dead, "Dark Star"] Infrastructure means everything. How we get from place to place, how we transport goods, information, and ourselves, makes a big difference in how society is structured, and in the music we hear. For many centuries, the prime means of long-distance transport was by water -- sailing ships on the ocean, canal boats and steamboats for inland navigation -- and so folk songs talked about the ship as both means of escape, means of making a living, and in some senses as a trap. You'd go out to sea for adventure, or to escape your problems, but you'd find that the sea itself brought its own problems. Because of this we have a long, long tradition of sea shanties which are known throughout the world: [Excerpt: A. L. Lloyd, "Off to Sea Once More"] But in the nineteenth century, the railway was invented and, at least as far as travel within a landmass goes, it replaced the steamboat in the popular imaginary. Now the railway was how you got from place to place, and how you moved freight from one place to another. The railway brought freedom, and was an opportunity for outlaws, whether train robbers or a romanticised version of the hobo hopping onto a freight train and making his way to new lands and new opportunity. It was the train that brought soldiers home from wars, and the train that allowed the Great Migration of Black people from the South to the industrial North. There would still be songs about the riverboats, about how ol' man river keeps rolling along and about the big river Johnny Cash sang about, but increasingly they would be songs of the past, not the present. The train quickly replaced the steamboat in the iconography of what we now think of as roots music -- blues, country, folk, and early jazz music. Sometimes this was very literal. Furry Lewis' "Kassie Jones" -- about a legendary train driver who would break the rules to make sure his train made the station on time, but who ended up sacrificing his own life to save his passengers in a train crash -- is based on "Alabamy Bound", which as we heard in the episode on "Stagger Lee", was about steamboats: [Excerpt: Furry Lewis, "Kassie Jones"] In the early episodes of this podcast we heard many, many, songs about the railway. Louis Jordan saying "take me right back to the track, Jack", Rosetta Tharpe singing about how "this train don't carry no gamblers", the trickster freight train driver driving on the "Rock Island Line", the mystery train sixteen coaches long, the train that kept-a-rollin' all night long, the Midnight Special which the prisoners wished would shine its ever-loving light on them, and the train coming past Folsom Prison whose whistle makes Johnny Cash hang his head and cry. But by the 1960s, that kind of song had started to dry up. It would happen on occasion -- "People Get Ready" by the Impressions is the most obvious example of the train metaphor in an important sixties record -- but by the late sixties the train was no longer a symbol of freedom but of the past. In 1969 Harry Nilsson sang about how "Nobody Cares About the Railroads Any More", and in 1968 the Kinks sang about "The Last of the Steam-Powered Trains". When in 1968 Merle Haggard sang about a freight train, it was as a memory, of a child with hopes that ended up thwarted by reality and his own nature: [Excerpt: Merle Haggard, "Mama Tried"] And the reason for this was that there had been another shift, a shift that had started in the forties and accelerated in the late fifties but had taken a little time to ripple through the culture. Now the train had been replaced in the popular imaginary by motorised transport. Instead of hopping on a train without paying, if you had no money in your pocket you'd have to hitch-hike all the way. Freedom now meant individuality. The ultimate in freedom was the biker -- the Hell's Angels who could go anywhere, unburdened by anything -- and instead of goods being moved by freight train, increasingly they were being moved by truck drivers. By the mid-seventies, truck drivers took a central place in American life, and the most romantic way to live life was to live it on the road. On The Road was also the title of a 1957 novel by Jack Kerouac, which was one of the first major signs of this cultural shift in America. Kerouac was writing about events in the late forties and early fifties, but his book was also a precursor of the sixties counterculture. He wrote the book on one continuous sheet of paper, as a stream of consciousness. Kerouac died in 1969 of an internal haemmorage brought on by too much alcohol consumption. So it goes. But the big key to this cultural shift was caused by the Federal-Aid Highway Act of 1956, a massive infrastructure spending bill that led to the construction of the modern American Interstate Highway system. This accelerated a program that had already started, of building much bigger, safer, faster roads. It also, as anyone who has read Robert Caro's The Power Broker knows, reinforced segregation and white flight. It did this both by making commuting into major cities from the suburbs easier -- thus allowing white people with more money to move further away from the cities and still work there -- and by bulldozing community spaces where Black people lived. More than a million people lost their homes and were forcibly moved, and orders of magnitude more lost their communities' parks and green spaces. And both as a result of deliberate actions and unconscious bigotry, the bulk of those affected were Black people -- who often found themselves, if they weren't forced to move, on one side of a ten-lane highway where the park used to be, with white people on the other side of the highway. The Federal-Aid Highway Act gave even more power to the unaccountable central planners like Robert Moses, the urban planner in New York who managed to become arguably the most powerful man in the city without ever getting elected, partly by slowly compromising away his early progressive ideals in the service of gaining more power. Of course, not every new highway was built through areas where poor Black people lived. Some were planned to go through richer areas for white people, just because you can't completely do away with geographical realities. For example one was planned to be built through part of San Francisco, a rich, white part. But the people who owned properties in that area had enough political power and clout to fight the development, and after nearly a decade of fighting it, the development was called off in late 1966. But over that time, many of the owners of the impressive buildings in the area had moved out, and they had no incentive to improve or maintain their properties while they were under threat of demolition, so many of them were rented out very cheaply. And when the beat community that Kerouac wrote about, many of whom had settled in San Francisco, grew too large and notorious for the area of the city they were in, North Beach, many of them moved to these cheap homes in a previously-exclusive area. The area known as Haight-Ashbury. [Excerpt: The Grateful Dead, "Grayfolded"] Stories all have their starts, even stories told in Tralfamadorian time, although sometimes those starts are shrouded in legend. For example, the story of Scientology's start has been told many times, with different people claiming to have heard L. Ron Hubbard talk about how writing was a mug's game, and if you wanted to make real money, you needed to get followers, start a religion. Either he said this over and over and over again, to many different science fiction writers, or most science fiction writers of his generation were liars. Of course, the definition of a writer is someone who tells lies for money, so who knows? One of the more plausible accounts of him saying that is given by Theodore Sturgeon. Sturgeon's account is more believable than most, because Sturgeon went on to be a supporter of Dianetics, the "new science" that Hubbard turned into his religion, for decades, even while telling the story. The story of the Grateful Dead probably starts as it ends, with Jerry Garcia. There are three things that everyone writing about the Dead says about Garcia's childhood, so we might as well say them here too. The first is that he was named by a music-loving father after Jerome Kern, the songwriter responsible for songs like "Ol' Man River" (though as Oscar Hammerstein's widow liked to point out, "Jerome Kern wrote dum-dum-dum-dum, *my husband* wrote 'Ol' Man River'" -- an important distinction we need to bear in mind when talking about songwriters who write music but not lyrics). The second is that when he was five years old that music-loving father drowned -- and Garcia would always say he had seen his father dying, though some sources claim this was a false memory. So it goes. And the third fact, which for some reason is always told after the second even though it comes before it chronologically, is that when he was four he lost two joints from his right middle finger. Garcia grew up a troubled teen, and in turn caused trouble for other people, but he also developed a few interests that would follow him through his life. He loved the fantastical, especially the fantastical macabre, and became an avid fan of horror and science fiction -- and through his love of old monster films he became enamoured with cinema more generally. Indeed, in 1983 he bought the film rights to Kurt Vonnegut's science fiction novel The Sirens of Titan, the first story in which the Tralfamadorians appear, and wrote a script based on it. He wanted to produce the film himself, with Francis Ford Coppola directing and Bill Murray starring, but most importantly for him he wanted to prevent anyone who didn't care about it from doing it badly. And in that he succeeded. As of 2023 there is no film of The Sirens of Titan. He loved to paint, and would continue that for the rest of his life, with one of his favourite subjects being Boris Karloff as the Frankenstein monster. And when he was eleven or twelve, he heard for the first time a record that was hugely influential to a whole generation of Californian musicians, even though it was a New York record -- "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Garcia would say later "That was an important song. That was the first kind of, like where the voices had that kind of not-trained-singer voices, but tough-guy-on-the-street voice." That record introduced him to R&B, and soon he was listening to Chuck Berry and Bo Diddley, to Ray Charles, and to a record we've not talked about in the podcast but which was one of the great early doo-wop records, "WPLJ" by the Four Deuces: [Excerpt: The Four Deuces, "WPLJ"] Garcia said of that record "That was one of my anthem songs when I was in junior high school and high school and around there. That was one of those songs everybody knew. And that everybody sang. Everybody sang that street-corner favorite." Garcia moved around a lot as a child, and didn't have much time for school by his own account, but one of the few teachers he did respect was an art teacher when he was in North Beach, Walter Hedrick. Hedrick was also one of the earliest of the conceptual artists, and one of the most important figures in the San Francisco arts scene that would become known as the Beat Generation (or the Beatniks, which was originally a disparaging term). Hedrick was a painter and sculptor, but also organised happenings, and he had also been one of the prime movers in starting a series of poetry readings in San Francisco, the first one of which had involved Allen Ginsberg giving the first ever reading of "Howl" -- one of a small number of poems, along with Eliot's "Prufrock" and "The Waste Land" and possibly Pound's Cantos, which can be said to have changed twentieth-century literature. Garcia was fifteen when he got to know Hedrick, in 1957, and by then the Beat scene had already become almost a parody of itself, having become known to the public because of the publication of works like On the Road, and the major artists in the scene were already rejecting the label. By this point tourists were flocking to North Beach to see these beatniks they'd heard about on TV, and Hedrick was actually employed by one cafe to sit in the window wearing a beret, turtleneck, sandals, and beard, and draw and paint, to attract the tourists who flocked by the busload because they could see that there was a "genuine beatnik" in the cafe. Hedrick was, as well as a visual artist, a guitarist and banjo player who played in traditional jazz bands, and he would bring records in to class for his students to listen to, and Garcia particularly remembered him bringing in records by Big Bill Broonzy: [Excerpt: Big Bill Broonzy, "When Things Go Wrong (It Hurts Me Too)"] Garcia was already an avid fan of rock and roll music, but it was being inspired by Hedrick that led him to get his first guitar. Like his contemporary Paul McCartney around the same time, he was initially given the wrong instrument as a birthday present -- in Garcia's case his mother gave him an accordion -- but he soon persuaded her to swap it for an electric guitar he saw in a pawn shop. And like his other contemporary, John Lennon, Garcia initially tuned his instrument incorrectly. He said later "When I started playing the guitar, believe me, I didn't know anybody that played. I mean, I didn't know anybody that played the guitar. Nobody. They weren't around. There were no guitar teachers. You couldn't take lessons. There was nothing like that, you know? When I was a kid and I had my first electric guitar, I had it tuned wrong and learned how to play on it with it tuned wrong for about a year. And I was getting somewhere on it, you know… Finally, I met a guy that knew how to tune it right and showed me three chords, and it was like a revelation. You know what I mean? It was like somebody gave me the key to heaven." He joined a band, the Chords, which mostly played big band music, and his friend Gary Foster taught him some of the rudiments of playing the guitar -- things like how to use a capo to change keys. But he was always a rebellious kid, and soon found himself faced with a choice between joining the military or going to prison. He chose the former, and it was during his time in the Army that a friend, Ron Stevenson, introduced him to the music of Merle Travis, and to Travis-style guitar picking: [Excerpt: Merle Travis, "Nine-Pound Hammer"] Garcia had never encountered playing like that before, but he instantly recognised that Travis, and Chet Atkins who Stevenson also played for him, had been an influence on Scotty Moore. He started to realise that the music he'd listened to as a teenager was influenced by music that went further back. But Stevenson, as well as teaching Garcia some of the rudiments of Travis-picking, also indirectly led to Garcia getting discharged from the Army. Stevenson was not a well man, and became suicidal. Garcia decided it was more important to keep his friend company and make sure he didn't kill himself than it was to turn up for roll call, and as a result he got discharged himself on psychiatric grounds -- according to Garcia he told the Army psychiatrist "I was involved in stuff that was more important to me in the moment than the army was and that was the reason I was late" and the psychiatrist thought it was neurotic of Garcia to have his own set of values separate from that of the Army. After discharge, Garcia did various jobs, including working as a transcriptionist for Lenny Bruce, the comedian who was a huge influence on the counterculture. In one of the various attacks over the years by authoritarians on language, Bruce was repeatedly arrested for obscenity, and in 1961 he was arrested at a jazz club in North Beach. Sixty years ago, the parts of speech that were being criminalised weren't pronouns, but prepositions and verbs: [Excerpt: Lenny Bruce, "To is a Preposition, Come is a Verb"] That piece, indeed, was so controversial that when Frank Zappa quoted part of it in a song in 1968, the record label insisted on the relevant passage being played backwards so people couldn't hear such disgusting filth: [Excerpt: The Mothers of Invention, "Harry You're a Beast"] (Anyone familiar with that song will understand that the censored portion is possibly the least offensive part of the whole thing). Bruce was facing trial, and he needed transcripts of what he had said in his recordings to present in court. Incidentally, there seems to be some confusion over exactly which of Bruce's many obscenity trials Garcia became a transcriptionist for. Dennis McNally says in his biography of the band, published in 2002, that it was the most famous of them, in autumn 1964, but in a later book, Jerry on Jerry, a book of interviews of Garcia edited by McNally, McNally talks about it being when Garcia was nineteen, which would mean it was Bruce's first trial, in 1961. We can put this down to the fact that many of the people involved, not least Garcia, lived in Tralfamadorian time, and were rather hazy on dates, but I'm placing the story here rather than in 1964 because it seems to make more sense that Garcia would be involved in a trial based on an incident in San Francisco than one in New York. Garcia got the job, even though he couldn't type, because by this point he'd spent so long listening to recordings of old folk and country music that he was used to transcribing indecipherable accents, and often, as Garcia would tell it, Bruce would mumble very fast and condense multiple syllables into one. Garcia was particularly impressed by Bruce's ability to improvise but talk in entire paragraphs, and he compared his use of language to bebop. Another thing that was starting to impress Garcia, and which he also compared to bebop, was bluegrass: [Excerpt: Bill Monroe, "Fire on the Mountain"] Bluegrass is a music that is often considered very traditional, because it's based on traditional songs and uses acoustic instruments, but in fact it was a terribly *modern* music, and largely a postwar creation of a single band -- Bill Monroe and his Blue Grass Boys. And Garcia was right when he said it was "white bebop" -- though he did say "The only thing it doesn't have is the harmonic richness of bebop. You know what I mean? That's what it's missing, but it has everything else." Both bebop and bluegrass evolved after the second world war, though they were informed by music from before it, and both prized the ability to improvise, and technical excellence. Both are musics that involved playing *fast*, in an ensemble, and being able to respond quickly to the other musicians. Both musics were also intensely rhythmic, a response to a faster paced, more stressful world. They were both part of the general change in the arts towards immediacy that we looked at in the last episode with the creation first of expressionism and then of pop art. Bluegrass didn't go into the harmonic explorations that modern jazz did, but it was absolutely as modern as anything Charlie Parker was doing, and came from the same impulses. It was tradition and innovation, the past and the future simultaneously. Bill Monroe, Jackson Pollock, Charlie Parker, Jack Kerouac, and Lenny Bruce were all in their own ways responding to the same cultural moment, and it was that which Garcia was responding to. But he didn't become able to play bluegrass until after a tragedy which shaped his life even more than his father's death had. Garcia had been to a party and was in a car with his friends Lee Adams, Paul Speegle, and Alan Trist. Adams was driving at ninety miles an hour when they hit a tight curve and crashed. Garcia, Adams, and Trist were all severely injured but survived. Speegle died. So it goes. This tragedy changed Garcia's attitudes totally. Of all his friends, Speegle was the one who was most serious about his art, and who treated it as something to work on. Garcia had always been someone who fundamentally didn't want to work or take any responsibility for anything. And he remained that way -- except for his music. Speegle's death changed Garcia's attitude to that, totally. If his friend wasn't going to be able to practice his own art any more, Garcia would practice his, in tribute to him. He resolved to become a virtuoso on guitar and banjo. His girlfriend of the time later said “I don't know if you've spent time with someone rehearsing ‘Foggy Mountain Breakdown' on a banjo for eight hours, but Jerry practiced endlessly. He really wanted to excel and be the best. He had tremendous personal ambition in the musical arena, and he wanted to master whatever he set out to explore. Then he would set another sight for himself. And practice another eight hours a day of new licks.” But of course, you can't make ensemble music on your own: [Excerpt: Jerry Garcia and Bob Hunter, "Oh Mary Don't You Weep" (including end)] "Evelyn said, “What is it called when a person needs a … person … when you want to be touched and the … two are like one thing and there isn't anything else at all anywhere?” Alicia, who had read books, thought about it. “Love,” she said at length." That's from More Than Human, by Theodore Sturgeon, a book I'll be quoting a few more times as the story goes on. Robert Hunter, like Garcia, was just out of the military -- in his case, the National Guard -- and he came into Garcia's life just after Paul Speegle had left it. Garcia and Alan Trist met Hunter ten days after the accident, and the three men started hanging out together, Trist and Hunter writing while Garcia played music. Garcia and Hunter both bonded over their shared love for the beats, and for traditional music, and the two formed a duo, Bob and Jerry, which performed together a handful of times. They started playing together, in fact, after Hunter picked up a guitar and started playing a song and halfway through Garcia took it off him and finished the song himself. The two of them learned songs from the Harry Smith Anthology -- Garcia was completely apolitical, and only once voted in his life, for Lyndon Johnson in 1964 to keep Goldwater out, and regretted even doing that, and so he didn't learn any of the more political material people like Pete Seeger, Phil Ochs, and Bob Dylan were doing at the time -- but their duo only lasted a short time because Hunter wasn't an especially good guitarist. Hunter would, though, continue to jam with Garcia and other friends, sometimes playing mandolin, while Garcia played solo gigs and with other musicians as well, playing and moving round the Bay Area and performing with whoever he could: [Excerpt: Jerry Garcia, "Railroad Bill"] "Bleshing, that was Janie's word. She said Baby told it to her. She said it meant everyone all together being something, even if they all did different things. Two arms, two legs, one body, one head, all working together, although a head can't walk and arms can't think. Lone said maybe it was a mixture of “blending” and “meshing,” but I don't think he believed that himself. It was a lot more than that." That's from More Than Human In 1961, Garcia and Hunter met another young musician, but one who was interested in a very different type of music. Phil Lesh was a serious student of modern classical music, a classically-trained violinist and trumpeter whose interest was solidly in the experimental and whose attitude can be summed up by a story that's always told about him meeting his close friend Tom Constanten for the first time. Lesh had been talking with someone about serialism, and Constanten had interrupted, saying "Music stopped being created in 1750 but it started again in 1950". Lesh just stuck out his hand, recognising a kindred spirit. Lesh and Constanten were both students of Luciano Berio, the experimental composer who created compositions for magnetic tape: [Excerpt: Luciano Berio, "Momenti"] Berio had been one of the founders of the Studio di fonologia musicale di Radio Milano, a studio for producing contemporary electronic music where John Cage had worked for a time, and he had also worked with the electronic music pioneer Karlheinz Stockhausen. Lesh would later remember being very impressed when Berio brought a tape into the classroom -- the actual multitrack tape for Stockhausen's revolutionary piece Gesang Der Juenglinge: [Excerpt: Karlheinz Stockhausen, "Gesang Der Juenglinge"] Lesh at first had been distrustful of Garcia -- Garcia was charismatic and had followers, and Lesh never liked people like that. But he was impressed by Garcia's playing, and soon realised that the two men, despite their very different musical interests, had a lot in common. Lesh was interested in the technology of music as well as in performing and composing it, and so when he wasn't studying he helped out by engineering at the university's radio station. Lesh was impressed by Garcia's playing, and suggested to the presenter of the station's folk show, the Midnight Special, that Garcia be a guest. Garcia was so good that he ended up getting an entire solo show to himself, where normally the show would feature multiple acts. Lesh and Constanten soon moved away from the Bay Area to Las Vegas, but both would be back -- in Constanten's case he would form an experimental group in San Francisco with their fellow student Steve Reich, and that group (though not with Constanten performing) would later premiere Terry Riley's In C, a piece influenced by La Monte Young and often considered one of the great masterpieces of minimalist music. By early 1962 Garcia and Hunter had formed a bluegrass band, with Garcia on guitar and banjo and Hunter on mandolin, and a rotating cast of other musicians including Ken Frankel, who played banjo and fiddle. They performed under different names, including the Tub Thumpers, the Hart Valley Drifters, and the Sleepy Valley Hog Stompers, and played a mixture of bluegrass and old-time music -- and were very careful about the distinction: [Excerpt: The Hart Valley Drifters, "Cripple Creek"] In 1993, the Republican political activist John Perry Barlow was invited to talk to the CIA about the possibilities open to them with what was then called the Information Superhighway. He later wrote, in part "They told me they'd brought Steve Jobs in a few weeks before to indoctrinate them in modern information management. And they were delighted when I returned later, bringing with me a platoon of Internet gurus, including Esther Dyson, Mitch Kapor, Tony Rutkowski, and Vint Cerf. They sealed us into an electronically impenetrable room to discuss the radical possibility that a good first step in lifting their blackout would be for the CIA to put up a Web site... We told them that information exchange was a barter system, and that to receive, one must also be willing to share. This was an alien notion to them. They weren't even willing to share information among themselves, much less the world." 1962 brought a new experience for Robert Hunter. Hunter had been recruited into taking part in psychological tests at Stanford University, which in the sixties and seventies was one of the preeminent universities for psychological experiments. As part of this, Hunter was given $140 to attend the VA hospital (where a janitor named Ken Kesey, who had himself taken part in a similar set of experiments a couple of years earlier, worked a day job while he was working on his first novel) for four weeks on the run, and take different psychedelic drugs each time, starting with LSD, so his reactions could be observed. (It was later revealed that these experiments were part of a CIA project called MKUltra, designed to investigate the possibility of using psychedelic drugs for mind control, blackmail, and torture. Hunter was quite lucky in that he was told what was going to happen to him and paid for his time. Other subjects included the unlucky customers of brothels the CIA set up as fronts -- they dosed the customers' drinks and observed them through two-way mirrors. Some of their experimental subjects died by suicide as a result of their experiences. So it goes. ) Hunter was interested in taking LSD after reading Aldous Huxley's writings about psychedelic substances, and he brought his typewriter along to the experiment. During the first test, he wrote a six-page text, a short excerpt from which is now widely quoted, reading in part "Sit back picture yourself swooping up a shell of purple with foam crests of crystal drops soft nigh they fall unto the sea of morning creep-very-softly mist ... and then sort of cascade tinkley-bell-like (must I take you by the hand, ever so slowly type) and then conglomerate suddenly into a peal of silver vibrant uncomprehendingly, blood singingly, joyously resounding bells" Hunter's experience led to everyone in their social circle wanting to try LSD, and soon they'd all come to the same conclusion -- this was something special. But Garcia needed money -- he'd got his girlfriend pregnant, and they'd married (this would be the first of several marriages in Garcia's life, and I won't be covering them all -- at Garcia's funeral, his second wife, Carolyn, said Garcia always called her the love of his life, and his first wife and his early-sixties girlfriend who he proposed to again in the nineties both simultaneously said "He said that to me!"). So he started teaching guitar at a music shop in Palo Alto. Hunter had no time for Garcia's incipient domesticity and thought that his wife was trying to make him live a conventional life, and the two drifted apart somewhat, though they'd still play together occasionally. Through working at the music store, Garcia got to know the manager, Troy Weidenheimer, who had a rock and roll band called the Zodiacs. Garcia joined the band on bass, despite that not being his instrument. He later said "Troy was a lot of fun, but I wasn't good enough a musician then to have been able to deal with it. I was out of my idiom, really, 'cause when I played with Troy I was playing electric bass, you know. I never was a good bass player. Sometimes I was playing in the wrong key and didn't even [fuckin'] know it. I couldn't hear that low, after playing banjo, you know, and going to electric...But Troy taught me the principle of, hey, you know, just stomp your foot and get on it. He was great. A great one for the instant arrangement, you know. And he was also fearless for that thing of get your friends to do it." Garcia's tenure in the Zodiacs didn't last long, nor did this experiment with rock and roll, but two other members of the Zodiacs will be notable later in the story -- the harmonica player, an old friend of Garcia's named Ron McKernan, who would soon gain the nickname Pig Pen after the Peanuts character, and the drummer, Bill Kreutzmann: [Excerpt: The Grateful Dead, "Drums/Space (Skull & Bones version)"] Kreutzmann said of the Zodiacs "Jerry was the hired bass player and I was the hired drummer. I only remember playing that one gig with them, but I was in way over my head. I always did that. I always played things that were really hard and it didn't matter. I just went for it." Garcia and Kreutzmann didn't really get to know each other then, but Garcia did get to know someone else who would soon be very important in his life. Bob Weir was from a very different background than Garcia, though both had the shared experience of long bouts of chronic illness as children. He had grown up in a very wealthy family, and had always been well-liked, but he was what we would now call neurodivergent -- reading books about the band he talks about being dyslexic but clearly has other undiagnosed neurodivergences, which often go along with dyslexia -- and as a result he was deemed to have behavioural problems which led to him getting expelled from pre-school and kicked out of the cub scouts. He was never academically gifted, thanks to his dyslexia, but he was always enthusiastic about music -- to a fault. He learned to play boogie piano but played so loudly and so often his parents sold the piano. He had a trumpet, but the neighbours complained about him playing it outside. Finally he switched to the guitar, an instrument with which it is of course impossible to make too loud a noise. The first song he learned was the Kingston Trio's version of an old sea shanty, "The Wreck of the John B": [Excerpt: The Kingston Trio, "The Wreck of the John B"] He was sent off to a private school in Colorado for teenagers with behavioural issues, and there he met the boy who would become his lifelong friend, John Perry Barlow. Unfortunately the two troublemakers got on with each other *so* well that after their first year they were told that it was too disruptive having both of them at the school, and only one could stay there the next year. Barlow stayed and Weir moved back to the Bay Area. By this point, Weir was getting more interested in folk music that went beyond the commercial folk of the Kingston Trio. As he said later "There was something in there that was ringing my bells. What I had grown up thinking of as hillbilly music, it started to have some depth for me, and I could start to hear the music in it. Suddenly, it wasn't just a bunch of ignorant hillbillies playing what they could. There was some depth and expertise and stuff like that to aspire to.” He moved from school to school but one thing that stayed with him was his love of playing guitar, and he started taking lessons from Troy Weidenheimer, but he got most of his education going to folk clubs and hootenannies. He regularly went to the Tangent, a club where Garcia played, but Garcia's bluegrass banjo playing was far too rigorous for a free spirit like Weir to emulate, and instead he started trying to copy one of the guitarists who was a regular there, Jorma Kaukonnen. On New Year's Eve 1963 Weir was out walking with his friends Bob Matthews and Rich Macauley, and they passed the music shop where Garcia was a teacher, and heard him playing his banjo. They knocked and asked if they could come in -- they all knew Garcia a little, and Bob Matthews was one of his students, having become interested in playing banjo after hearing the theme tune to the Beverly Hillbillies, played by the bluegrass greats Flatt and Scruggs: [Excerpt: Flatt and Scruggs, "The Beverly Hillbillies"] Garcia at first told these kids, several years younger than him, that they couldn't come in -- he was waiting for his students to show up. But Weir said “Jerry, listen, it's seven-thirty on New Year's Eve, and I don't think you're going to be seeing your students tonight.” Garcia realised the wisdom of this, and invited the teenagers in to jam with him. At the time, there was a bit of a renaissance in jug bands, as we talked about back in the episode on the Lovin' Spoonful. This was a form of music that had grown up in the 1920s, and was similar and related to skiffle and coffee-pot bands -- jug bands would tend to have a mixture of portable string instruments like guitars and banjos, harmonicas, and people using improvised instruments, particularly blowing into a jug. The most popular of these bands had been Gus Cannon's Jug Stompers, led by banjo player Gus Cannon and with harmonica player Noah Lewis: [Excerpt: Gus Cannon's Jug Stompers, "Viola Lee Blues"] With the folk revival, Cannon's work had become well-known again. The Rooftop Singers, a Kingston Trio style folk group, had had a hit with his song "Walk Right In" in 1963, and as a result of that success Cannon had even signed a record contract with Stax -- Stax's first album ever, a month before Booker T and the MGs' first album, was in fact the eighty-year-old Cannon playing his banjo and singing his old songs. The rediscovery of Cannon had started a craze for jug bands, and the most popular of the new jug bands was Jim Kweskin's Jug Band, which did a mixture of old songs like "You're a Viper" and more recent material redone in the old style. Weir, Matthews, and Macauley had been to see the Kweskin band the night before, and had been very impressed, especially by their singer Maria D'Amato -- who would later marry her bandmate Geoff Muldaur and take his name -- and her performance of Leiber and Stoller's "I'm a Woman": [Excerpt: Jim Kweskin's Jug Band, "I'm a Woman"] Matthews suggested that they form their own jug band, and Garcia eagerly agreed -- though Matthews found himself rapidly moving from banjo to washboard to kazoo to second kazoo before realising he was surplus to requirements. Robert Hunter was similarly an early member but claimed he "didn't have the embouchure" to play the jug, and was soon also out. He moved to LA and started studying Scientology -- later claiming that he wanted science-fictional magic powers, which L. Ron Hubbard's new religion certainly offered. The group took the name Mother McRee's Uptown Jug Champions -- apparently they varied the spelling every time they played -- and had a rotating membership that at one time or another included about twenty different people, but tended always to have Garcia on banjo, Weir on jug and later guitar, and Garcia's friend Pig Pen on harmonica: [Excerpt: Mother McRee's Uptown Jug Champions, "On the Road Again"] The group played quite regularly in early 1964, but Garcia's first love was still bluegrass, and he was trying to build an audience with his bluegrass band, The Black Mountain Boys. But bluegrass was very unpopular in the Bay Area, where it was simultaneously thought of as unsophisticated -- as "hillbilly music" -- and as elitist, because it required actual instrumental ability, which wasn't in any great supply in the amateur folk scene. But instrumental ability was something Garcia definitely had, as at this point he was still practising eight hours a day, every day, and it shows on the recordings of the Black Mountain Boys: [Excerpt: The Black Mountain Boys, "Rosa Lee McFall"] By the summer, Bob Weir was also working at the music shop, and so Garcia let Weir take over his students while he and the Black Mountain Boys' guitarist Sandy Rothman went on a road trip to see as many bluegrass musicians as they could and to audition for Bill Monroe himself. As it happened, Garcia found himself too shy to audition for Monroe, but Rothman later ended up playing with Monroe's Blue Grass Boys. On his return to the Bay Area, Garcia resumed playing with the Uptown Jug Champions, but Pig Pen started pestering him to do something different. While both men had overlapping tastes in music and a love for the blues, Garcia's tastes had always been towards the country end of the spectrum while Pig Pen's were towards R&B. And while the Uptown Jug Champions were all a bit disdainful of the Beatles at first -- apart from Bob Weir, the youngest of the group, who thought they were interesting -- Pig Pen had become enamoured of another British band who were just starting to make it big: [Excerpt: The Rolling Stones, "Not Fade Away"] 29) Garcia liked the first Rolling Stones album too, and he eventually took Pig Pen's point -- the stuff that the Rolling Stones were doing, covers of Slim Harpo and Buddy Holly, was not a million miles away from the material they were doing as Mother McRee's Uptown Jug Champions. Pig Pen could play a little electric organ, Bob had been fooling around with the electric guitars in the music shop. Why not give it a go? The stuff bands like the Rolling Stones were doing wasn't that different from the electric blues that Pig Pen liked, and they'd all seen A Hard Day's Night -- they could carry on playing with banjos, jugs, and kazoos and have the respect of a handful of folkies, or they could get electric instruments and potentially have screaming girls and millions of dollars, while playing the same songs. This was a convincing argument, especially when Dana Morgan Jr, the son of the owner of the music shop, told them they could have free electric instruments if they let him join on bass. Morgan wasn't that great on bass, but what the hell, free instruments. Pig Pen had the best voice and stage presence, so he became the frontman of the new group, singing most of the leads, though Jerry and Bob would both sing a few songs, and playing harmonica and organ. Weir was on rhythm guitar, and Garcia was the lead guitarist and obvious leader of the group. They just needed a drummer, and handily Bill Kreutzmann, who had played with Garcia and Pig Pen in the Zodiacs, was also now teaching music at the music shop. Not only that, but about three weeks before they decided to go electric, Kreutzmann had seen the Uptown Jug Champions performing and been astonished by Garcia's musicianship and charisma, and said to himself "Man, I'm gonna follow that guy forever!" The new group named themselves the Warlocks, and started rehearsing in earnest. Around this time, Garcia also finally managed to get some of the LSD that his friend Robert Hunter had been so enthusiastic about three years earlier, and it was a life-changing experience for him. In particular, he credited LSD with making him comfortable being a less disciplined player -- as a bluegrass player he'd had to be frighteningly precise, but now he was playing rock and needed to loosen up. A few days after taking LSD for the first time, Garcia also heard some of Bob Dylan's new material, and realised that the folk singer he'd had little time for with his preachy politics was now making electric music that owed a lot more to the Beat culture Garcia considered himself part of: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] Another person who was hugely affected by hearing that was Phil Lesh, who later said "I couldn't believe that was Bob Dylan on AM radio, with an electric band. It changed my whole consciousness: if something like that could happen, the sky was the limit." Up to that point, Lesh had been focused entirely on his avant-garde music, working with friends like Steve Reich to push music forward, inspired by people like John Cage and La Monte Young, but now he realised there was music of value in the rock world. He'd quickly started going to rock gigs, seeing the Rolling Stones and the Byrds, and then he took acid and went to see his friend Garcia's new electric band play their third ever gig. He was blown away, and very quickly it was decided that Lesh would be the group's new bass player -- though everyone involved tells a different story as to who made the decision and how it came about, and accounts also vary as to whether Dana Morgan took his sacking gracefully and let his erstwhile bandmates keep their instruments, or whether they had to scrounge up some new ones. Lesh had never played bass before, but he was a talented multi-instrumentalist with a deep understanding of music and an ability to compose and improvise, and the repertoire the Warlocks were playing in the early days was mostly three-chord material that doesn't take much rehearsal -- though it was apparently beyond the abilities of poor Dana Morgan, who apparently had to be told note-by-note what to play by Garcia, and learn it by rote. Garcia told Lesh what notes the strings of a bass were tuned to, told him to borrow a guitar and practice, and within two weeks he was on stage with the Warlocks: [Excerpt: The Grateful Dead, “Grayfolded"] In September 1995, just weeks after Jerry Garcia's death, an article was published in Mute magazine identifying a cultural trend that had shaped the nineties, and would as it turned out shape at least the next thirty years. It's titled "The Californian Ideology", though it may be better titled "The Bay Area Ideology", and it identifies a worldview that had grown up in Silicon Valley, based around the ideas of the hippie movement, of right-wing libertarianism, of science fiction authors, and of Marshall McLuhan. It starts "There is an emerging global orthodoxy concerning the relation between society, technology and politics. We have called this orthodoxy `the Californian Ideology' in honour of the state where it originated. By naturalising and giving a technological proof to a libertarian political philosophy, and therefore foreclosing on alternative futures, the Californian Ideologues are able to assert that social and political debates about the future have now become meaningless. The California Ideology is a mix of cybernetics, free market economics, and counter-culture libertarianism and is promulgated by magazines such as WIRED and MONDO 2000 and preached in the books of Stewart Brand, Kevin Kelly and others. The new faith has been embraced by computer nerds, slacker students, 30-something capitalists, hip academics, futurist bureaucrats and even the President of the USA himself. As usual, Europeans have not been slow to copy the latest fashion from America. While a recent EU report recommended adopting the Californian free enterprise model to build the 'infobahn', cutting-edge artists and academics have been championing the 'post-human' philosophy developed by the West Coast's Extropian cult. With no obvious opponents, the global dominance of the Californian ideology appears to be complete." [Excerpt: Grayfolded] The Warlocks' first gig with Phil Lesh on bass was on June the 18th 1965, at a club called Frenchy's with a teenage clientele. Lesh thought his playing had been wooden and it wasn't a good gig, and apparently the management of Frenchy's agreed -- they were meant to play a second night there, but turned up to be told they'd been replaced by a band with an accordion and clarinet. But by September the group had managed to get themselves a residency at a small bar named the In Room, and playing there every night made them cohere. They were at this point playing the kind of sets that bar bands everywhere play to this day, though at the time the songs they were playing, like "Gloria" by Them and "In the Midnight Hour", were the most contemporary of hits. Another song that they introduced into their repertoire was "Do You Believe in Magic" by the Lovin' Spoonful, another band which had grown up out of former jug band musicians. As well as playing their own sets, they were also the house band at The In Room and as such had to back various touring artists who were the headline acts. The first act they had to back up was Cornell Gunter's version of the Coasters. Gunter had brought his own guitarist along as musical director, and for the first show Weir sat in the audience watching the show and learning the parts, staring intently at this musical director's playing. After seeing that, Weir's playing was changed, because he also picked up how the guitarist was guiding the band while playing, the small cues that a musical director will use to steer the musicians in the right direction. Weir started doing these things himself when he was singing lead -- Pig Pen was the frontman but everyone except Bill sang sometimes -- and the group soon found that rather than Garcia being the sole leader, now whoever was the lead singer for the song was the de facto conductor as well. By this point, the Bay Area was getting almost overrun with people forming electric guitar bands, as every major urban area in America was. Some of the bands were even having hits already -- We Five had had a number three hit with "You Were On My Mind", a song which had originally been performed by the folk duo Ian and Sylvia: [Excerpt: We Five, "You Were On My Mind"] Although the band that was most highly regarded on the scene, the Charlatans, was having problems with the various record companies they tried to get signed to, and didn't end up making a record until 1969. If tracks like "Number One" had been released in 1965 when they were recorded, the history of the San Francisco music scene may have taken a very different turn: [Excerpt: The Charlatans, "Number One"] Bands like Jefferson Airplane, the Great Society, and Big Brother and the Holding Company were also forming, and Autumn Records was having a run of success with records by the Beau Brummels, whose records were produced by Autumn's in-house A&R man, Sly Stone: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Warlocks were somewhat cut off from this, playing in a dive bar whose clientele was mostly depressed alcoholics. But the fact that they were playing every night for an audience that didn't care much gave them freedom, and they used that freedom to improvise. Both Lesh and Garcia were big fans of John Coltrane, and they started to take lessons from his style of playing. When the group played "Gloria" or "Midnight Hour" or whatever, they started to extend the songs and give themselves long instrumental passages for soloing. Garcia's playing wasn't influenced *harmonically* by Coltrane -- in fact Garcia was always a rather harmonically simple player. He'd tend to play lead lines either in Mixolydian mode, which is one of the most standard modes in rock, pop, blues, and jazz, or he'd play the notes of the chord that was being played, so if the band were playing a G chord his lead would emphasise the notes G, B, and D. But what he was influenced by was Coltrane's tendency to improvise in long, complex, phrases that made up a single thought -- Coltrane was thinking musically in paragraphs, rather than sentences, and Garcia started to try the same kind of th

Is San Francisco a great stairway city? Walk SF's Nancy Botkin answers with a definite "yes," after designing the S.F. Stair Challenge, a 4-mile, 2,000-step path through North Beach, Russian Hill and Telegraph Hill that's happening Saturday, May 6, 2023, exclusive to members of the pedestrian advocacy group. Botkin leads Total SF hosts Peter Hartlaub and Heather Knight on the bulk of the hike, then sits down at Joe DiMaggio Park in North Beach to pick some favorite stairways in San Francisco. Produced by Peter Hartlaub. Music from the Sunset Shipwrecks off their album "Community," Castro Theatre organist David Hegarty and cable car bell-ringing by 8-time champion Byron Cobb. Follow Total SF adventures at www.sfchronicle.com/totalsf  Learn more about your ad choices. Visit megaphone.fm/adchoices

With the weather improving after a frigid winter, Total SF hosts Peter Hartlaub and Heather Knight pick eight fun things to do this spring. Outdoorsy adventures include a super bloom flower tour, walk from Oracle Park to North Beach, SF City FC soccer game at Kezar Stadium and fun on the Treasure Island ferry. Also in this episode, an important announcement about Heather's Bay Area Hip-Hop Mixtape. Produced by Peter Hartlaub. Music from the Sunset Shipwrecks off their album "Community," Castro Theatre organist David Hegarty and cable car bell-ringing by 8-time champion Byron Cobb. Follow Total SF adventures at www.sfchronicle.com/totalsf  Learn more about your ad choices. Visit megaphone.fm/adchoices