1 10 4 https://archivesoralhistories.csusm.edu/files/original/16c819ecee03d3978d8818963f0d9827.pdf d5078d0e63780b613c3a2061cc24e594 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transcripts Description An account of the resource Written oral histories and transcripts are available for researchers that prefer the written word, or to see the whole interview in a document. Transcripts of <a href="https://archivesoralhistories.csusm.edu/collections/show/5">audio and video files</a> are also available as part of those video files. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bilbray, Brian. Interview transcript April 3rd, 2023. Description An account of the resource Brian Bilbray is a former Representative in the Congress of the United States. He served as a Republican representative for the 49th district (now 53rd) in California from 1995 until 2001 and then again from 2006 until 2013. In this narration Bilbray discusses how he got his start in politics as well as how his political actions impacted the environment and economy in the frontera border region of San Diego and Mexico. Bilbray also talks about how he navigated the politics of Washington through his bipartisan actions. This oral history interview was made possible by the Ellie Johns Foundation stewarded by the Rancho Santa Fe Library Guild. It was created as part of CSUSM's University Library/History Department internship in oral history. Creator An entity primarily responsible for making the resource Brian Bilbray Contributor An entity responsible for making contributions to the resource Riccardo Savo Robert Sheehan Date A point or period of time associated with an event in the lifecycle of the resource 2023-04-03 Subject The topic of the resource Borderlands Environmentalism and politics -- California -- San Diego Environmentalism and politics -- Mexico -- Tijuana Imperial Beach (Calif.). Mayor Metropolitan government Politics and government -- 20th century Politics and government -- 21st century United States. Congress. House Water rights -- Mexico Water rights -- United States Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Imperial Beach (Calif.) Mexican-American Border Region Publisher An entity responsible for making the resource available California State University San Marcos University Library Language A language of the resource English Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en%20">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. Brian Bilbray License A legal document giving official permission to do something with the resource. Property rights reside with the university. Copyrights are retained by the creators of the records and their heirs. This resource is licensed for noncommercial educational use using CC NC-BY 4.0. Please contact Special Collections at archives@csusm.edu if you need reproductions made. Permission to examine Library materials is not authorization to publish or to reproduce the examined material in whole, or in part. 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The researcher agrees not to record, reproduce, or disclose any Social Security number or other information of a highly personal nature that may be found. Format The file format, physical medium, or dimensions of the resource text Identifier An unambiguous reference to the resource within a given context BilbrayBrian_SavoRiccardo_2023-04-03_Transcript Community history History Department internship Politics and governance Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral Histories Description An account of the resource Video and audio oral histories can be viewed here. Histories are listed alphabetically by last name. Individual histories are indexed and transcribed and can be searched. Publisher An entity responsible for making the resource available California State University San Marcos University Library Rights Information about rights held in and over the resource <p>Rights to oral histories vary depending on the history. The library owns the copyright to some histories, and has license to reproduce for nonprofit purposes for others. Please contact CSUSM University Library Special Collections at <a href="mailto:%20archives@csusm.edu">archives@csusm.edu</a> with any questions about use.</p> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Riccardo Savo Interviewee The person(s) being interviewed Brian Bilbray OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS Viewer) https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=BilbrayBrian_SavoRiccardo_2023-04-03_access.xml Interview Keyword This filed adds keywords to the Omeka Oral History item type. Keywords are included in the OHMS XML, this field in Omeka will allow for full data migration between OHMS XML and the Omeka Record. This field does not impact the OHMS / Omeka integration and is optional if you do not need to map the "keywords" field in the OHMS XML to the corresponding Omeka record. Tijuana;San Diego;Borderlands;Politics;Congressman OHMS Object Text This field contains the OHMS Index and / or Transcript and is what makes the contents of the OHMS object searchable in Omeka 5.4 Bilbray, Brian. Interview April 3rd, 2023. SC027-056 00:00:00 SC027 California State University San Marcos University Library Special Collections oral history collection CSUSM This interview was made possible with generous funding from the Ellie John Foundation. csusm Environmentalism and politics Politics and government--21st century Borderlands Mexican-American Border Region Water rights--United States Water rights--Mexico Metropolitan government Politics and government--20th century Environmentalism and politics--California--San Diego Environmentalism and politics--Mexico--Tijuana United States. Congress. House Imperial Beach (Calif.). Mayor Tijuana ; San Diego ; Borderlands ; Politics ; Congressman Brian Bilbray Riccardo Savo 1.0:|19(17)|34(6)|46(17)|62(10)|76(5)|95(5)|111(17)|123(15)|139(3)|155(10)|171(12)|182(13)|195(5)|210(5)|223(3)|235(9)|246(5)|260(12)|273(4)|287(4)|300(13)|312(10)|325(15)|339(16)|353(6)|364(12)|376(5)|387(12)|399(5)|413(3)|425(13)|436(13)|448(12)|458(6)|473(12)|485(10)|504(6)|518(14)|529(16)|541(15)|554(4)|567(7)|579(14)|589(14)|603(5)|614(15)|628(9)|644(13)|655(16)|667(6)|680(3)|690(15)|701(13)|712(9)|724(9)|738(3)|752(3)|762(14)|777(8)|789(5)|803(3)|814(9)|827(6)|841(7)|855(13)|866(13)|881(8)|895(11)|905(16)|919(9)|932(5) 0 https://archivesoralhistories.csusm.edu/files/original/b761005e2c7ce7501e9da0e69bfc90a2.mp4 Other video English 0 Introduction Congressman Brian Bilbray and Riccardo Savo introduce themselves and discuss what it was like for Congressman Bilbray to grow up in San Diego's South County, next to the border with Mexico. Birthplace ; Childhood ; Mexico ; San Diego ; Coronado ; Imperial Beach 0 240 Beginning in Politics Congressman Bilbray discusses how he began his political career. Along the way, Congressman Bilbray explains that he had to navigate the political landscape in a way that was analogous to surfing. Politics ; Dana Rohrabacher 0 363 Accension from Mayor of Imperial Beach to House of Representatives Congressman Bilbray discusses the driving factors that led him to successfully run as a Republican congressman including his college degrees and experience. Congressman Bilbray also discusses his previous experience as a lifeguard prior to politics. Law Enforcement ; Lifeguard 0 639 First Term as a Congressional Representative - Environmental Policies Congressman Bilbray discusses how his early political experiences as a city and county politician provided him with the expertise to form environmental policy in Congress. Congressman Bilbray sponsored numerous environmental bills that had a significant impact on San Diego and South Bay. Smog ; Smog Reduction Act ; Environment ; Tijuana ; Borderland 0 1030 Navigating Environmental Groups and the Border Areas Congressman Bilbray talks about how he helped to create the Otay Mountain Wilderness area and how he worked with groups like Green Peace throughout his career. Congressman Bilbray also talks about how the international border can be an obstacle when trying to work with multiple groups and agencies. Otay Mountain Wilderness Area ; Otay ; Frotnera ; Border ; Borderlands 0 1840 Challenging Authority - Second Term in Congress Congressman Bilbray talks about how there is a responsibility to speak up when you see something that isn't right. He also says that just because someone in authority says you can't do something does not make it correct. This mentality directly led Congressman Bilbray to run for a second, non-consecutive, term in Congress. San Diego ; Federal Government ; Healthcare ; Science ; Air Resources Board 0 2184 Tijuana Sewage Management Congressman Bilbray discusses how he worked with multiple agencies and passed multiple bills to address the sewage crisis. Bob Simmons ; Environment ; Sewage ; Tijuana 0 2926 Working with Bob Filner Congressman Bilbray discusses how he worked with Bob Filner. Bob Filner ; Sexual Harassment 0 3032 Reaching Across the Aisle Congressman Bilbray talks about how bipartisan legislation is essential to getting things done in politics. bipartisan legislation ; Democrats ; Republicans 0 3371 Local Government and Ideal Changes in Imperial Beach Congressman Bilbray talks about what he would like to see happen in Imperial Beach to improve the lives of people living there. He also talks about the importance of proper consultation by subject matter experts and following facts when proposing legislation. Imperial Beach ; Politics ; Environment 0 3778 Being in the Right Place to Change Things Congressman Bilbray talks about the California REAL I.D. and how some of his legislation did not pass. Congressman Bilbray also talks about going against his own party to convince them to pass legislation. REAL I.D. ; Immigration ; 9/11 0 4210 Outro and End of Interview 0 Brian Bilbray is a former Representative in the Congress of the United States. He served as a Republican representative for the 49th district (now 53rd) in California from 1995 until 2001 and then again from 2006 until 2013. In this narration Bilbray discusses how he got his start in politics as well as how his political actions impacted the environment and economy in the frontera border region of San Diego and Mexico. Bilbray also talks about how he navigated the politics of Washington through his bipartisan actions. Riccardo Savo: So, formality. Today is April 3rd, 2023. I am Riccardo Savo, a graduate student at Cal State San Marcos. I'm interviewing Congressman Brian Bilbray for the University Library Special Collections Oral [History Internship] Project. Mr. Bilbray, thank you very much for being here with me today. Brian Bilbray: Honored to be with you. Savo: No, it's definitely an honor and privilege here. I would just like to begin very broadly, if you could just, you know, tell me a little bit of background, a little bit about your background here in San Diego County. I understand that you're a Coronado native, and, you know, a lot of the issues that you ran as a politician concerned about the environment. How was your experience in Coronado? How did that affect your transition or your, your risk taking in politics Bilbray: For the record, I'm an Imperial Beach. Savo: Imperial Beach. Bilbray: I was born in Coronado, actually at North Island, which wasn't technically part of Coronado at that time. But when I was chairman of San Diego County, I had that part of North Island annexed to Coronado, so I could claim I was born in Coronado. But no, I was actually born and raised in Imperial Beach, a block from the Pacific Ocean. Two houses separated my childhood home, uh, and the Mexican border. I had to go about 50 yards, maybe 40, 35 yards to go to the Tijuana estuary. And that's where I played, beaches, literally, I had the luckiest thing in the world. I literally grew up on the edge. On the edge with Mexico, and the edge, with the Pacific Ocean. So when I talked to my, my cousins in Australia, I could always explain where I live, because anywhere in the world, you just say, “You know where the Pacific Ocean is?" and “You know where the border is between Mexico and the U.S.?” Well, right where they meet is where I live and I'm growing up. Savo: That's awesome. Bilbray: . My mother was an Australian tennis player and accountant, and my parents, um, there was a temporary use of a hotel for General MacArthur, and my parents met there, and my father was a naval officer who actually was from southern Alabama. A place called Monroeville, where To Kill a Mockingbird was written. And he went to an orphanage in Mobile and got into the Navy, and they actually met, and in 1944, my mother came to the United States as the first group of war brides. In fact, she was very proud that she was the first Australian war bride to get her citizenship. So interesting mixture. But that Australian background with a, with an American, a kind of working-class background, kind of made me who I am. Savo: You mentioned once in an interview that you compared surfing to politics. You know, if you wanna ride a wave, you have to take a risk. Could you speak to how those hobbies and, and that childhood background, how did that translate when you were running for [San Diego] city council? What, what… how would I say it? What, motivated you to, to join city council? Bilbray: Well, first of all. Savo: Especially at a young age, Bilbray: You know, surfing starting, I started surfing at third grade, and I'm, interesting story that, when I ran for the city council at 25, 24 [years old], there was a man that lived on my block who I asked him, if “You'd consider voting for me?” And he says, “I'll vote for you no matter what. I've watched you your whole life.” And he says, “I remember you dragging a balsa wood board over your shoulder, dragging the board to the beach and back every day, and you look like Christ going to the Calvary.” And he said, “if you were determined enough as a third grader to do that, I think you ought to go to the city council.” But, the surfing analogy in life is just so clear, it’s that you get out of it what you put into it, but you've got to invest the hard work. And you've got to basically, put yourself in a position where opportunity may come along. And so you're not guaranteed to catch any wave, but you're guaranteed you're never gonna catch a wave if you're not willing to get in the cold water, struggle against the waves, and then sit and wait for the wave at the right time, and then the execution. So, a lot of this opportunity, a lot of it’s perseverance. And one of the things about surfing that a lot of people don't understand is, unlike skiing and a lot of other things, you can't see what you're going to do. You have to imagine the wave breaking to get in the right spot. And so, a lot of this is having the imagination to perceive what is going to happen and be in the right place at the right time with the right talents and the right tools to be able to take advantage of it. And to be able to, you know, accomplish anything with it. And so that, in a little way, I think that applies to all life, but in politics, it just happens to be a little higher profile. Savo: Okay. Bilbray: Oh, by the way. -- Savo: Yes. Bilbray: One of the lines I always said to Dana Rorabacher, which was a guy from Huntington Beach. He would not endorse me for Congress until I went up to Huntington Beach and surfed with him. And he just said, then he said,” Why are you so much a better surfer than I am?” And I said, “Dana, I've been doing it a lot longer than you have, but you surf like your politics, you only go to the right. There's a whole left to a wave. So, if you're willing to just catch the good wave, sometimes you go to the left and sometimes you go to the right.” And I think he took the analogy appropriately [laughs] Savo: That’s great. So, I'm curious to learn about how you went from becoming mayor and then ascending to the House of Representatives. You know, you first represented the 50th district and the 52nd, I believe. Bilbray: 49th and then the 50th. Savo: 50th. My apologies. Could you talk about that ascent for me briefly, if you could? Bilbray: I actually got involved with politics, because I was a lifeguard. And the whole ocean was always very much a big part of my life. But being down there, the clash between law enforcement and the kids on the street, and you had drug dealing in Imperial Beach. But then the law enforcement almost approached it as if everybody who was longhaired and young was involved in this. And I actually got involved with getting groups together to work with the police and get the police to meet the kids and the kids. So that, you know, knowledge is the most important thing law enforcement has. And as a lifeguard, that gave me a good position of someplace where I could, um, that I was neither fish nor fowl. I was sort of in between the law enforcement and the kids on the beach. Bilbray: They were used to lifeguards being around. We weren't a threat. That ended up getting me involved with it. And, when I was 24 years old, actually was 23! I was appointed as a human relations commissioner by the city. And then at 24, I was asked after a rescue where I, had a girl around my neck and I had to do a in-water resuscitation on a young lady. In fact, I always remember how blue she was. I didn't, I really didn't believe we, I had a chance to save her. She was face down and I ended up resuscitating and going-- didn't get any response to her, in her vitals. But halfway to the hospital after the EMTs picked her up, she was… survived. What I didn't know at that time was, we do rescues, like a lot of rescues not in the water resuscitations like that, but we do a lot of it. Bilbray: And you never think about, it's just another rescue. But what happened this time was there happened to be a local newspaper photographer taking pictures of the beach, and he had a whole series of this rescue. So, then the city gave me a big award for saving it. And then people started saying, “He ever thought about getting involved in politics?” And my family had been involved in the formation of the city and a couple recalls. So, as a young, younger person. I sat through meetings and when my father died, my father died when I was in 10th grade. I kind of got mom into the political scene as a way to keep her busy as a high school student. And that sort of led to people thinking comfortable that they could try to talk this young, you know, 24-year-old running for the city council. And I was elected to the city council just after my 25th birthday, a couple months after my 25th birthday. Savo: Wow. And I'm assuming that's like probably around March? Bilbray: April. Savo: April. Oh. So, then… Bilbray: The elections were, separated in those days. And I mean local elections were able to be placed any time they wanted to. Savo: Okay. So this had all happened after the fact that you had attended Southwestern and everything? Bilbray: Yeah. I actually, what happened was, I was a history major with a theater arts minor. Like I say quite freely, I wanted to be a history professor, but I couldn't pull the academics, so I got stuck in Congress instead. But the theater, really the history background with a theater minor really did help me in politics. I mean, in fact, there's a lot of camera crews for TV stations here in town that always, still, jack me up for telling them, “Well, now do you want to get this angle of the light?” [laughs] I would set up the shots because I was used to it. But I'm, I think that it helps to some degree to understand presentation. And not in debate. I think a lot of [the] problem [with] people in politics thinks debates, what's really important Message is a lot more than arguing. Savo: It's all about the understanding, the knowledge, the whole presentation as well. But, you know, it's, it's having that mindset or having that expertise. Bilbray: Yeah. Savo: So I'm curious to learn about your first term as a congressman in the House of Representatives. You authored, sponsored numerous pieces of legislation that not only pertained to the local environment, but also to our border. You introduced the Border Smog Reduction Act of 1998. Could you tell me a little bit about that? How were you able to garner support within the House to do so? And did you work with other local representatives to achieve that? Bilbray: Well, first really, my years in local government gave me a real background that most people in Washington don't have. I served on the California Coastal Commission. I was able to, I served on the Air Resources Board for the state of California, the notorious CARP working with some of the best scientists in the world. And legislators don't have this kind of exposure. I served on the Air District for San Diego County and so, a lot of the technical stuff that you pick up in local administration, you would never be able to have in almost any other field. And so I was, I had worked as a mayor because of the Tijuana sewage problem. I had, you know, 45 million gallons of raw sewage pouring into my city in 1980. And I was aware of that. Bilbray: But the Air Resources Board and the Air District, I sponsored the Smog Reduction Act because you had a situation to where the federal government was requiring that if somebody worked in a non-attainment area, an area where it's polluted like L.A., San Diego, that if you commuted into a non-attainment area, you had to have your car smogged in that non-attainment area. So that was a law. So somebody coming from humor or something would have to do it. Well, the same government that was requiring that the locals do this, were controlling the international border, and waving people in every day that didn't have their car smogged. And so we ended up in a situation in south San Diego, uh, the South Bay that you had Imperial Beach that might have had a real pollution problem when it came to water, but we had the cleanest air in San Diego County. Bilbray: And, because we didn't get hit with what they call the Catalina eddy, where L.A. smog would come out during the night and then blow down on North County and pollute the northern part. Our air, Imperial Beach was very clean, but two miles away, three miles away at San Ysidro we had the dirtiest spot in the county. And that was because of the traffic, the operation of the border, and the fact that we weren't getting the smogging going down. And I got exposed working on that problem. I got exposed to groups like Honeywell's Remote Sensing, where they were identifying that the stop and go traffic was a major pollution problem. And I mean, right to this day, you have no one pushing to have stop signs taken out. Bilbray: We’re talking about doing all these billion-dollar projects and all these great little environmental projects but, just going to traffic circles instead of traffic lights, going to yield signs instead of stop signs, huge reduction in air emissions, and nobody talks about it. It's totally blind. But because I worked on that border smog as a local government guy, I then was in the position that when I got to Washington, I knew the problem, I knew the technicalities and, and pushed that. And what's interesting about the Border Smog Reduction Act, we did not have one Mexican national complain about it. Not one! The people that complained were Americans who were registering their cars out of the country to avoid the deal. And it was U.S. citizens that said, “Well, I'm a U.S. citizen. I have the right to do this.” And all of this, you know, when you do these things, the learning curve is so steep, you learn so much by just making the effort to move it forward. Savo: Hmm That’s very interesting. I didn't know that it was mainly U.S. nationals complaining about this bill. I assume that there would've been some repercussions from the Mexican end. But, I'm interested, how that was perceived after the bill was passed. Were there any political fallout from that? Bilbray: No, you would think that, you think that people, you know, everybody's got a hypersensitivity. Um, like I, I was told by Greenpeace one time that they don't wanna look punitive to a nation of color. So you can't apply the normal standards to certain areas because people then have a hypersensitivity of looking to be outraged about it. I didn't sense very much attack at all. I think that everybody's gotta remember the greatest victims of that problem. The only people that were impacted more than San Ysidro, was Tijuana. And, a lot of that border pollution issue is the fact that the most vulnerable and the poorest are the most impacted. And that isn't discussed about very much. And so, uh, no. I'm sure that there might have been a lot more people upset, but really, it was very focused on the fact that the problem was something that just common sense. That if you want to have the opportunity to go to school in San Diego County, if you want the opportunity to work in San Diego County, with those opportunities, go environmental responsibilities. And that nexus that connection is essential for not only our environmental policy, but for our whole quality of life. Bilbray: You can't maintain any standard if you're going to find excuses to not, maintain a minimum standard. Savo: You mentioned groups like Greenpeace. Um, how, how were you able to reach across to these groups? Or how were you able to be in connection with these groups if they were not so willing to back your bill or not so willing to help the crisis? It seems like they were more counterproductive. It seems like they were more-- Bilbray: Well, they can be on situations like that. But when I did the. I created the Otai Mountain Wilderness Area. And in Washington, because you have certain mindsets in Washington. But, in Washington, when I proposed that we were going to have a wilderness area that had roads in it, you would've think that I was committing the greatest sacrilege in the world because that they couldn't understand, “Well then why have wilderness [area], if you have wilderness [that] is all about roads?” And, actually, it was the local Sierra Club that helped me carry the message to Washington and to the National Sierra Club that without the roads, the wilderness area would be totally destroyed. And they said, “Why?” I said, because the border will be totally out of control. And you have people that had no life experience of the Frontera and what goes on in the frontier. Bilbray: I mean, you're looking at somebody that, when I was 10 years old, walked from Imperial Beach all the way down and, you know, crossed into Mexico and came back. My mother actually caught me as I was crossing. And before she passed away, I said, how did you know to come catch me down there? She goes, “Well, I went to the park and across the street they said, ‘Oh, Brian went with this 10-year-old and, this 12-year-old, and he's going to Mexico.’” And so, she drove down and caught me. But, that kind of, you know, growing up with that environment, you sort of go back and forth about how you approach this. When it comes to, there's just. It's just astonishing how with the entire Frontera area, people are intimidated by it. Bilbray: [They] are absolutely intimidated. And it's so alien to them. I mean, to this day, you have people come visit you at your house, and you can walk out of my front doorstep and see the bull ring at La Playa [in Tijuana]. And Tijuana looks down on Imperial Beach. We take that for granted, and people just don't comprehend that. And I think that a lot of this kind of stuff is, people are intimidated. Even environmentalist groups and NGOs are very intimidated by it. And I remember there was a lady who served with me on the County [of San Diego] Board of Supervisors, Susan Golding, who, was doing something about the border. And she got totally attacked because she said something that somebody was always sensitive about. And she walked in my office very upset and said, “What's going on?” Bilbray: And I said, it's a landmine. As soon as you get around that border region, people are looking at one side or the other, and it's totally different. And don't get upset about it. And they're very uncomfortable about the border. But see, when you grow up in Imperial Beach, when you grow up in San Ysidro, Chula Vista, you know, at least 20% of the kids that we went to school with lived in Tijuana. I mean, which came in handy when you were in high school because you go down there, and you knew somebody's uncle owned one of the bars. You know, it was just one of those things that we were culturally, crossing. But that is, we take it for granted. And that's a big mistake for us taking it for granted. The ability for people to comprehend the trans-frontera culture is so tough for 'em. I mean, that line gets in there. When you try to explain to 'em, and any of us that grew [up] on the South Bay know, you can know where Mexico starts and where the U.S. starts by the color of the lights. And we just sort of think about that. Well, it's something that just doesn't happen through osmosis. It just happens to be our neighborhood. Savo: You mentioned that's a lot to take in. You mentioned this transnational community, this area that IB [Imperial Beach]is located in. Would you say that this community that's being formed here, did it have any effect on the development in IB [Imperial Beach]? Because I know, there's a lot of different propositions that you wanted, recreational that you wanted to… Bilbray: You had, you had. Let me tell you the transformation and anybody that grew up in the South Bay understands it. Where else in America, when do you have to drive through two other cities to get to the other part of a city? Savo: That’s true. Bilbray: Physically cannot go on. A lot of people, we take it for granted, but the extraordinary situation that happened with the major wealth in the city of San Diego, using their political power and influence to annex a huge area in our neighborhoods, and it was for their land development schemes. You had major investors from San Diego City buy in an area called Otai Mesa along the border. And they bought all the land around a place called Brownfield, and they were going to make the international airport there, and they were gonna make a fortune. That major investment, they annexed, and cut a deal, so that they could annex down a waterway, 300 feet wide, down the middle of San Diego Bay, uh, negotiated with cities not to claim their old title. Bilbray: So, they could sneak down here and then annex an appendage down along the border so they could control the border crossing at San Ysidro, and they could take the airport and move the airport down there and make a fortune. They used that to stop any development in the estuary or in the valley because they wanted that all free and clear for landing jets over the top of it. ’Cause they didn't wanna see the problems we had at, at Lindbergh Field. All of that was part of something that those of us in the South Bay didn't even know what was going on. And the annexation of San Diego into the South Bay was a major intrusion. I mean, the south, the South Bay part of San Diego is nothing, less than a colony. And I watched that, I watched it in many little ways, but the manifestation that I try to explain to people so they can have a visual is that when you drive from Imperial Beach and leave Imperial Beach and go into San Diego, between the freeway and Imperial Beach. You'll notice that there's not one billboard in Imperial Beach. Bilbray: But as soon as you hit San Diego, it’s billboard after billboard after billboard. And I know because I was county supervisor for Point Loma and for Imperial Beach, a lot of, most of those billboards were shipped down from the wealthy areas of Point Loma because you had a local council member who want to get it off of Rosecrans [Street in Point Loma]. So, the deal was you take it off of Rosecrans and we'll let you put it down in Imperial Beach in the South San Diego area. And literally using this as a dumping ground. You see hotels being converted to halfway houses in the coastal zone. There's no place else in America where that allows. You've got nowhere else in America under the EIS, the Environmental Impact Statement, could you cite a Home Depot or a Walmart, legally, anywhere with only one access point. You always have to have at least two, if not three. Well, down in the south San Diego, you not only have a Walmart, you have a Walmart and a Home Depot with only one access point. And that intersection is what they call a Schedule E. It is dysfunctional most of the time because they've created that. Somebody made a lot of money on it, and the environmental standards were abandoned because these are just poor people of color. And so, yeah. Don't get me started on this, but the whole concept has been a real problem. Savo: You you're very passionate about the subject and I'm very curious to know how...were, as a congressman, how were you able to explain to your, or illustrate to your constituents that you were that passionate about this, about what was happening in an IB. Obviously today, in today's day and age, we live in an area of transparency, right? Were we're trying to voice our message and our concerns. What, what was your outreach to the community and to the district? Bilbray: I had an advantage that because I had served as mayor and county supervisor, I had shown my passion for it before I was ever a congressman. In fact, I got a reputation of being a little crazy. And that, uh, but the situation was crazy. It started very early in my first term as mayor, where the county health department, which let me just say on the side. The County of San Diego has probably the best health department in the entire country. The standard, of quality, the science is second to none and it really helped me when I went to Washington. One of my greatest, I had resources, I had people I could call, I had people who were so far ahead of the curve on air and in health issues that were great. Bilbray: I had actually started over the issue that the federal government came in and condemned half of our city for a habitat preservation. It had actually been a big section had been condemned by the United States Navy called it the Tijuana Sluice Preserve. And that was the preserve, the right of the Navy to fly their helicopters over our city. And the wind. When I was mayor, we had major vector problem, mosquitoes. And we had salt water, late every year about September, the high tides, big king tides, and we get into it will cause [a] major bloom of mosquito larva. And I actually had mothers bringing their children into a city council meeting and taking their kids' shirt off and saying, “150 mosquito bites! We need to do something about this.” And they were right. When I meet with Fish and Wildlife, Fish and Game, I literally was told straight to my face that “Mayor, that's a sign of a healthy environment.” Bilbray: And that's when you start saying the system is too insulated from reality. And when the county proposed to go down and spray, and they show that they were using environmentally responsible, they were distillates that were very light, [a] thing called Golden Bear. You had Fish and Wildlife talking about diesel. Diesel hadn't been used for 60 years. And the scientists at the county showed, here's the environmentally responsible way to do it. We can kill the larvae. The thing disperses within two hours doesn't impact the, the vertebrates and whatever. And you had somebody in the position of power at Fish and Wildlife said no. In fact, they said, "If the county goes down there, we'll arrest everybody who's spraying.” And when they said that, I announced an a press release and did a press conference and said, good, because the mayor of Imperial Beach is gonna be the one spraying, and you can arrest the mayor for doing this. Bilbray: And then we can, we can stand up in front of court and let the system go. And I think a lot of that is the street sense I learned in a working-class neighborhood that, just because somebody in authority says something, doesn't mean that it's right. And that, you basically know that, you don't argue it in the streets. You take it to the court where it's not their turf. So one thing you'll learn is never fight somebody on their turf. Find a neutral ground. And the neutral ground would've been the courts. And I was coached on how to operate the equipment. I let the media know I was gonna do it. And sure enough, within a few days, the Fish and Game, Fish and Wildlife reversed their position and allowed it to happen. That shouldn't have to happen! And I'd like to think that that would, that is just because it happens everywhere. But frankly, I think there's a big double standard and the mentality of how people approach that. So, I learned to push the system right from there. And that led to issues with sewage and everything else, is that the system needs to be pushed. That's how you keep it honest. Savo: You talk about how you have to sort of break rules to achieve the ends. And, um… Bilbray: Well, let me clarify. Not, well, not needing to break the rules, but when somebody is making up rules that are not the law, then you not only have a right, you have a responsibility to call it down. And I guess that's the big deal. I'll tell you something. The Simon and Garfunkel song, [The] Sound of Silence is about the sin of being quiet. And I think we always stick to the edict that it's better to remain silent and somebody think that you're stupid than to open your mouth and remove all doubt. I think it's always safer in our society to remain quiet. Um, I think that is as Simon and Garfunkel will say is a cancer, and it doesn't do anybody a service, especially those that are overreaching or whatever that need to be called down. Bilbray: So no, I think the biggest issue that I've always said is that, like a lifeguard, you couldn't stop me from going in the water and rescuing, I call it the tennis ball and the Labrador syndrome. When somebody like a 9/11 [September 11th attack], somebody like myself, when you see somebody in trouble, there's some of us that just have to go. It's just instinctive. And I call it the Labrador and the tennis ball because when you throw a tennis ball off the end of a pier, that Labrador is over the water before he realizes what he's done. It's that instinctive. And, I think that there's just some of us that are hardwired that way. And this one definitely has gotten me in trouble in politics. But I think it's probably one of the biggest things that I would never change in the world. I'd rather get in trouble for speaking out than allow things to happen because I found it safer to remain silent. Savo: Well that's great perspective because I was actually about to ask you, you have a very unique political story in Congress. Were you reelected for a second term, a non-consecutive term. Was there an energy that reignited your motivation to run again? Was the stagnation of the environmental concerns in Imperial County or Imperial Beach the reason that you decided to run again? Bilbray: There was, across the board there were so many opportunities in the environmental, strategies that are abandoned and feel, so, see. I introduced a bill to eliminate the mandate on California to use ethanol. I had the Lung Association come in and literally challenged me that I didn't care about people dying of cancer. My father died of cancer. Lung cancer. But they were going on a certain agenda. And I knew from serving on the Air Resources board that we had found at the Air Resources Board that ethanol was not only not a good, environmental option, but it was a pollutant. And to this day, the federal government does not do total testing on auto emissions because they want to hide the evaporative emission problem with ethanol because there is a huge Archer, Daniels, Midland involvement and involvement in nonprofits that claim to care about it, that Archer, Daniels, Midland, it's good for their business. Bilbray: And I don't mind 'em doing that, but I mind them wrapping themselves in [an] environmental blanket and saying, “God wants you to give me your money.” I call them environmental Jimmy Swaggers. And that doesn't follow the science. And so many people that you'll hear, “Stick to the science, stick to the science,” will abandon the science, not address stationary sources like inappropriate traffic management if we want to reduce air pollution. But the ethanol issue was one that the Air Resources board came to me and asked me to carry. And I knew about it because I just finished serving with them. That kind of thing, I think is essential to do. And I think for the credibility of those of us working on environmental problems, we have to do that. You can't pick and choose, you know, well, I want this one because it's convenient to do and not go the other way. Bilbray: And, I mean, I drove a natural gas car back in the eighties, not many people were talking about that and the flex fuel that you get into it. But, the, the challenge is trying to keep the science up front. Environmental activism is not a theology, it's not a religion. You don't have dogma. It's the best science you have at the time. And when the science tells you that what you thought was factual is not you not only have a right to do that, you have a moral obligation. I mean, it's so hypocritical to claim you're out to save the world, but you kind of ignore the facts when they don't fit you right. And to this day, to this day, I'm looking at what's happening here in California. Traffic Management, a lot of this kind of stuff that we're working on, nobody wants to talk about because it just doesn't fit the doctrine right now because it's sort of what's fashionable. Tijuana sewage was not fashionable. I built a reputation on that because I had no other choice. And right now, we still have that problem. It's worse today than it's ever been. Savo: So--Bilbray: Don't let me get you off your line. Savo: No, no, no. I just wanna make sure that I Bilbray: follow it up. Savo: I love, I love everything that you're-- Bilbray: Double back on it and get anything I passed that if I didn't hit it. What was your real question? Let me try to get right onto it. Savo: No, I was actually gonna ask if you could elaborate on some of the bills that you had authored, co-sponsored to address the sewage crisis. 'Cause you had two propositions to address the crisis. One, which was the expansion of the South Bay the wastewater treatment plant. And the other was a, uh, I'm sorry if I'm mispronouncing it here, Bagua project. Bilbray: Bagua. Well, first of all, one of the things is make sure that the laws follow the science. And one of the things I got involved with that I got attacked for being anti-environment is [to] eliminate the secondary mandate [Secondary treatment of water through the quality control process] at Point Loma. And this is where people, you know, just get so frustrated that they care so much that they turn their brain off. They're leading with their heart and obviously, secondary is better than primary. So why wouldn't we go to secondary? And the fact is, is that it was lucky that there was a physician, I mean a lawyer who, named Bob Simmons. And he actually was just absolutely sharp on the line. And a lot of us, the line was always said that he could see it clearly, even though he was blind, that the law was hurting the environment. Bilbray: And what happened was he had run into the environmental impact report for going to secondary at Point Loma, they went through all the assessments from the environmental point of view, and they said that, “Because we're in this…” the outfall had been taken so far out to sea, was under three [thermoclines], the current of the Japanese current was dissipating. And, and the ocean was assimilating, that there was no net degradation of the sewer outfall at what they call advanced primary, about 89% of all solids taken out to about 94%. And then they looked at, okay, we're going to build, do this, do this, do this. And when they looked to go to secondary, the environmental impact report and the EIS, the environmental impact statement said, the building, the plants and doing all of that, will cause more environmental damage than anything that advanced primary was doing. Bilbray: So the answer to a problem was worse than the problem. And you had people that say, “We don't care. Secondary is the standard, is the law.” And Mr. Simmons talked to me about it, and he was right. And I took it to Congress and said, when an environmental law hurts the environment, it's being implemented wrong. No one passes an environmental law with the intention to hurt the environment. And, so here you had the scientists gave us a report and everybody wanted to ignore it because it meant that we had to go back and rethink an agenda. And what happened was, is that the Activated Sludge Mandate was meant for in-water, freshwater inland rivers and lakes where dissolved oxygen is a big deal. But in the open ocean, dissolved oxygen is plentiful because with so much action in the ocean, that they were taking something that was meant for ponds, rivers, and, small estuaries, freshwater estuaries and trying to apply it to the open ocean. Bilbray: And it hurt the environment. So, [I] actually had Donna Fry attack me for, well, that was because she meant well, but she was, she was ignorant about the situation. In fact, I think the history shows eventually she ended up changing her position too. That along with the, you know, we were talking about some of the other issues on the Tijuana situation. The Bagua [project] was recognizing that the problem was that Mexico did not have the problem. And I'll just tell you this, I have the pleasure of meeting every year with members of the Congress in Mexico and astonishing with all the talk about how people, we are neighbors of Mexico, how few members of Congress actually would go to these meetings. And once a year we meet in the U.S. or meet in Mexico and we talk. There was a gentleman who represented Tijuana in the Congress. Bilbray: And after the meetings, whatever, over a couple beers, he made a comment to me and he says, “Brian, your problem is that it's not our problem.” [He] says, “Your problem is to figure out how to make it our problem.” I said, what do you mean? He says, “You realize that when we dump the sewage, we don't have to pay for the chemicals, we don't have to pay for the pumping, we don't have to pay for the maintenance. You know, it just goes away. And what you gotta do is figure out how to make it our problem.” Well, one way we make it their problem, and the only way that problem is ever gonna be addressed, is when Mexico and Tijuana needs that gallon of sewage to turn into their next gallon of drinking water. And Bagua was a way of being able to do that in a third world country. Bilbray: And that was to get Tijuana on a total recycling program. Where they absolutely had to depend on recycling to be able to provide the water they needed for their country. I mean, for their city. And the concept was that we weren't going to send money into a third world country like we're doing, and we are gonna do again, because what happens is the money gets diverted to other places. A good example is when we first built the Banderas treatment plant in Mexico. I knew the engineering on that, I was in the negotiations in 1985 in Mexico City. Mexico wanted to get a grant to bring a million and a half acre feet of Colorado water to Tijuana through Otay Mesa, Mesa de Otay. Bilbray: And so we were looking at that plan. What we recognized is that, we were gonna send water down there, and the source of the pollution that pollutes our estuaries and our beaches actually comes from the United States. Because without that water, there would not be sewage flowing into the United States. So then their line was, we can't support this unless you can guarantee that this water's not gonna come back polluted, in 1985. And, the entire concept was we tried that, we were looking at that. And when they built the Banderas plant, it just shows you the little corruption that gets involved in these things. And it's not, and you know, if you, if you see the details, you kind of start understanding better why you have these in third world countries. They were open ponds and they had a thing called an aqua lift. Bilbray: And the aqua lift was a tube that air would be pumped in. And it, the aqua lift pumps the water by the bubbles coming up, draws it in. And the Jetco program with the aqua lifts that were engineered for these ponds had converging turbines. So, one turbine would turn one way, the other one would turn the other way, and as the bubble went up, it had all these turbines going there and dissolved the oxygen into the water so much better. And that raised it really up [oxygen levels]. So that was, and when we did the plan, that was all in the engineering. When they went to purchase it, somebody went over to Mexico and said, “Look, we've got the aqua lift and it's only 20% of the costs of these Jetcos. These Jetcos get patents. We've figured out how to do it without it being so expensive.” Bilbray: What they had was a tube with baffles. Now, what happened was it only had 20% of the dissolved oxygens that the other one had. So, the entire plant’s were only a quarter, you know, of what they planned on. Because they had changed this one component. And some people say, “Well, you can't expect them to do that.” Getting back the recycling is where we've got to get it done. And by Agua you have a private company bonded in the United States in Mexico, and they do not get paid for building anything, for digging anything. They only got paid for per gallon they treated, they would then be paid for that. So, outcome-based environmental strategy, and that's one of the things that I'm absolutely an advocate for is we've gotta get back to the concept that the outcome is what matters. Bilbray: You can build all these plants, you can do all these regulations, you can do all these things in environmental strategies, but if the outcome doesn't reflect your goals, then you not only have a right but a responsibility to change this. The regulations are useless And if, it doesn't work out. One of my biggest frustrations working with the Republicans in Congress was they could not see, and John Boehner, I tried to tell 'em and trying to get people to understand there are environmental regulations and you guys only see it as being bad for business. I can show you where it's bad for the environment. It's some of the worst stuff is done in the name of the environment. And so many of my Republican colleagues couldn't just get around, you know, just didn't see that as being important. I thought it's essential! Bilbray: It's the one place you could get the left and the right working together if they're willing to, you know, turn their brains on and open their eyes. And the Bagua was, the whole strategy was get there. Bagua was attacked because somebody was gonna make money off of cleaning up the sewage. And what's sad, you have nonprofits, you have corporations making money off the problem, but not solving the problem. And I actually watched them dismember a package that was put together with a Democrat and myself, [Congressman and former San Diego Mayor] Bob Filner and myself. And believe me, Bob Filner was no joy to work with. In fact, even the Democrats were shocked that I could work with him. But it was because, you know, you play the hand that the voters deal you and Bob was the the congressman from the area. And we worked out this way that says, these guys don’t get one cent unless they treat it, and they only get what they treat. Bilbray: And that was attacked because it was private operation. And people said, “That's immoral to have private companies doing these kinds of works.” Well, ladies and gentlemen, every project in Mexico is done by private contractors. And that's the naivete of people in the United States. Not taking the time to culturally understand that the Frontera is a different world. And that's where we get back to this issue of, we take things for granted here and other people just cannot comprehend it. It’s a quite unique experience we have by growing up on the Frontera. So, it paid off on that. Bagua was killed, and by people that now are crying, “Why has the problem gone from 45 to 55 million gallons of raw sewage pouring in every day?” Savo: Wow. You mentioned working with Bob Filner and the absolute, I don't want paraphrase here, but the absolute nightmare must have been to work and to kind of piece together this bill. How, how, [I’m] trying to phrase the right question here. Bilbray: Oh, lemme say Bob, Bob wasn't bad for me because I was on my home turf. Bob Filner was a carpetbagger. Okay. He, and I don't mind people come in and go back and forth, but, he ran in the South Bay because the South Bay was vulnerable. You realize that Juan Vargas is the only other congressman that ever represented the South Bay that was from the South Bay? Except for myself. That's an indictment to the process. But Bob came in, I had worked with Bob when he was a council member, worked with him before I went to Congress and before he went to Congress. And so there was relationships there that, again, that local government gave me a big advantage. I mean, his wife actually worked for me when I was chairman of LAFCO [San Diego County Local Agency Formation Commission], when I was at the county. And she was the director. And so, you know, relationships do matter, you know, human to human. And Bob knew that I knew his district better than he did. And I think he gave me more respect than I've seen him give anybody else. Not that he couldn't go unglued sometimes. Savo: I mean, you talk about these networking skills that you've developed in the county and then you obviously exercised it in the Congress. Could you speak a little to how you reach across the aisle when it came to these issues? You mentioned that you always have to look not only to the right, but you also have to look to the left. How did you find that goldilocks zone? How did you…? Bilbray: You pick up the tool that you need to get the job done. I actually had people attack me. [Congressman] Randy Cunningham hated Filner, hated that I was working with him. I actually had, you know, Republicans say, and I had reporters say, “You got Bob Filner on 80% of your legislation, why'd you do that?” And I said, because if I've got Bob Filler on my legislation, I got every left-wing crazy voting for me except Maxine Waters, you know? And so, I understood it, but growing up in my family I'm always used to that. My cousin was the congressman from Las Vegas, Democrat, Harry Reid's best friend. Harry Reid carried my bills. And they, you know, the concept that party line should be a barrier is absolutely absurd. And for those of us that are willing to cross the aisle, it's a real advantage. Bilbray: I mean, I prided myself on a lot of issues. In fact, the day I was sworn back into Congress, I made a gesture for a big reason. I was one of twenty-seven people in the history of the country that had come back from a different district. I purposely, when I gave my acceptance, at being sworn in. I did not stay on the Republican side of the aisle. There's two podiums, Democrat and Republican. I crossed over onto the Democrat side and I did my acceptance from the Democrat side. And there's an issue that you call in theater, they call violating your aesthetic distance. You're violating the presidium. You are-- like theater in the round, you're going into the audience. And they don't have the security of being away and sort of safe. And I did, I violated that aesthetic distance by moving into the Democrat side Bilbray: so I could talk to them personally one-on-one, in their face. Not from over here in the Republican corner. And that is a technique, but I think that it should, you know, people should use it more often. If people are safe hiding in their corners, you got an obligation to go pry 'em out. And, you know, Bob was obviously a real challenge. And he had a lot of his, you know, I worked with people in Congress and there's a lot of demons in Congress. But you know, who was it? You know, Plato said that, “Those who should rule won’t.” And I'm saying, look, normal people don't get involved with politics. So you get stuck with those of us that will. I actually had a gentleman named Allen UK, [the] man who gave me the idea of carrying the bill to bring the, the Midway into the county. Bilbray: And he wanted to get involved with politics. And what happened was so interesting is he ended up running against me. We ran against each other to replace Cunningham in the 50th. But he came to me and asked me, and gave me a compliment. And he says, “You are somebody that'll tell me what, what is the secret of being successful in politics? You've done it since you were a kid, Brian.” And, he says, “What do I need to do to be successful?” And I said, “Well, Allen, are you into pain?” And he says,” Oh, I don't mind it.” I said, “No, no, Allen, are you into it? That this is like surfing a big wave in cold water. This is like playing football, you know, you've got to be into it. You've gotta, you've gotta, you've gotta love hitting people and getting hit. Bilbray: Normal people don't do this kind of thing.” And you've gotta, I picture it as this must be how women approach childbirth. This must be important. Nobody would do anything that hurts this much if it wasn't important. And that, you know, that's why normal people usually don't get into politics cuz it's counterintuitive of everything. We're not, but we should be reflecting. But I think that there's a whole lot of good people in the game. There's a whole lot of people that are in the game for the wrong reason. And the trouble is the people that are affected by people in Washington and local government. Don't, man, people grossly underestimate the influence of local government. Most important stuff is the council mayor. And, when bad people get in there, it's the weak and the vulnerable to get hurt the most. And they get it from places that you wouldn't even think about it. Savo: Going back to about the local government and, you know, we're talking about that the federal government's kind of the problem to the solution. It's very counterintuitive. It's not, it's not the actual problem solver, it's the problem itself. What would you, what would you like to see change in Imperial Beach in terms of the structure or in terms of the environmental concerns? What do you think would probably be the most, beneficial, not outcome, but the most beneficial factor to help? Bilbray: We look, I had the privilege of serving in many different levels of environmental administration. Air Resources Board is the most aggressive, most successful environmental agency in the history of the world. They are equated to being Nazis because of a lot of stuff. And you get involved with stuff that you never would dream. I mean, I spent, I knew I'd reached the epitome of my political career when we spent three days on underarm deodorants. Okay. But I also watched Air Resources Board do the political moonwalk and backpedal so fast when they were talking about outlawing two-cycle chainsaws and then all the lumberjacks showed up at a meeting. But that application of people from different backgrounds, but the biggest key there is so essential. But having a scientific group to advise them and having that kind of interplay between people that are experienced in the field and those who are making the policy decisions and the flexibility, [it] really works into a large degree. Bilbray: But that can become out of control too. That can become tyrannical. I think the, the biggest one is looking at the difference between the Clean Water Act and the Clean Air Act. The Clean Water Act is process based. You will treat this to this level, you will do this, this, this, and this. And then if you do this, it's okay If you pollute, you just do this. And we get into it. The Clean Air Act said if you've got dirty air, you figure out, you put together a plan to address this and bring it forward to us and show that you're gonna do it, and then we'll monitor you. But you'll do it, and we'll give you the flexibility to solve it and to solve, to take care of it. But, there's no limit of what you have to do. Bilbray: And if you don't do it, you lose all your interstate transportation funds, you have a hammer. That outcome-based environmental strategy is so much more advanced, and it's astonishing in so many places that we're still locked into process base. And the process base, I think a lot of it is, you can pick winners and losers there. You go to electric cars and you know who's gonna win in electric cars. And you had, you had Boone Pickens trying to get, um, you know, trucks lined up on natural gas and nobody gave a damn when Mr. Pickens was saying it. And, that you've, you've gotta say where are you gonna go with your reductions and where you're gonna go with your strategies. And that's where I just really think we fall down. Bilbray: It's so much easier for a regulator just to say, you treat to this, and then I can walk away with it. Tijuana sewage, the Clean Water Act, was an advantage. But people who claim to be environmentalists blew it up because they thought they were gonna go clean it up by getting the secondary. By not being a secondary, you then had this situation like we have with Point Loma, where you have a consent decree where they have to do this, this, this, this, this. Not in the law. Okay. If you're not going to go to secondary, you have to do all kinds of other things like recycling water up at La Jolla. All the recycling program was all part of this deal that the lawyer from the Sierra Club worked with me on. But if we went to secondary, like we did at um, in Mexico, the Mexican plant at the international treatment plant, then once you go to secondary, you're free and clear. Bilbray: You don't have no obligations. Okay. Now, now the pollution can flow. And that's what we've got right now, that we actually reduce the capability of treating the volume because instead of removing 89% to 92%, 94% solids at advanced primary, we now go up to 98%, 95%, we got this number, but it's only like 8%, you know, of solids more. So, if you could treat, a gallon here and you get 80% removal, but here you get 95% removal. But if you go to 95% removal, you can only treat a quarter of the water to do that. Well, this had the illusion in environmental groups, so this is better. No, it’s not. You are actually gonna have more pollution going into the ocean because you went to secondary because you’re not treating. [They say]” Well. What we don't collect, we're not liable for.” And say that's how the IBWC was able, their capacity dropped dramatically. And, it's just frustrating to see people that mean well, but don't look at the numbers and don't look at the total impact. And they don't. And really the problem is, so few of people that are involved in this stuff actually live down at the border. Bilbray: And that's, that's the frustration. People are insulated from the outcome. And today, we do not have a recycling program in Mexico today because people who claim they cared about the environment killed the Bagua project because they're worried about some capitalists make money on recycling water. Well, guess what, guys? You got Poseidon up in Carlsbad. You got people, private money all over this country right now doing it and you're gonna do it. That's part of, that's a tool in our toolbox to be able to clean up the environment, shouldn't, allow some kind of misguided theology to stand in the way of good science. Savo: As we're sort of wrapping up our interview here were there any bills that you wish would've passed? Not just related to the environment, but in general as your, as your, both your terms in Congress? Bilbray: Look, I got things done that… In many different ways. Bilbray: The, um, Bilbray: Dirty little secret is probably one of the most efficient things I got done was you open up, look at your driver's license. The real ID bill was my piece of legislation. I did it while I was in my forced sabbatical. And I did it because a group that had worked with me on border problems came to me and said, would you carry this? And I was allowed, because I was a former member, or I was a former voting member, that the chairman of the committee, Mr. Sensenbrenner, actually had to call me into a conference of his Republicans so I could chastise Republicans about the fact that it's not a right-wing conspiracy to have a minimum standard for the ID that you need to get on an airplane. And they say, “Yeah, but this is gonna be a national ID card.” And you had ultra-conservatives that were gonna kill it. And I went in and says, “No, this is the alternative to a national ID card.” You have state IDs, but they have federal standards. And those standards then eliminate the need to have a federal ID. You have. The states are presenting what is, which is enforceable as a federal ID. And getting that passed, is really a lesson for our everybody to look at. It is just now finally becoming mandated. How many years has it been since 9/11? Savo: About 22, 22. Bilbray: And they said, just let me back up and explain why 9/11 is mentioned. The terrorists on 9/11 did not have to show their Saudi passports because they went to Virginia and they got a Virginia license plate, even though, the license, even though they were illegally in the country, they got an ID that got them on that plane and killed over 2,000 people, Americans. And, then when Virginia stopped it after 9/11, they stopped giving it to anybody who [applied] and they required that you have to be legally here, you have to have the proper documentation, whatever, to get it. Maryland was giving it, given it to [people who] didn't do it. So that's when people start sitting around saying, this could happen again. And the people may think that, “Oh, well that's punitive not to give it to somebody who's undocumented.” Bilbray: Well, what, what do you use as a basis for your document if there's no documents, the person has any documents you’re wide open. So that one has been real easy. And it actually goes to something I learned my first year in politics, was 1976 and California implemented a digital code on our driver's licenses, and it was a barcode. And I remember going through hearings as a little 25-year-old city councilman about [how] with this barcode you can put it a put it in a reader and you could get all the information, you can get the picture. In fact, and to this day, I remember them selling that. That all we have to do is get these readers for every squad car, every cruiser. And a police officer doesn't have to sit down and do the paperwork. Bilbray: He can punch it in. The trouble is, uh, fifty years later, they still haven't put the readers in the squad cars. And one of the things was to say it was really important you pull somebody over that if they put this reader in and that the picture on their screen is not the picture on the card. You know, officers are now warned that there's a problem here. But a lot of that is, you know, just osmosis, you're around it enough, you pick it up. And I was able to pull out my California card to these right wingers who didn't want to do it and then pull out my credit card. And, I just said, um, guys, do you have a credit card? “Yeah, we had credit card.” Do you have a …, I said, the government already knows all about it. Bilbray: If you've got a cell phone, they know where you are because we required the, 911 code to be able to track it down because somebody crashed in Colorado, went into a snowplow, and the kids were calling for911 and they couldn't find them. And the story at the hearing was they, Colorado had every, all the state troopers run with sirens on. And then when the kids heard the siren, they said, okay, they stopped the cars and they turned off the sirens until the kids said, stop. And so they knew which cruiser was in the area where these kids were. And I tell the story because that led up to the fact that now every phone is tracked. And so, these conservative guys, I said, they already know where you are. They know what you're buying so to worry about Bilbray: This driver's license thing is absolutely absurd. So that's how we got that through. But there was, you know, look, there's things that you get to do that you don't even talk about. I mean, one of the best things I ever did never even was public. And that is we had a local business that offered to give their supercomputer to the federal government. They had worked with the UC [University of California] system and they offered to give it, as long as I kept it secret, as long as we didn't say who they were. And it was a local business here that gave their supercomputer, as a mainframe for the genome program. And that mainframe and that genome program, ten years later, when my daughter was fighting stage three C cancer at 20% chance of living with melanoma. A 20% chance of living two more years, that's all. Bilbray: And that mainframe and that system that was set up ten years before, found the b wrap mutation on my daughter's cancer. And that's what saved her life. And I have two grandchildren because these businessmen quietly contributed to this. And I just happened to be on the committee, the Health and Environment Committee of the Energy and Commerce Committee. I was on the committee that was working on the genome program. And that deal has not only saved my daughter's life and created the two grandchild children's lives, but have done a whole lot more. I mean, how many millions of people have been saved on that? And nobody even knows that we did that. And that's what's important to being at the right place where you can help, being the lifeguard, being able to run out and, you know, be part of that. And you, you can't, you couldn't give me a million dollars to change that. The little things you do in the back and aren't talked about is what really matters. Savo: Well, Mr. Bilbray, this was an excellent interview. I appreciate you for your time. It was a real pleasure. I thank you a lot. Bilbray: Well, thank you very much. And, if you have any other wines, let me know. I'm unemployed now, so, as long as I'm not sailing my boat to Mexico or riding my Harley over to meet my, see my cousins in Las Vegas, I'll be around. In fact, we are, [on] the 27th of this month. I'm gonna represent my cousin who just passed away this year. They have the 20th anniversary of his elementary school they named after him. See, they'll do that for Democrats, but Republican will never get it [laughs]. But that's okay. Well, my luck, they'll name a sewage plan after me. https://rightsstatements.org/page/InC/1.0/?language=en video Property rights reside with the university. Copyrights are retained by the creators of the records and their heirs. &#13 ; This resource is licensed for noncommercial educational use using CC NC-BY 4.0. 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The researcher agrees not to record, reproduce, or disclose any Social Security number or other information of a highly personal nature that may be found. 0 https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=BilbrayBrian_SavoRiccardo_2023-04-03_access.xml BilbrayBrian_SavoRiccardo_2023-04-03_access.xml https://archivesearch.csusm.edu/repositories/3/resources/19 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bilbray, Brian. Interview April 3rd, 2023. Description An account of the resource Brian Bilbray is a former Representative in the Congress of the United States. He served as a Republican representative for the 49th district (now 53rd) in California from 1995 until 2001 and then again from 2006 until 2013. In this narration Bilbray discusses how he got his start in politics as well as how his political actions impacted the environment and economy in the frontera border region of San Diego and Mexico. Bilbray also talks about how he navigated the politics of Washington through his bipartisan actions. Identifier An unambiguous reference to the resource within a given context SC027-056 Subject The topic of the resource Borderlands Environmentalism and politics -- California -- San Diego Environmentalism and politics -- Mexico -- Tijuana Imperial Beach (Calif.). Mayor Metropolitan government Politics and government -- 20th century Politics and government -- 21st century United States. Congress. House Water rights -- Mexico Water rights -- United States Date A point or period of time associated with an event in the lifecycle of the resource 2023-04-03 Format The file format, physical medium, or dimensions of the resource video Creator An entity primarily responsible for making the resource Brian Bilbray Contributor An entity responsible for making contributions to the resource Riccardo Savo Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Mexican-American Border Region Imperial Beach (Calif.) Publisher An entity responsible for making the resource available California State University San Marcos University Library Language A language of the resource English Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en%20">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. Brian Bilbray License A legal document giving official permission to do something with the resource. Property rights reside with the university. Copyrights are retained by the creators of the records and their heirs. This resource is licensed for noncommercial educational use using CC NC-BY 4.0. Please contact Special Collections at archives@csusm.edu if you need reproductions made. Permission to examine Library materials is not authorization to publish or to reproduce the examined material in whole, or in part. Persons wishing to quote, publish, perform, reproduce, or otherwise make use of an item in the Library’s collections must assume all responsibility for identifying and satisfying any claimants of the copyright holder. The researcher assumes full responsibility for use of the material and agrees to hold harmless the University Library, and California State University, against all claims, demands, costs, and expenses incurred by copyright infringement or any other legal or regulatory cause of action arising from the use of the Library's materials. In assuming full responsibility for use of the material, the researcher also understands that the materials they examine may contain Social Security numbers, other personal identifiers, and/or sensitive material on potentially living and identifiable individuals (e.g., medical, evaluative, or personally invasive information). The researcher agrees not to record, reproduce, or disclose any Social Security number or other information of a highly personal nature that may be found. Community history History Department internship Politics and governance Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral Histories Description An account of the resource Video and audio oral histories can be viewed here. Histories are listed alphabetically by last name. Individual histories are indexed and transcribed and can be searched. Publisher An entity responsible for making the resource available California State University San Marcos University Library Rights Information about rights held in and over the resource <p>Rights to oral histories vary depending on the history. The library owns the copyright to some histories, and has license to reproduce for nonprofit purposes for others. Please contact CSUSM University Library Special Collections at <a href="mailto:%20archives@csusm.edu">archives@csusm.edu</a> with any questions about use.</p> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Riccardo Savo Interviewee The person(s) being interviewed Dinah Poellnitz OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS Viewer) https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=PoellnitzDinah_SavoRiccardo_2023-04-05.xml OHMS Object Text This field contains the OHMS Index and / or Transcript and is what makes the contents of the OHMS object searchable in Omeka 5.4 SC027 Poellnitz, Dinah. Interview April 5, 2023. SC027-025 1:06:11 SC027 California State University San Marcos Library Special Collections Oral History Collection CSUSM This oral history was made possible with the generous funding of the Ellie Johns Scholarship Fund at Rancho Santa Fe Foundation and the Library Guild of Rancho Santa Fe. Art -- Study and teaching Art galleries -- nonprofit Artists, Black Community Engagement Hill Street Country Club -- California -- Oceanside Los Angeles (Calif.) Oceanside (Calif.) Vista (Calif.) Dinah Poellnitz Riccardo Savo Audio PoellnitzDinah_SavoRiccardo_2023-04-05 1:|12(18)|22(4)|33(2)|44(5)|57(13)|67(4)|77(15)|88(4)|102(14)|114(6)|130(6)|140(4)|150(11)|161(15)|173(4)|183(11)|196(7)|209(3)|220(15)|233(1)|245(3)|255(12)|265(16)|277(11)|287(10)|298(7)|310(4)|320(3)|333(12)|343(18)|354(1)|366(9)|376(1)|386(1)|397(2)|407(17)|424(2)|432(13)|442(5)|454(1)|463(7)|474(1)|485(3)|497(13)|508(2)|518(4)|531(5)|542(11)|553(12)|567(11)|578(4)|595(10)|605(12)|616(9)|627(5)|638(15)|648(10)|660(4)|668(10)|680(5)|690(5)|701(13)|710(8)|722(3)|736(6)|750(8) 0 https://archivesoralhistories.csusm.edu/files/original/4344d88bc2e671e3ad4b1f4ea85cfba8.wav Other audio English 40 Interest in Art and How Art Relates to Community Engagement Poellnitz discusses how she initially was exposed to art at the age of 11, where she began to take up drawing through a family friend. drafting material ; drawing ; North County ; Oceanside 216 High School and the 1990s Dinah Poellnitz describes how her interest in art coincided with the development and mainstreaming of hip-hip during the 1990s. She mentions how she was drawn to the expressionist element that art represented. dance ; hip-hop ; Oceanside,CA ; Vista,CA 246 Self-Engagement with Art Dinah Poellnitz elaborates on how her interest in fashion and making her own dresses instilled her creativity in making art with intention. She mentions her time at Santa Monica College where she got to see firsthand how art could be used as a language to communicate, organize, and protest. art intentionality ; fashion ; Santa Monica College ; Soul Train 508 Art History and University of California, Riverside Dinah Poellnitz discusses how her networking in college at both Santa Monica College and UC Riverside helped to expose her to the business part of art. Poellnitz decided to double major in art history and art administration to learn what it means to operate a studio gallery and exhibit. Amy Goodman ; Intentionality ; Politics ; Santa Monica College 606 Getting a Job in the Art Industry Dinah Poellnitz discusses more broadly how she transitioned from her initial job positions in Los Angeles, CA to San Diego's North County. Beginning with the Oceanside Museum of Art, Poellnitz's experience in volunteering with youth led to learning about civic engagement and city planning. Primarily, she focuses on the challenges and inequities that she observed amongst Black children who had no prior engagement with art materials and what it means to be an artist. Hill Street Country Club ; inequity ; Los Angeles ; North County ; Oceanside Museum of Art ; Vista, CA 1196 Artist Networking in San Diego and Oceanside Dinah Poellnitz mentions how her idea to create the Hill Street Country Club came from the contacts that she developed with other local artists in Oceanside. In particular, she recalls an instance she met the owner of the Link-Soul art space, Jeff Cunningham, who provided her with the opportunity to create a space of her own. Art Exhibitions ; Link-Soul ; Oceanside Education Department ; Oceanside Museum of Art 1546 The Networking and Structuring of the Hill Street Country Club Dinah Poellnitz elaborate on the two primary contacts that assisted in her founding of the Hill Street County Club. Jeff Cunningham ; Julia Fister ; Studio Ace Art Gallery 1652 Hill Street Country Club Art Exhibit and Activism Dinah Poellnitz discusses the challenges in funding that came in comparison to other local exhibits in the North County. Specifically, Poellnitz elaborates on how the Hill Street Country Club's artists all share similar outlooks on the art industry and how their work is a critique of social inequities. autonomy ; inequity ; microaggression ; social impact 2017 Hill Street Country Club and the Pandemic Dinah Poellnitz provides insight to how Hill Street Country Club had to adapt to the changes brought on by the 2020 pandemic and remain open despite other exhibits closing their doors. 2020 pandemic ; mental health 2222 The Economic Hardships of the Pandemic within the Art Community Dinah Poellnitz offers an insight on the effects that the traumatic events of police brutality had on those within the Black art community. Poellnitz reflects on the general mood and tone of the Oceanside community during the initial months of the pandemic. community conversations ; empathy ; liberation ; resources ; solidarity 2448 Changes in both Activism and Structure Dinah Poellnitz briefly mentions how Hill Street had to evolve over the course of the pandemic, providing the creative space to assist in the mental health crisis that developed over the course of 2020. group therapy ; Oceanside Unified School District ; The Social 2724 Oceanside Unified School District and Group Therapy for Middle School Children Dinah Poellnitz goes into detail discussing how Hill Street offered children from Jefferson Middle School group therapy sessions to handle with the stress from the pandemic. She elaborates on the lengths that Hill Street had to change to adhere to COVID protocols with social distancing and interaction. cohorts ; COVID-19 ; Jefferson Middle School ; social camp 3065 The Community Reception to Hill Street's Restructuring and Outreach Dinah Poellnitz describes how Hill Street became a model of inspiration during the pandemic for other exhibits to follow. She offers the reception that Hill Street received from the local community for their initiatives with the Oceanside Unified School District. budget ; gallery space ; impact ; influence 3512 The Future of the Hill Street County Club Dinah Poellnitz provides the vision that she hopes for the Hill Street Country Club, primarily the creation of a Community School. While much of this vision has not been enacted, Poellnitz offers some of the challenges that would come in the face of creating a K-12 community school. bigger institution ; community school ; organizations ; partnerships wav Oral History Interview of Dinah Poellnitz on April 5, 2023. Video briefly discusses Dinah Poellnitz’s community engagement within the city of Oceanside through art. In particular, the interview focuses on Poellnitz's involvement in the founding of the Hill Street Country Club art gallery in Oceanside, CA. Poellnitz discusses how to navigate through the art community as a Black woman, emphasizing the importance of equity and inclusion. Riccardo Savo: Awesome. Alright, so today is April 5th, 2023. I am Riccardo Savo, a graduate student at California State University of San Marcos. I&#039 ; m interviewing Dinah Poellnitz for the University Library Special Collections Oral Project. Thank you so much for being here with me today. Unfortunately, you&#039 ; re not able to have the video, so we&#039 ; ll just rely on audio today, which is perfectly fine. And I would like to begin quite broadly if we can, if you could tell me how you became interested in art and how you initially related it to the community or to community engagement. Dinah Poellnitz: Um, then that&#039 ; s like a childhood memory question for me. I&#039 ; m from North County. My dad came to Oceanside Camp Pendleton in the seventies. I was born in [19]76. I think my dad came out here in [19]78 and we lived on base and if you know anything about North County during that time, it was like, you go to church, you watch sports... and that was it, you know? And my mom&#039 ; s from the South. She&#039 ; s from Louisiana and you know, my mom&#039 ; s about church and we used to go to church all the time. And my mom had a friend named Carla. She was like a wacky woman too. She was just elusive, like all over the place. She used to be an architect and she saw that I loved to draw. And so one day she just gave me her drafting table and I was, I could, I think I was like in -- 11 years-old -- and she brought all her materials and stuff to my house and I was just like, whaaaat? It was like a whole new world. I was just like, wait... there&#039 ; s a table made just for drawing? That happens? You know, it was like one of those moments. And I used to dr-- I wanted to be a costume designer, so I used to draw dresses and fashion all the time on that table. And I had a whole setup. But I just remember just being this little kid who had my own little like, workspace and, and it was just for me to draw. And I was like, wow, there&#039 ; s a, there&#039 ; s... you could do this. Like, this is not a like day, you know, day drawing at home. This like, you could really do this as a, like, as an adult. So yeah, I was maybe like 11 and it was Carla from Fresh Bread Church. &lt ; laughter&gt ; Savo: That&#039 ; s awesome. So, you began this at age 11 and did you carry this through to your high school? Because I know you attended UC [University of California] Riverside and earned your Bachelor&#039 ; s in art history. Poellnitz: Yeah, I did. You know, like I was a kid that always made my own. Like I made my own. I designed dresses. I made my own prom dress. I sewed it, I wore it. I was heavily into -- It was the nineties in high school. And so, my parents, my dad retired, and then we moved outta Oceanside and moved to Vista for my high school years. And... it was hip-hop era, so I was like into dance and music. So that was all part of art and expression. But I remember wanting to be in the art clubs and I was just like, I can&#039 ; t if that, if art club&#039 ; s about realism and like drawing like things perfectly, I don&#039 ; t have time for that. That&#039 ; s real. I was just like, I don&#039 ; t even, I&#039 ; m not even curious to learn that. I don&#039 ; t wanna do that. Cause that&#039 ; s what art club was defined as in high school for me. Savo: So would you say that your engagement was more self-disciplined? It was more geared towards how you wanted to engage with it, or more or less, how you could find avenues to apply it? Poellnitz: Um, it was more intentional for me. You know, I like fashion, so I drew. I drew dresses and I designed a dress and I sewed a dress and I wore it. It was just, it was all intentional. It was like just being, it was an action, it was a language for me. It was... it was a skill, you know, I just thought very creatively all the time. Even when I was learning economics, I was thinking about it creatively so it can make sense for me. I think they say that artists are like divergent thinkers, you know? We always find or create and build and make an alternative solution to solve a problem in art. So that&#039 ; s kind of like that, that&#039 ; s a habit. Um, yeah, &#039 ; cause in, in high school, I used to go dancing. I used to go to like, this is corny as hell: I used to skip school and go to the Soul Train and dance in Soul Train in High School. I was just expressive. It was a very creative, like moment as a kid for me being in high school in the nineties, like hip hop was like jazzy like baggy and like there was more Black designers like Dubbo jeans and FUBU and all that stuff came out. So it was kinda like a Renaissance era, even though I lived in, in a little North County and, you know, Blacks were a smaller percent of the community. There&#039 ; s like, that culture was just present when I was in high school. So me not wanting-- Me not wanting to join like the art club for high school and draw something perfectly was just like, eh, I can have fun. That feels like studying for economics. I don&#039 ; t wanna do that right now. I wanna enjoy creativity right now. I don&#039 ; t wanna study it. I was not in that mood. It was just a part of my life, you know? So... and then I used to go to LA every summer when I was in high school to get away from North County and stay with my cousins who worked at movie theaters. And that&#039 ; s when I was exposed to like museums and galleries and, you know, and I took a class at Santa Monica College and that&#039 ; s when I learned like, oh snap, you can learn art history? This is more interesting than like actually drawing the horse, you know? Um, I just learned that art had intentions all the time. Like I was, I was also like poor, you know? And I&#039 ; m a, I come from a Black family, so to venture off into art, it&#039 ; s just like: you gotta make sure it makes money! My uncle in LA is like, what are you getting a degree in? Are you gonna be able to teach with that? I&#039 ; m just like, hmm, I don&#039 ; t know, you know, and, but I enjoy it and I excelled at it. And like, I had a teacher, I took like Japanese art history at Santa Monica College, and I was just blown away by the history, like the political history, the social impact, just like everything that you see in art, like how it&#039 ; s a reflection of like moments of history or just moments of inequity. I thought that was very interesting how artists could use that as a language to communicate, to organize, to protest, to be expressive of what they don&#039 ; t like in society. So yeah, I loved art history and that was like perfect for me. Cause when I think about it, I was into dance and music, hip-hop culture because it felt liberating. I designed and made my own prom dress because, you know, it gave me ownership. And those are like human right feelings. Savo: And speaking to that, about the ownership and the intentionality, your decision to do art history as a degree and as a major, was that a choice that you made? Was that a choice that you had made from Santa Monica to UC Riverside? Poellnitz: Mm-hmm Savo: OK- Poellnitz: It was intentional. Yeah. So I, when I was at Santa Monica, it was cool. I had a lot of friends and they were like all into politics. I saw Amy Goodman when I went to Santa Monica College. And so I had a lot of friends who were into like, the political and social justice part of education. And I was like, I wanna do art history. &lt ; laughs&gt ; I like it. I like pictures, I like reading-- images, I love that. I love telling, retelling those stories or using it as a form of communication. But I was like, I think I wanna-- I remember telling myself in our junior college, I wanted to have a gallery space. It was intentional. And I applied to all the schools that had the double major art history and art administrative &#039 ; cause I wanted to learn the business side and the admin part. I didn&#039 ; t know what I was gonna do. I didn&#039 ; t know I was gonna get the gallery, but I was like, &quot ; Hey, if I wanna work in a gallery, I need to have these skills or just to better understand it.&quot ; &#039 ; Cause I have to justify going to school for art history, not just to my family but to myself. Savo: And so you mentioned that you wanted this applicability, you know to translate the skills that you learned in your degree to, to real life and to getting a job. Poellnitz: Yeah to a job--. Savo: Could you tell me a little broadly about your experience with that community engagement and, and political activism and how that helped formulate what is now, you know, the Hill Street Country Club because it&#039 ; s a great gallery in Oceanside and you don&#039 ; t really think about Oceanside being, uh, very cultural. At least you know, the North County, South Bay, in terms of San Diego County in general. But how did that come about? Poellnitz: Um, well I finished school, lived in L.A. for quite a bit. Played assistant nanny manager, like these jobs separate from what I wanted to go to school for because I was living in L.A and I had to learn how to multitask. And I took on like a lot of assistant jobs and one day I was just like, I was working for lie celebrities and like producers and stuff and you know, I saw how things were operating behind the scene creatively for money. And then I also understood the realities of like creating for me and the possibilities. And so, you know, I always kept a job and one day I decided, like me, my husband, we split [up] and me and my little kid, we moved back to North County and I still had my L.A job. So, I was still commuting like three to four times a week from Vista to L.A for my job. Cause they paid me well. But I decided to start volunteering at the Oceanside Museum of Art and their education department, but they didn&#039 ; t have one yet. So, I ended up volunteering with the proprietors. I learned about installation at Oceanside Museum of Art and I was still, I still had my like feet in two different worlds. I was still in the L.A world, but also in my hometown world. I did work at Patricia Korea Gallery in Santa Monica, and that was a very eye-opening experience at the&lt ; inaudible&gt ; was in college. Just, she was like the only woman of color, like gallery owner. And she only represented brown artists at the time, which was very &lt ; inaudible&gt ; in Santa Monica. Well, but inequity in like the gallery world when I was in college with that job, I would apply to like the Getty and all types of museums when I lived in L.A. with my friends. But my friends would always get the job even though I had a better CV than them. You know you just accept it. And so I just went back to like doing assistant work and then I decided, I was like, you know what, like I&#039 ; m gonna lean a little heavy. Like now that I&#039 ; m back in Vista, I&#039 ; m gonna lean in a little bit more in North County and invest more of my time there. And so that&#039 ; s when I started volunteering at OMA [Oceanside Museum of Art]. Then I learned about the infrastructure of the museum world because, you know, I always wanted to work in a museum. I always thought museums were an amazing place to tell stories and educate. I never knew about the dark side of museums, you know, like how they get art and how they flip art and also like the politics of like hierarchy and institutions, you know, I learned-- I didn&#039 ; t know about that in school. No one ever talked about that in school. We only talked about art history. But once I started volunteering and then turned into a paid position at Oceanside Museum of Art, I learned about institutions really quickly, and I also learned not just about art institutions, but I also learned about like civic engagement and city planning because, I still had my, my foot in L.A so I was used to going to galleries and museums and seeing public art, having friends who got paid as full-time artists or had very creative jobs. I know what&#039 ; s possible. And so, you know, being back home, I just like, &quot ; okay, why don&#039 ; t we have public art again.&quot ; And then I had to like learn beyond what school taught me through experiences. Like, oh, public art is political and it&#039 ; s not, political is a message, it&#039 ; s political because you have to politically know how to create a system so that there can be public arts, right? At the time OMA, no one knew Oceanside Museum of Art exists. You know, 12 years ago no one knew. I didn&#039 ; t even know. I like googled and like looked for art spaces and I somehow, and only because I was intentionally looking for art space in North County, close to home, I found it. But it wasn&#039 ; t like it was vibrant and it was attracting people like me and they should be attracting people like me for living in LA and loving art. I didn&#039 ; t know it exists out of Google art spaces in North County. And that&#039 ; s how Oceanside using a popped up. And I noticed that they didn&#039 ; t have an education department. They had Julia Fister who was volunteering for the education department that she created as a volunteer because she had a big grant with Target to make sure every fifth grader goes to the museum. But she didn&#039 ; t have a office space or studio room for education. It was like she just came and sat at a table and made it happen and fifth graders came. And me and my business partner, Margaret Hernandez, we just decided, you know, we were both in education and we did all the docent tours with the fifth graders and the, and the workshops with them. And we just like had a lot of community conversations with young people, people in middle school, so you learned about their like starting point to art, who in the, in the classroom who visit[ed] that day, who had more access to art than others. Who had materials, who been to museum. You know, you learn so much about the demographics and like, I&#039 ; m sorry but the demographics were pretty like astounding when you see majority of the Brown/Black kids saying this is their first time. You know. Or you have students ask you if they could take home some of the like, crayons or pastels at home so they can keep drawing. You&#039 ; re just like, dang, kids don&#039 ; t have like crayons? Like how do you not have crayons? You know it-- Or kids asking like, or the one kid who&#039 ; s just like, who knows about art but like, how do artists even make money? Like kids would ask those questions all the time. How do artists even make money? Like what do art, what can artists do? You know? And those were conversations for me &#039 ; cause I was always intentional. I was just like artists designed your shirt, the artist probably designed like a machine that&#039 ; s in the hospital that you are using, artists design buildings. I&#039 ; m like, art is involved in literally your whole life. You just don&#039 ; t know it. And you probably could have more, but you just don&#039 ; t know it. Right? And so I just started asking questions about how do we get more murals? How do we get public art? How do we have art walk? And I learned that I had to like volunteer with like Main Street, like a commerce type of org, who had a relationship with the city to get extra funding for projects for the city. I had to learn about that dynamic. I learned about putting things on the docket. Like I learned how art was, wasn&#039 ; t just like creative, but it was also political and it was also like [it] required you to engage in the system to understand how to create public art opportunities. You know, it&#039 ; s just, we didn&#039 ; t, Oceanside didn&#039 ; t have an infrastructure for art. Like we&#039 ; ve made a lot of improvement, but we didn&#039 ; t have an infrastructure, we had an arts commission, but it was it was in silo and they weren&#039 ; t funding anything and they were just meeting each other, talking about projects around town, you know? The museum wasn&#039 ; t engaged at the time. It was, it was treated more like a private gallery space than a public space. And it was, &#039 ; cause you know, Oceanside Museum of Art is not owned by the city. It&#039 ; s owned by a group of retirees, you know, and there&#039 ; s a lot there. There&#039 ; s also the retirement culture that you have to deal with. Like when we started Hill Street, we were very engaged with our friends and our family and community members. And we worked with people who couldn&#039 ; t get a space or an exhibition. We worked with those artists and they brought their family and friends. Like, it was a gathering opportunity for people. It made sense. Savo: And how were you able to attract these different artists? Were these artists specifically located in Oceanside or were they spread out through across San Diego County? Poellnitz: No it started in Oceanside. It was our friends first. We grew like a concentric circle, if that makes any sense. It was, um, we fit Hill Street like artist, personal, communal, universal. And like this, if I think about how we grew as a concentric circle, it was very personal for me, Marj, to begin Hill Street Country Club because the museum was rejecting all our ideas and they were not being cool or like easily invested in education. They made it very hard for Oceanside Museum of Art to create an education department at the time. And so in support of an education department, because we, you know, we did those docents and we listened to young people. So I&#039 ; m like, &quot ; you need an education department. It&#039 ; s necessary.&quot ; We supported Julia and her vision to make an education department for the museum. And we tried to throw our first fundraiser for that vision of hers. And the museum would say no to us. Like, we&#039 ; re like, &quot ; Hey, can we do a fundraiser for the education department?&quot ; And they&#039 ; re like, no. And then we&#039 ; re asked like, &quot ; Can we borrow some chairs and tables for a fundraiser?&quot ; &quot ; Uh, not right now. No.&quot ; And basically like we knew we need an education department like, Oceanside, if you&#039 ; re gonna have Oceanside Museum of Art and you&#039 ; re taking up the city&#039 ; s name and you&#039 ; re having fifth graders come in and you&#039 ; re getting grant money, you need to have an education department, right? And that&#039 ; s just common sense to us. And so we told all our friends the idea of having a fundraiser for the Oceanside Museum of Arts Education Department to support Julia. And one day I was like driving home to dinner to meet Margaret and I saw that the Link-Soul building light was on and they were having a gallery show. And I walked in there and I was just like, this is the art space? And Jeff, who is the co-owner of Link-Soul was just like, yeah. And I was like, this is interesting. I was just so shocked to see a gallery that had a show. And the next day I went over there and met Jeff, someone got him, and I introduced myself and I pitched our fundraiser idea. He, like, he said yes to me, to like using this space for free. And so that was our first event that we organized, and it was called &quot ; Open to the Public&quot ; and it was about, you know, the need for art education. It was a fundraiser for OMA. And so, we just asked all our friends who were artists in North County and then like people who I went to school with, &#039 ; cause I was taking classes at Miracosta for fun, for art and asking teachers to support it. We had a big turnout, and we were able to donate to the education department and purchase art materials and bags for every fifth grader of Oceanside for that year that visited the museum on that program. So that was like the first time where we were just like, wait, this was successful. People are thirsty. Like it&#039 ; s not just us who want [to] have more like community opportunities, you know, with art. So like I said, it&#039 ; s like we grew a concentric circle because we started off very, it was very personal for us to do that. And then once we had our first event, we understood the like community purpose. Like, oh this is not just us, this is a community issue too. We want, we want more opportunities to do stuff like this and we don&#039 ; t have it. It was like, &quot ; I want more of this. Like how do we, how do we keep doing this?&quot ; And so me, Margaret, just because we couldn&#039 ; t afford our own space and I still working back and forth in L.A, we just did pop-up art shows for like two solid years all over Oceanside. And then we went to community art events or like art events in San Diego because they had more of a presence of art for us back then, &#039 ; cause we weren&#039 ; t really doing much as a city. So, we would go to events and openings in San Diego all the time. I don&#039 ; t know, it was this became very like, personal and communal. And then most of our artists are like working class, queer, young, old, um, more vulnerable, you know, and to like, to all kinds of things. And so, like most of them never had an opportunity to have an exhibition. They like paint it for themselves or put their art in a store, but no one&#039 ; s ever invited them to do an exhibition. And we would just invite artists for exhibition. But it was a curated experience, you know, and a lot of it was just, we choose artists that, that we shared messages with. I don&#039 ; t know, it just became a very organic growth. Savo: This is excellent to learn about. &#039 ; Cause I didn&#039 ; t know that there&#039 ; s so much underneath, in terms of the layering, in terms of structuring, in terms of networking that&#039 ; s involved. Could you just clarify briefly who exactly Jeff and Julia are in relation to the Hill Street Country Club? Poellnitz: So Julia Fister at the time was the education director at the Oceanside Museum of Art. And she was one of my- me and Margaret&#039 ; s mentor. She now owns Studio Ace in Oceanside where it&#039 ; s focused on youth and like art education, which is really cool cause she&#039 ; s in the valley. Very much needed over there. And then Jeff, Jeff Cunningham is a artist but is the creative director for Link -Soul, which is a golf apparel company. Their design team is based in downtown San Diego. And we share, we co-op a space with them. That&#039 ; s where we have our gallery. And Jeff Cunningham is a phenomenal artist. Like I curated him for a show for Oceanside Museum of Art. And our friendship, just like it grew from like me being a curator and an artist and him being an artist and us really like exchanging ideas about social impact and how do we create an art space that&#039 ; s different, that&#039 ; s more authentic and doesn&#039 ; t have all these pressures to over-perform, be productive. And so like, it&#039 ; s natural. It&#039 ; s interesting &#039 ; cause he said yes to us having our first art show at his space and then he ended up giving us this space for Hill Street. Savo: That&#039 ; s awesome. And since Hill Street has been open and been around in the community, how has the gallery become that space where it&#039 ; s not just the ideas or expressions that are being presented, but how has that space become a platform really, sorry... How has that space become a platform for activism? Because, you know, you noted in a 2020 interview with KPBS that art is a functioning tool that should transition off the canvas. Poellnitz: Hmm-hmm. Savo: How has Hill Street Country Club played in that part? Poellnitz: You know, it&#039 ; s so funny cause every time I get asked like, &quot ; oh are you an artist too?&quot ; Like,&quot ; yeah, I&#039 ; m an artist, I make work, but I don&#039 ; t make it anymore.&quot ; I was like, I make, I build art, you know, I can build stuff. But right now, my art is Hill Street Country Club, and you know, it&#039 ; s, it goes back to college and me like learning about all like the social impact and inequities in the world through art history. It goes back to that. And it goes back to like, you know, artists are some of the most vulnerable people because first of all, you&#039 ; re not respected with pay whatsoever, &#039 ; cause you have to remember like, I knew I had to get paid to do this or I shouldn&#039 ; t be doing it. I should be like a teacher or an engineer or a therapist. Like, you went to school for art and people need to get paid for that. So we live, we live in North County where there&#039 ; s, we were spending like 10 cents per residence on art funding while like San Diego at the time was spending ten dollars. So, and then also trying to convince older peers in the art community that they had to pay for admin stuff that we organized. And then thinking that everyone had time to volunteer because at the end of the day, we had a large retirement class that was in charge of the art community in Oceanside and Vista. You know, they didn&#039 ; t see the value of paying younger people to help them with the arts, you know, there&#039 ; s uh cultural differences. And that being said, you know, to get paid is not just like, to get paid is the equity issue, right? And then not only to get, you know, to get paid is the equity issue. And if you&#039 ; re like Black and people don&#039 ; t even take you that, if you look at the museum stats and gallery stats for like, artists and like people who make it, you already know. You&#039 ; re like, you&#039 ; re dealing with so many microaggressions, you&#039 ; re dealing with some unresolved supremacy issues. Like I always tell folks like, hey, check this out. Like, um, it&#039 ; s okay if you&#039 ; re racist, I get it. You&#039 ; re not me. You don&#039 ; t have these experiences and you have to unlearn and I&#039 ; m gonna give you grace to unlearn, but I&#039 ; m always gonna speak up for what I-- what you did. And I&#039 ; m gonna not call you out, but I&#039 ; m just gonna call you in and say like, &quot ; hey you know what you did was kind of racist could you not do that?&quot ; And I learned that was always like a threat to people when I was honest and like gave them grace at the same time. And I learned in the art community that they&#039 ; re not ready for those conversations at all. Or like, just to like unlearn and do better. So, but because I have ownership of my space and I don&#039 ; t work for anyone and I don&#039 ; t have a board that disagrees with my politics, I have a lot more autonomy than a lot of my artist friends or my art admins who work in museums and high-end gallery spaces. And so I get to embrace artists that are political, who are in the streets, who are organizing, who are building different collectives or opportunities for relief or whatever they believe in. I have a beautiful space. I also share my autonomy with them and I support their work. And because I believe in equity too. Cause I&#039 ; m trying to get paid, I&#039 ; m dealing with microaggressions. This is personal. Like what, what affects you is affecting me. And also, I&#039 ; m like, I just don&#039 ; t like people being in pain. I&#039 ; m an empathetic person. I, I don&#039 ; t know, I&#039 ; m pretty radical politically, so I have to-- if I have my own autonomy, I&#039 ; m gonna use it. I&#039 ; m not gonna shy away from that. And the artists that I admire were doing that. It went that I was learning art history. They were telling a story, they was telling us how wrong this was and that was. Like, they&#039 ; re pointing out problems and they&#039 ; re doing it in the nuances of art. And I think it&#039 ; s very important for artists to tell those stories so people can gather and discuss and find solutions or to just build creative- what is it critical mass? No, I think it&#039 ; s critical mass is like valuable, once you learn it&#039 ; s not just yourself. It&#039 ; s like a Power in Numbers game. Savo: Would you say that speaking to it&#039 ; s a power in numbers game, do you think that that has changed your perspective on the, the personal communal and universal experience that Hill Street Country Club offers? Because obviously since it&#039 ; s opened, now since the pandemic 2020, do you think that it&#039 ; s become a situation where art more than ever needs to be more expressionist or more, um, as you say, it has to be more, you know--? Poellnitz: Yeah,-Savo: It has to be more- Poellnitz: It should be. It should be. You know I was just talking to my colleague Astrid Gonzalez, she is one of the Hill Street colleagues. She does all our audio-visual stuff. And she was reflecting the other day and she was like, &quot ; we really never stopped working during the pandemic.&quot ; I was like, we didn&#039 ; t, we couldn&#039 ; t afford to. We&#039 ; re vulnerable. We don&#039 ; t have board members with money. We don&#039 ; t have-- like the reason why we can do all that we do is because we have people aligned with our principals who agree with us and who are not scared support what we&#039 ; re doing. But at the same time, to get paid in this art world, you gotta have some like, dirty person on your board. That&#039 ; s just reality. Like, you gotta think money. And it&#039 ; s, that&#039 ; s just how it works. It&#039 ; s an institution. Like every institution in America has flaws, right? And during the pandemic, we stayed open. We were very creative of finding creative ways to stay open and accessible to our audience and to our artists. Cause a lot of my artists during the pandemic were dealing with poverty, food, needed food, like, mental health. The pandemic was messing people up in the first like two years. And a lot of my artists were affected by that. I worked with a lot of Brown and Queer and old artists, you know, and in this economy, they were suffering. And so, I had to figure out how to be a safe space and use my space for opportunities for people to get access to food or help folks get access to mental health services or even a distraction like coming, making art. I had to stay open for two and a half years during the pandemic, while a lot of big museums were closing and doing bare minimum because they didn&#039 ; t wanna get Covid. So, I don&#039 ; t know, my space has always evolved and adapt, because it has to. Savo: Speaking to- Poellnitz: Right now--Go ahead- Savo: Oh no, go ahead. Poellnitz: I forgot what I was going to say, go ahead. Savo: Speaking to the space having evolved, you mentioned that Hill Street became a space that allowed for those economic hardships of the pandemic, to kind of be alleviated for your artists. Could you speak about the political upheaval? Because we all lived through 2020 and we all know how painful it was during April, May, April through June of 2020. How did that come about? How was Hill Street a space for comfort, a space for expression? Poellnitz: Yeah, that was interesting. Cause like I&#039 ; m the only like Black gallery owner in San Diego. And I&#039 ; ve been doing this for so long that I, I belong to extended part of the San Diego art community that a lot of folks don&#039 ; t see in North County. Like I know a lot of people in museums and galleries and stuff like that. And I know a lot of people in City government and Federal government. And so, you know, during that time it was just like, this is when you make art. This is when you talk about these issues and you use art as a language and as a tool to have these community conversations. But also, this was also opportunity for us to do mutual aid. We went into care mode, like how do we care more about people? Like how do we care back? Like how do we take care of each other? Because during that time we know who&#039 ; s not taking care of us, we know who doesn&#039 ; t protect us. And it was more like being available to protect and provide care. I kind of miss those days. Those were the days where we were talking about liberation and how to use resources to create safe, safer communities. We were talking about solutions for the first time out loud as a public. We were sharing empathy with each other. I thought it was a beautiful opportunity for us to build something new. But it was also beautiful to see that we could be in solidarity. I had people who knew me in the business community of Oceanside, but never went to our events. Always knew what I was doing if I went into their store or their restaurant or coffee shop or whatever. And that was the first time a lot of those folks came out and donated to us. &lt ; laughs&gt ; You know, like checked on us. And I was like, &quot ; Wow, this is the first-time people cared about what we are doing over here. Like, this is interesting.&quot ; And I think there was a fear for a lot of folks like &quot ; I hope this isn&#039 ; t discourage her.&quot ; Or maybe I&#039 ; m just thinking that in my head, I don&#039 ; t know. But I did see a lot of people come out the woodworks who started supporting us. And it gave us funding to create more programming and we kept going. So, I don&#039 ; t know. I was just adapting. I think that&#039 ; s what you do when you&#039 ; re in survival mode all the time. Savo: And since the pandemic, obviously the adapting to the circumstance and situation, have there been any local projects or exhibits that you&#039 ; ve, partaken in or helped organize that reflect those changing structures or those change in activism? Cause you mentioned a lot about talking about solutions and you mentioned how there&#039 ; s this real need for concern for one another, this care for one another. Has there been any of these projects that reflect that? Poellnitz: Yeah so we got really involved during the pandemic. We created like a mental health like group therapy program for young middle school kids, &quot ; The Social,&quot ; and it was just like, we had a license. We have a licensed therapist, one of our artists, and it&#039 ; s like a group therapy through art, but also peer on peer because a lot of young folks were isolated from each other during the pandemic. And they&#039 ; re still coping with, you know the environment they had to live in, to stay away from everyone and not getting us sick to die. That&#039 ; s kind of traumatic. And then we&#039 ; re asking them to like, go back to normal real quick so we can jumpstart our economy. So we created a program, &quot ; The Social,&quot ; with the therapist for young people. And now we&#039 ; re gonna be part of the Oceanside Unified School District programming for summer, fall, and winter, I mean summer, fall and spring now. So we&#039 ; re now like, we created a program that&#039 ; s gonna be in the school system that provides mental healthcare for young people who need it the most. And then we just recently had an exhibition with &lt ; inaudible&gt ; Roca Gonzalez, who lives in Oceanside, who&#039 ; s from Puerto Rico. And they&#039 ; re working about all these social issues and we&#039 ; re coming together and recognizing we are a product of gentrification and colonialism. We live through it every single day. Like we have all this architectural vernacular that reminds us that we&#039 ; re all living through this. It&#039 ; s not just Puerto Rico, you know, it&#039 ; s everywhere. We&#039 ; re all surviving. I&#039 ; ve been able to sit on a lot of committees and boards and be part of more equitable decision making for artists that I&#039 ; m excited about that&#039 ; s gonna be coming out soon with the city of San Diego, helping a lot of like artists get access to money. That was like one thing that I did during the pandemic, was I did sign up on committees and boards because I&#039 ; m just like, &quot ; You guys are making this process way too difficult for people who have to work full-time jobs and take care of family.&quot ; Not everyone&#039 ; s out here just being an artist on retirement mode and can fill out all these questions and type all these like, letters of intent. You gotta make this more equitable-like process for like poor people with very limited time, you know? So it was part of a San Diego artist project that raised like $150K for artists in San Diego. And we made the process so easy that a lot more like trans and BIPOC artists actually applied and received funding to be a artist over the pandemic. That was amazing. I mean once I decided I was committed to equity and inclusion for myself, everything I do affects everyone. As a Black woman, it just does naturally, like we&#039 ; re-- The stats prove it. If you improve my life or if you improve my life in your surrounding, you benefit from it. Like literally, like if Dinah says she wants more vacation days, I work too much and because I, and I don&#039 ; t normally give vacation day. Oh my God, imagine if you give it to me, you&#039 ; re gonna have to give it to my coworker. Not everything I want, everything I need because equity benefits everyone. So I understand a lot of my personal experience or communal experiences and has universal like means that needs &lt ; inaudible&gt ; . Savo: And I was just curious, because we were speaking about these different programs and different committees that were happening during the pandemic. Before we jump back to the equity portion that I&#039 ; m really fascinated to know more about, how were these committees and how were these programs organized? Were they all organized remotely? Were these children or these group therapy sessions that you mentioned, where were they held remotely or was there a creative space for that? Poellnitz: We did it at the gallery space every Saturday. Every Saturday. And our therapist had a baby. So, they&#039 ; re coming, they&#039 ; re gonna go back in the summer. They&#039 ; re gonna start back in the summer and we&#039 ; re gonna be at Jefferson Middle School. Last year we had a four-week social camp with them, with community artists and the therapists as a camp. And it was four weeks of campers and we had four cohorts of students and we&#039 ; re returning to that program in the summer. And we&#039 ; ll be returning with like regular art programming with Oceanside Unified School District on top of providing the Saturday space for the students again for group therapy. Savo: And I&#039 ; m also curious to know like what kind of activities were these students engaged in when it came to the group therapy sessions? Because obviously this is a period where, it&#039 ; s a lot of, where social distancing was a very key thing and masking was also very important. How are these exercises or how are these sessions organized? What were these specific activities? Poellnitz: Well, it&#039 ; s so interesting &#039 ; cause we kept over going through the whole pandemic. We, Hill Street changed its whole operation system to be more appointment-based. And we created capacities. We were very highly sensitive about Covid, like people had to wear masks all the time. We provided, Dr. Bronner&#039 ; s used to donate tons of like hand sanitizer. Like we used to give like little packets out to people who came visit the gallery space. If anyone wanted to see an exhibit, they make an appointment. They would have the space to themselves for 20 minutes to visit the exhibit. And we wouldn&#039 ; t be in the space with them. We&#039 ; ll be like upstairs above where, you know, the distance, like it basically were by themselves. And then with &quot ; The Social,&quot ; &quot ; The Social&quot ; was like every Saturday. We had a capacity, I believe of like eight students at a time. And so, we have the space for people to spread out. And then everyone had materials. I mean, it was really easy to manage. I think when people care for each other and they care that they have a safe space, people make sure they don&#039 ; t show up sick. People made sure to wash their hands. People made sure to keep their masks on. We did have a lot of workshops on Zoom. We had a lot of artist&#039 ; s talks on Zoom. We had like -- what is it called? We had AR [augmented reality] gallery exhibitions. So if you couldn&#039 ; t see the work in person, we recreate gallery space online, and people can navigate and look at art online as if it was in a gallery space. Savo: That&#039 ; s really interesting-- Poellnitz: Yeah, we did a mobile art workshop. We got a grant right before the pandemic hit and we were supposed to have all this programming in every community center in Oceanside, but it was Covid and so we had to adapt, and &#039 ; cause they already gave us the money for it. So, we created a mobile art kit and like a lunch bag and it was like all the materials to like the perfect measurement and quantity that you needed for that project. We had our exhibition artists create a project and give us a list of materials for that project. And we used to do like a whole visual, like YouTube recording of how to create the piece. And then we did like a live Zoom and Instagram workshop, but anyone with a library card was getting mailed a mobile art workshop kit from us. Yeah so, we did a lot of organizing through the pandemic to stay open. It wasn&#039 ; t just simply being open, like we had to reorganize like our operations. We created an appointment system, we created more QR codes for people instead of like, there was no reason for anyone to touch anything in this space. People were able to pull out their phones and QR code and read like the show statement. And then we had Zoom workshops and people will get their MOD kits and you know, we did a lot of cool things on Zoom. It was fun. I don&#039 ; t know, you just learn how to care for people! Savo: What do you think was the-- &lt ; Poellnitz and Savo talking over each other&gt ; I&#039 ; m sorry. Poellnitz: Go ahead, no you go ahead. Savo: What do you think was the reception towards all these different restructuring and different outreach? Were people positive? Poellnitz: People were positive. People were very positive. And not only just positive, but our audience grew. We were more accessible to people outside of Oceanside. Savo: Do you think that broadened the scope of Hill Street? Do you think it helped? Do you think it helps sort of bring a lot of those ideas and those concepts from the North County down to the South Bay? Poellnitz: Oh for sure. When I moved to Normal Heights a year and a half ago and people were like, &quot ; oh, you&#039 ; re here now. I&#039 ; m like, yes.&quot ; And then just we love everything that you&#039 ; re, like, people from the arts commission knows what we&#039 ; re doing. Like I see a lot of gallery spaces and museums who are working with artists I worked with now. Worked with like five years ago, two years ago. I see the influence of our work on visuals. I see a lot of art spaces in San Diego, like institutions with bigger budgets, now creating visuals about their space. And I know we influenced people over the pandemic. They tell me and sometimes their programs look like it. It&#039 ; s wild. And it&#039 ; s like, wow. We did a lot over the pandemic while they sat still and they just watched us. Jeff always tell me, he&#039 ; s like, &quot ; you can&#039 ; t be mad if people are copying. Isn&#039 ; t that what you want?&quot ; I was like, &quot ; Oh yeah, that&#039 ; s how that works, huh?&quot ; Like, you influence people and they do the things you want them to do. Like have more like Queer folks or Black people or do more of this type of art. Like, oh they are listening, that is an impact. I didn&#039 ; t think about it like that. And he&#039 ; s like, &quot ; Yeah you just keep doing what you&#039 ; re doing. If they wanna do what you&#039 ; re doing in, see how far you can teach them, see how far they&#039 ; re willing to go.&quot ; And you know, that&#039 ; s, that&#039 ; s been like the best advice I&#039 ; ve ever had doing this work. Because it&#039 ; s true. When you have autonomy and you could do whatever you want or say whatever you want, or stand by what you believe in, you have a bigger impact than the person who&#039 ; s quiet and not doing anything &#039 ; cause they&#039 ; re scared. Savo: And speaking to that, that wanting to take initiative and be expressive. How does that coincide with some of the challenges that you were mentioning earlier about equity and inclusion? How do those two sort of intertwine with one another? Poellnitz: Dude, it&#039 ; s because it hurts. Because a lot of like organizations, a lot of people who do fund the arts are scared. They just scared of change. People are scared of change. And so there&#039 ; s always gonna be resistance. There&#039 ; s always gonna be the folks with resources who can like, jump like pounce on your idea. And because they have money, they can do it sooner and faster and get more visibility. That&#039 ; s gonna happen. It is exhausting. It wears you down, it discourages. Makes it harder for you to get access to grants or, or donors. But then at the same time, I&#039 ; ve just been thinking about this a lot lately. Cause you know, Hill Street, we&#039 ; re at a point where I&#039 ; m kind of exhausted, but at the same time I know why I&#039 ; m exhausted and I gotta do things differently and I have to be a little bit more strategic now, like where I wanna go because I notice that a lot of people are watching us. And then people have a lot of expectations for us. And there&#039 ; s also a lot of opportunities for us in the position that we&#039 ; re in because of the work that we&#039 ; ve done over the last ten years, you know? And especially the work that got highlighted during the George Floyd protest era. So, like I&#039 ; m hyper aware and I&#039 ; m being a little bit more wise about who I partner with. I&#039 ; m being a little bit more wise on how often I say no because I was a person that never said no before. And because I never said no, I got burnt out and not paid a lot. And I&#039 ; m learning that me as a Black woman, my rest is very important, but it&#039 ; s also important that I have equity so I can get paid to do this work. So, I&#039 ; ve just been thinking about how to slow down and sometimes less is more like I don&#039 ; t have to be over the place. I just need to be effective where I have intentions. So, it&#039 ; s like pulling back to that personal space has been going on with us lately. Like this being more local, bringing it all in, focusing on what we&#039 ; re strong at, getting into contract with the Oceanside Unified School District. Like that&#039 ; s a healthy source of funding for us. Instead of chasing donors who don&#039 ; t share our principles, I think artists and art organizers need to ask themselves like &quot ; Why are you here? What vision do you have? What community you belong to? What are your principles?&quot ; I think those are questions that anyone in the arts needs to ask themselves. Just be honest with yourself and if you could be honest with yourself, you should always know the choices that you&#039 ; re making. For me, I realize I wanna be my own institution and there&#039 ; s gonna be some hardship &#039 ; cause I won&#039 ; t be conforming to a lot of institutional like practices. I will be creating new practices. I&#039 ; m highly aware of the up and down of this art world for me. For me. And I&#039 ; m honest with myself. So it&#039 ; s easier for me to commit, but because I&#039 ; m honest with myself, I create ways that can sustain me. Like, I do more like art consulting jobs. I collaborate more with non-art, institutional spaces, you know? I work a lot more with community members who are in the political scene. So I understand like the fluidity of art. And if you&#039 ; re heavily relying on the same funders that fund the problem, yeah I would have concerns for the equity. But if you are creative and you know your worth and you are honest with yourself about why you&#039 ; re here, you always can find a solution. And because that&#039 ; s what&#039 ; s worked for me. Savo: And speaking to equity and how Hill Street has evolved over the past ten years, what do you think are some of the things that you personally wanna see for the Hill Street Club? You mentioned that you prefer more local engagement. You prefer being with individuals that are more like-minded in terms of art expression, in terms of inclusion. What are some of the hopes that you have for Hill Street moving forward? Poellnitz: I would love to have a community school. I want a community school. I worked for a nonprofit in City Heights and we worked with community schools that worked with juvies. They call them JCCS like Juvenile and Correction Community Schools. And they&#039 ; re like directly tied to the unified school district and the court system. At one point when I was heavily involved in politics, I was working with a former city council member in hopes of becoming like a divergent program for youth in the arts. So like, if a kid got arrested for the first time, instead of like putting them on probation and sending them to jail, you send them to like a diversion program. And the city of Carlsbad Police Department is the only police department in San Diego County that has an actual diversion program for youth. And so, you know, you get to be an organization as a choice for, for young folks and teach &#039 ; em all the skills, like how to create programming, how to run programming, how to make art. It&#039 ; s like a six-month commitment. I wanna do something more like that. I wanna have a community school. I wanna teach art the way that I experience art, the way that artists experiencing art. I wanna create a new institutional space for art practice. I don&#039 ; t know, I just really wanna grow as a bigger institution, as a choice, as an alternative choice to other places. Savo: And obviously you&#039 ; ve given a lot of thought to the idea of this community school and obviously diversion programs as well, such as Carlsbad&#039 ; s. Do you see potentially a branching out of Hill Street? Moving forward within not just North County, but also San Diego County as a whole? Do you see elements of what you&#039 ; ve been able to create and to adapt with? Do you see any of that being replicated any elsewhere in the County? Poellnitz: Um, not yet, but we partner with a lot of folks in San Diego so we are very unique because we have to adapt. One thing you learn about our institutions, old ones, they can&#039 ; t adapt. So, when they can&#039 ; t adapt, they move slow. They struggle with adapting. And one thing about us, because we don&#039 ; t, we don&#039 ; t follow institutional like, uh wisdom. A lot of us are taking in diverse knowledge from each other, practicing being inclusive. And once you do that as an action, you can make decisions a lot sooner than later. And so we&#039 ; ve been doing a lot of like partnerships and pop-ups with a lot of orgs in San Diego. I just want a community school. I want a community school. I want studio spaces for artists. I would like to have a choice for young people to learn about art and not just learn about art but have creative access to like a space where they can learn about the world and express themselves. Like I would like to have a community school. I have no aspirations to be all over San Diego County. That sounds like a lot of work. &lt ; laughs&gt ; Savo: Oh, absolutely &lt ; laughs&gt ; Poellnitz: And I worked with a lot of people in San Diego County. I love you San Diego, but North County is so special. Like us North County people, we are so innovative &#039 ; cause we&#039 ; ve had so little. And when we learn something new, we master it because we don&#039 ; t have all the museums in galleries and big budgets that San Diego has or L.A has. So we are very mom and pop and DIY in North County and we support each other. And so, I don&#039 ; t know, that&#039 ; s the civic identity for me. You know, that&#039 ; s part of my civic identity. Savo: And speaking to this, sort of bring it all back in identity, the personal, the communal, the universal that Hill Street represents. Do you think that a community school would be a perfect foster for that? And I&#039 ; m just curious about the age groups. Something I&#039 ; m actually quite interested about, would this be open to not just middle schools, the middle school age range that Oceanside education part has worked with, but would you extend that? Would you put a limited K through 12 per example? Poellnitz: I don&#039 ; t know. I don&#039 ; t know. That&#039 ; s a lot of years. &lt ; laughs&gt ; Savo: It&#039 ; s a lot of funding. Poellnitz: It&#039 ; s a lot of funding. I know that the folk at Link-Soul, they run the Goat Hill Golf course in Oceanside and it&#039 ; s already been promised to us that we will build some type of like, institution space for a community school one day. So, we&#039 ; re all dreaming like what we wanted to have. Savo: That&#039 ; s awesome. And just before we wrap up our interview here today, was there anything that we had previously discussed or discussed throughout the interview that you wanted a little bit more emphasis on or anything that you wanted to touch base with before we end today? Poellnitz: I don&#039 ; t think so. You&#039 ; re fine. Savo: Awesome. Again, thank you so much for this interview. It was really informative, and I think it&#039 ; s great to learn about how art has really grown in North County. Because I&#039 ; m from the South Bay, so I wouldn&#039 ; t know too much. But I think this was a great experience and I thank you a lot for that. Poellnitz: Oh, thank you, I appreciate that. https://rightsstatements.org/page/InC/1.0/?language=en audio Property rights reside with the university. Copyrights are retained by the creators of the records and their heirs. This resource is licensed for noncommercial educational use using CC NC-BY 4.0. Please contact Special Collections at archives csusm.edu if you need reproductions made. Please see the related “Preferred Citation note” for language on citing materials from this collection. Permission to examine Library materials is not authorization to publish or to reproduce the examined material in whole, or in part. Persons wishing to quote, publish, perform, reproduce, or otherwise make use of an item in the Library’s collections must assume all responsibility for identifying and satisfying any claimants of the copyright holder. 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The researcher agrees not to record, reproduce, or disclose any Social Security number or other information of a highly personal nature that may be found. 0 https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=PoellnitzDinah_SavoRiccardo_2023-04-05.xml PoellnitzDinah_SavoRiccardo_2023-04-05.xml Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Poellnitz, Dinah. Interview April 5, 2023. Description An account of the resource Oral History Interview of Dinah Poellnitz on April 5, 2023. Interview discusses Dinah Poellnitz’s community engagement within the city of Oceanside through art. In particular, the interview focuses on Poellnitz's involvement in the founding of the Hill Street Country Club art gallery in Oceanside, CA. Poellnitz discusses how to navigate through the art community as a Black woman, emphasizing the importance of equity and inclusion. Identifier An unambiguous reference to the resource within a given context SC027-025 Subject The topic of the resource Art -- Study and teaching Art galleries -- nonprofit Artists, Black Community engagement COVID-19 (Disease) and the arts COVID-19 Pandemic, 2020- Hill Street Country Club -- California -- Oceanside Women artists Date A point or period of time associated with an event in the lifecycle of the resource 2023-04-05 Format The file format, physical medium, or dimensions of the resource audio Creator An entity primarily responsible for making the resource Dinah Poellnitz Contributor An entity responsible for making contributions to the resource Riccardo Savo Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Los Angeles (Calif.) Oceanside (Calif.) Vista (Calif.) Publisher An entity responsible for making the resource available California State University San Marcos Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Dinah Poellnitz Activists and activism Art and artists Black experience Community history History Department internship Women's experience https://archivesoralhistories.csusm.edu/files/original/24d0b5f1274c5333980a77f42e10980f.pdf fc3ce6202a3c7ec1f83a9311a0316116 PDF Text Text DINAH POELLNITZ Transcript, Interview 2023/04/05 Riccardo Savo: Awesome. Alright, so today is April 5th, 2023. I am Riccardo Savo, a graduate student at California State University of San Marcos. I'm interviewing Dinah Poellnitz for the University Library Special Collections Oral Project. Thank you so much for being here with me today. Unfortunately, you're not able to have the video, so we'll just rely on audio today, which is perfectly fine. And I would like to begin quite broadly if we can, if you could tell me how you became interested in art and how you initially related it to the community or to community engagement. Dinah Poellnitz: Um, then that's like a childhood memory question for me. I'm from North County. My dad came to Oceanside Camp Pendleton in the seventies. I was born in [19]76. I think my dad came out here in [19]78 and we lived on base and if you know anything about North County during that time, it was like, you go to church, you watch sports... and that was it, you know? And my mom's from the South. She's from Louisiana and you know, my mom's about church and we used to go to church all the time. And my mom had a friend named Carla. She was like a wacky woman too. She was just elusive, like all over the place. She used to be an architect and she saw that I loved to draw. And so one day she just gave me her drafting table and I was, I could, I think I was like in -- 11 years-old -- and she brought all her materials and stuff to my house and I was just like, whaaaat? It was like a whole new world. I was just like, wait... there's a table made just for drawing? That happens? You know, it was like one of those moments. And I used to dr-- I wanted to be a costume designer, so I used to draw dresses and fashion all the time on that table. And I had a whole setup. But I just remember just being this little kid who had my own little like, workspace and, and it was just for me to draw. And I was like, wow, there's a, there's... you could do this. Like, this is not a like day, you know, day drawing at home. This like, you could really do this as a, like, as an adult. So yeah, I was maybe like 11 and it was Carla from Fresh Bread Church. <laughter> Savo: That's awesome. So, you began this at age 11 and did you carry this through to your high school? Because I know you attended UC [University of California] Riverside and earned your Bachelor's in art history. Poellnitz: Yeah, I did. You know, like I was a kid that always made my own. Like I made my own. I designed dresses. I made my own prom dress. I sewed it, I wore it. I was heavily into -- It was the nineties in high school. And so, my parents, my dad retired, and then we moved outta Oceanside and moved to Vista for my high school years. And... it was hip-hop era, so I was like into dance and music. So that was all part of art and expression. But I remember wanting to be in the art clubs and I was just like, I can't if that, if art club's about realism and like drawing like things perfectly, I don't have time for that. That's real. I was just like, I don't even, I'm not even curious to learn that. I don't wanna do that. Cause that's what art club was defined as in high school for me. Savo: So would you say that your engagement was more self-disciplined? It was more geared towards how you wanted to engage with it, or more or less, how you could find avenues to apply it? Transcribed by Riccardo V. Savo 1 2023-04-24 �DINAH POELLNITZ Transcript, Interview 2023/04/05 Poellnitz: Um, it was more intentional for me. You know, I like fashion, so I drew. I drew dresses and I designed a dress and I sewed a dress and I wore it. It was just, it was all intentional. It was like just being, it was an action, it was a language for me. It was... it was a skill, you know, I just thought very creatively all the time. Even when I was learning economics, I was thinking about it creatively so it can make sense for me. I think they say that artists are like divergent thinkers, you know? We always find or create and build and make an alternative solution to solve a problem in art. So that's kind of like that, that's a habit. Um, yeah, ‘cause in, in high school, I used to go dancing. I used to go to like, this is corny as hell: I used to skip school and go to the Soul Train and dance in Soul Train in High School. I was just expressive. It was a very creative, like moment as a kid for me being in high school in the nineties, like hip hop was like jazzy like baggy and like there was more Black designers like Dubbo jeans and FUBU and all that stuff came out. So it was kinda like a Renaissance era, even though I lived in, in a little North County and, you know, Blacks were a smaller percent of the community. There's like, that culture was just present when I was in high school. So me not wanting-- Me not wanting to join like the art club for high school and draw something perfectly was just like, eh, I can have fun. That feels like studying for economics. I don't wanna do that right now. I wanna enjoy creativity right now. I don't wanna study it. I was not in that mood. It was just a part of my life, you know? So... and then I used to go to LA every summer when I was in high school to get away from North County and stay with my cousins who worked at movie theaters. And that's when I was exposed to like museums and galleries and, you know, and I took a class at Santa Monica College and that's when I learned like, oh snap, you can learn art history? This is more interesting than like actually drawing the horse, you know? Um, I just learned that art had intentions all the time. Like I was, I was also like poor, you know? And I'm a, I come from a Black family, so to venture off into art, it's just like: you gotta make sure it makes money! My uncle in LA is like, what are you getting a degree in? Are you gonna be able to teach with that? I'm just like, hmm, I don't know, you know, and, but I enjoy it and I excelled at it. And like, I had a teacher, I took like Japanese art history at Santa Monica College, and I was just blown away by the history, like the political history, the social impact, just like everything that you see in art, like how it's a reflection of like moments of history or just moments of inequity. I thought that was very interesting how artists could use that as a language to communicate, to organize, to protest, to be expressive of what they don't like in society. So yeah, I loved art history and that was like perfect for me. Cause when I think about it, I was into dance and music, hiphop culture because it felt liberating. I designed and made my own prom dress because, you know, it gave me ownership. And those are like human right feelings. Savo: And speaking to that, about the ownership and the intentionality, your decision to do art history as a degree and as a major, was that a choice that you made? Was that a choice that you had made from Santa Monica to UC Riverside? Poellnitz: Mm-hmm Savo: OK- Transcribed by Riccardo V. Savo 2 2023-04-24 �DINAH POELLNITZ Transcript, Interview 2023/04/05 Poellnitz: It was intentional. Yeah. So I, when I was at Santa Monica, it was cool. I had a lot of friends and they were like all into politics. I saw Amy Goodman when I went to Santa Monica College. And so I had a lot of friends who were into like, the political and social justice part of education. And I was like, I wanna do art history. <laughs> I like it. I like pictures, I like reading-- images, I love that. I love telling, retelling those stories or using it as a form of communication. But I was like, I think I wanna-- I remember telling myself in our junior college, I wanted to have a gallery space. It was intentional. And I applied to all the schools that had the double major art history and art administrative 'cause I wanted to learn the business side and the admin part. I didn't know what I was gonna do. I didn't know I was gonna get the gallery, but I was like, “Hey, if I wanna work in a gallery, I need to have these skills or just to better understand it.” ‘Cause I have to justify going to school for art history, not just to my family but to myself. Savo: And so you mentioned that you wanted this applicability, you know to translate the skills that you learned in your degree to, to real life and to getting a job. Poellnitz: Yeah to a job--. Savo: Could you tell me a little broadly about your experience with that community engagement and, and political activism and how that helped formulate what is now, you know, the Hill Street Country Club because it's a great gallery in Oceanside and you don't really think about Oceanside being, uh, very cultural. At least you know, the North County, South Bay, in terms of San Diego County in general. But how did that come about? Poellnitz: Um, well I finished school, lived in L.A. for quite a bit. Played assistant nanny manager, like these jobs separate from what I wanted to go to school for because I was living in L.A and I had to learn how to multitask. And I took on like a lot of assistant jobs and one day I was just like, I was working for lie celebrities and like producers and stuff and you know, I saw how things were operating behind the scene creatively for money. And then I also understood the realities of like creating for me and the possibilities. And so, you know, I always kept a job and one day I decided, like me, my husband, we split [up] and me and my little kid, we moved back to North County and I still had my L.A job. So, I was still commuting like three to four times a week from Vista to L.A for my job. Cause they paid me well. But I decided to start volunteering at the Oceanside Museum of Art and their education department, but they didn't have one yet. So, I ended up volunteering with the proprietors. I learned about installation at Oceanside Museum of Art and I was still, I still had my like feet in two different worlds. I was still in the L.A world, but also in my hometown world. I did work at Patricia Korea Gallery in Santa Monica, and that was a very eye-opening experience at the<inaudible>was in college. Just, she was like the only woman of color, like gallery owner. And she only represented brown artists at the time, which was very <inaudible> in Santa Monica. Well, but inequity in like the gallery world when I was in college with that job, I would apply to like the Getty and all types of museums when I lived in L.A. with my friends. But my friends would always get the job even though I had a better CV than them. You know you just accept it. And so I just went back to like doing assistant work and then I decided, I was like, you know what, like I'm gonna lean a little heavy. Transcribed by Riccardo V. Savo 3 2023-04-24 �DINAH POELLNITZ Transcript, Interview 2023/04/05 Like now that I'm back in Vista, I'm gonna lean in a little bit more in North County and invest more of my time there. And so that's when I started volunteering at OMA [Oceanside Museum of Art]. Then I learned about the infrastructure of the museum world because, you know, I always wanted to work in a museum. I always thought museums were an amazing place to tell stories and educate. I never knew about the dark side of museums, you know, like how they get art and how they flip art and also like the politics of like hierarchy and institutions, you know, I learned-- I didn't know about that in school. No one ever talked about that in school. We only talked about art history. But once I started volunteering and then turned into a paid position at Oceanside Museum of Art, I learned about institutions really quickly, and I also learned not just about art institutions, but I also learned about like civic engagement and city planning because, I still had my, my foot in L.A so I was used to going to galleries and museums and seeing public art, having friends who got paid as full-time artists or had very creative jobs. I know what's possible. And so, you know, being back home, I just like, “okay, why don't we have public art again." And then I had to like learn beyond what school taught me through experiences. Like, oh, public art is political and it's not, political is a message, it's political because you have to politically know how to create a system so that there can be public arts, right? At the time OMA, no one knew Oceanside Museum of Art exists. You know, 12 years ago no one knew. I didn't even know. I like googled and like looked for art spaces and I somehow, and only because I was intentionally looking for art space in North County, close to home, I found it. But it wasn't like it was vibrant and it was attracting people like me and they should be attracting people like me for living in LA and loving art. I didn't know it exists out of Google art spaces in North County. And that's how Oceanside using a popped up. And I noticed that they didn't have an education department. They had Julia Fister who was volunteering for the education department that she created as a volunteer because she had a big grant with Target to make sure every fifth grader goes to the museum. But she didn't have a office space or studio room for education. It was like she just came and sat at a table and made it happen and fifth graders came. And me and my business partner, Margaret Hernandez, we just decided, you know, we were both in education and we did all the docent tours with the fifth graders and the, and the workshops with them. And we just like had a lot of community conversations with young people, people in middle school, so you learned about their like starting point to art, who in the, in the classroom who visit[ed] that day, who had more access to art than others. Who had materials, who been to museum. You know, you learn so much about the demographics and like, I'm sorry but the demographics were pretty like astounding when you see majority of the Brown/Black kids saying this is their first time. You know. Or you have students ask you if they could take home some of the like, crayons or pastels at home so they can keep drawing. You're just like, dang, kids don't have like crayons? Like how do you not have crayons? You know it-- Or kids asking like, or the one kid who's just like, who knows about art but like, how do artists even make money? Like kids would ask those questions all the time. How do artists even make money? Like what do art, what can artists do? You know? And those were conversations for me ’cause I was always intentional. I was just like artists designed your shirt, the artist probably designed like a machine that's in the hospital that you are using, artists design buildings. I'm like, art is involved in Transcribed by Riccardo V. Savo 4 2023-04-24 �DINAH POELLNITZ Transcript, Interview 2023/04/05 literally your whole life. You just don't know it. And you probably could have more, but you just don't know it. Right? And so I just started asking questions about how do we get more murals? How do we get public art? How do we have art walk? And I learned that I had to like volunteer with like Main Street, like a commerce type of org, who had a relationship with the city to get extra funding for projects for the city. I had to learn about that dynamic. I learned about putting things on the docket. Like I learned how art was, wasn't just like creative, but it was also political and it was also like [it] required you to engage in the system to understand how to create public art opportunities. You know, it's just, we didn't, Oceanside didn't have an infrastructure for art. Like we've made a lot of improvement, but we didn't have an infrastructure, we had an arts commission, but it was it was in silo and they weren't funding anything and they were just meeting each other, talking about projects around town, you know? The museum wasn't engaged at the time. It was, it was treated more like a private gallery space than a public space. And it was, ‘cause you know, Oceanside Museum of Art is not owned by the city. It's owned by a group of retirees, you know, and there's a lot there. There's also the retirement culture that you have to deal with. Like when we started Hill Street, we were very engaged with our friends and our family and community members. And we worked with people who couldn't get a space or an exhibition. We worked with those artists and they brought their family and friends. Like, it was a gathering opportunity for people. It made sense. Savo: And how were you able to attract these different artists? Were these artists specifically located in Oceanside or were they spread out through across San Diego County? Poellnitz: No it started in Oceanside. It was our friends first. We grew like a concentric circle, if that makes any sense. It was, um, we fit Hill Street like artist, personal, communal, universal. And like this, if I think about how we grew as a concentric circle, it was very personal for me, Marj, to begin Hill Street Country Club because the museum was rejecting all our ideas and they were not being cool or like easily invested in education. They made it very hard for Oceanside Museum of Art to create an education department at the time. And so in support of an education department, because we, you know, we did those docents and we listened to young people. So I'm like, “you need an education department. It's necessary.” We supported Julia and her vision to make an education department for the museum. And we tried to throw our first fundraiser for that vision of hers. And the museum would say no to us. Like, we're like, “Hey, can we do a fundraiser for the education department?" And they're like, no. And then we're asked like, “Can we borrow some chairs and tables for a fundraiser?” “Uh, not right now. No.” And basically like we knew we need an education department like, Oceanside, if you're gonna have Oceanside Museum of Art and you're taking up the city's name and you're having fifth graders come in and you're getting grant money, you need to have an education department, right? And that's just common sense to us. And so we told all our friends the idea of having a fundraiser for the Oceanside Museum of Arts Education Department to support Julia. Transcribed by Riccardo V. Savo 5 2023-04-24 �DINAH POELLNITZ Transcript, Interview 2023/04/05 And one day I was like driving home to dinner to meet Margaret and I saw that the Link-Soul building light was on and they were having a gallery show. And I walked in there and I was just like, this is the art space? And Jeff, who is the co-owner of Link-Soul was just like, yeah. And I was like, this is interesting. I was just so shocked to see a gallery that had a show. And the next day I went over there and met Jeff, someone got him, and I introduced myself and I pitched our fundraiser idea. He, like, he said yes to me, to like using this space for free. And so that was our first event that we organized, and it was called “Open to the Public” and it was about, you know, the need for art education. It was a fundraiser for OMA. And so, we just asked all our friends who were artists in North County and then like people who I went to school with, ‘cause I was taking classes at Miracosta for fun, for art and asking teachers to support it. We had a big turnout, and we were able to donate to the education department and purchase art materials and bags for every fifth grader of Oceanside for that year that visited the museum on that program. So that was like the first time where we were just like, wait, this was successful. People are thirsty. Like it's not just us who want [to] have more like community opportunities, you know, with art. So like I said, it's like we grew a concentric circle because we started off very, it was very personal for us to do that. And then once we had our first event, we understood the like community purpose. Like, oh this is not just us, this is a community issue too. We want, we want more opportunities to do stuff like this and we don't have it. It was like, “I want more of this. Like how do we, how do we keep doing this?” And so me, Margaret, just because we couldn't afford our own space and I still working back and forth in L.A, we just did pop-up art shows for like two solid years all over Oceanside. And then we went to community art events or like art events in San Diego because they had more of a presence of art for us back then, ‘cause we weren't really doing much as a city. So, we would go to events and openings in San Diego all the time. I don't know, it was this became very like, personal and communal. And then most of our artists are like working class, queer, young, old, um, more vulnerable, you know, and to like, to all kinds of things. And so, like most of them never had an opportunity to have an exhibition. They like paint it for themselves or put their art in a store, but no one's ever invited them to do an exhibition. And we would just invite artists for exhibition. But it was a curated experience, you know, and a lot of it was just, we choose artists that, that we shared messages with. I don't know, it just became a very organic growth. Savo: This is excellent to learn about. ‘Cause I didn't know that there's so much underneath, in terms of the layering, in terms of structuring, in terms of networking that's involved. Could you just clarify briefly who exactly Jeff and Julia are in relation to the Hill Street Country Club? Poellnitz: So Julia Fister at the time was the education director at the Oceanside Museum of Art. And she was one of my- me and Margaret's mentor. She now owns Studio Ace in Oceanside where it's focused on youth and like art education, which is really cool cause she's in the valley. Very much needed over there. And then Jeff, Jeff Cunningham is a artist but is the creative director for Link -Soul, which is a golf apparel company. Their design team is based in downtown San Diego. And we share, we co-op a space with them. That's where we have our gallery. And Jeff Cunningham is a phenomenal artist. Like I Transcribed by Riccardo V. Savo 6 2023-04-24 �DINAH POELLNITZ Transcript, Interview 2023/04/05 curated him for a show for Oceanside Museum of Art. And our friendship, just like it grew from like me being a curator and an artist and him being an artist and us really like exchanging ideas about social impact and how do we create an art space that's different, that's more authentic and doesn't have all these pressures to over-perform, be productive. And so like, it's natural. It's interesting ‘cause he said yes to us having our first art show at his space and then he ended up giving us this space for Hill Street. Savo: That's awesome. And since Hill Street has been open and been around in the community, how has the gallery become that space where it's not just the ideas or expressions that are being presented, but how has that space become a platform really, sorry... How has that space become a platform for activism? Because, you know, you noted in a 2020 interview with KPBS that art is a functioning tool that should transition off the canvas. Poellnitz: Hmm-hmm. Savo: How has Hill Street Country Club played in that part? Poellnitz: You know, it's so funny cause every time I get asked like, “oh are you an artist too?” Like,” yeah, I'm an artist, I make work, but I don't make it anymore.” I was like, I make, I build art, you know, I can build stuff. But right now, my art is Hill Street Country Club, and you know, it's, it goes back to college and me like learning about all like the social impact and inequities in the world through art history. It goes back to that. And it goes back to like, you know, artists are some of the most vulnerable people because first of all, you're not respected with pay whatsoever, ’cause you have to remember like, I knew I had to get paid to do this or I shouldn’t be doing it. I should be like a teacher or an engineer or a therapist. Like, you went to school for art and people need to get paid for that. So we live, we live in North County where there's, we were spending like 10 cents per residence on art funding while like San Diego at the time was spending ten dollars. So, and then also trying to convince older peers in the art community that they had to pay for admin stuff that we organized. And then thinking that everyone had time to volunteer because at the end of the day, we had a large retirement class that was in charge of the art community in Oceanside and Vista. You know, they didn't see the value of paying younger people to help them with the arts, you know, there's uh cultural differences. And that being said, you know, to get paid is not just like, to get paid is the equity issue, right? And then not only to get, you know, to get paid is the equity issue. And if you're like Black and people don't even take you that, if you look at the museum stats and gallery stats for like, artists and like people who make it, you already know. You're like, you're dealing with so many microaggressions, you're dealing with some unresolved supremacy issues. Like I always tell folks like, hey, check this out. Like, um, it's okay if you're racist, I get it. You're not me. You don't have these experiences and you have to unlearn and I'm gonna give you grace to unlearn, but I'm always gonna speak up for what I-- what you Transcribed by Riccardo V. Savo 7 2023-04-24 �DINAH POELLNITZ Transcript, Interview 2023/04/05 did. And I'm gonna not call you out, but I'm just gonna call you in and say like, “hey you know what you did was kind of racist could you not do that?” And I learned that was always like a threat to people when I was honest and like gave them grace at the same time. And I learned in the art community that they're not ready for those conversations at all. Or like, just to like unlearn and do better. So, but because I have ownership of my space and I don't work for anyone and I don't have a board that disagrees with my politics, I have a lot more autonomy than a lot of my artist friends or my art admins who work in museums and high-end gallery spaces. And so I get to embrace artists that are political, who are in the streets, who are organizing, who are building different collectives or opportunities for relief or whatever they believe in. I have a beautiful space. I also share my autonomy with them and I support their work. And because I believe in equity too. Cause I'm trying to get paid, I'm dealing with microaggressions. This is personal. Like what, what affects you is affecting me. And also, I'm like, I just don't like people being in pain. I'm an empathetic person. I, I don't know, I'm pretty radical politically, so I have to-- if I have my own autonomy, I'm gonna use it. I'm not gonna shy away from that. And the artists that I admire were doing that. It went that I was learning art history. They were telling a story, they was telling us how wrong this was and that was. Like, they're pointing out problems and they're doing it in the nuances of art. And I think it's very important for artists to tell those stories so people can gather and discuss and find solutions or to just build creative- what is it critical mass? No, I think it's critical mass is like valuable, once you learn it's not just yourself. It's like a Power in Numbers game. Savo: Would you say that speaking to it's a power in numbers game, do you think that that has changed your perspective on the, the personal communal and universal experience that Hill Street Country Club offers? Because obviously since it's opened, now since the pandemic 2020, do you think that it's become a situation where art more than ever needs to be more expressionist or more, um, as you say, it has to be more, you know--? Poellnitz: Yeah,- Savo: It has to be more- Poellnitz: It should be. It should be. You know I was just talking to my colleague Astrid Gonzalez, she is one of the Hill Street colleagues. She does all our audio-visual stuff. And she was reflecting the other day and she was like, “we really never stopped working during the pandemic.” I was like, we didn't, we couldn't afford to. We're vulnerable. We don't have board members with money. We don’t have-- like the reason why we can do all that we do is because we have people aligned with our principals who agree with us and who are not scared support what we're doing. But at the same time, to get paid in this art world, you gotta have some like, dirty person on your board. That's just reality. Like, you gotta think Transcribed by Riccardo V. Savo 8 2023-04-24 �DINAH POELLNITZ Transcript, Interview 2023/04/05 money. And it's, that's just how it works. It's an institution. Like every institution in America has flaws, right? And during the pandemic, we stayed open. We were very creative of finding creative ways to stay open and accessible to our audience and to our artists. Cause a lot of my artists during the pandemic were dealing with poverty, food, needed food, like, mental health. The pandemic was messing people up in the first like two years. And a lot of my artists were affected by that. I worked with a lot of Brown and Queer and old artists, you know, and in this economy, they were suffering. And so, I had to figure out how to be a safe space and use my space for opportunities for people to get access to food or help folks get access to mental health services or even a distraction like coming, making art. I had to stay open for two and a half years during the pandemic, while a lot of big museums were closing and doing bare minimum because they didn't wanna get Covid. So, I don't know, my space has always evolved and adapt, because it has to. Savo: Speaking to- Poellnitz: Right now—Go ahead- Savo: Oh no, go ahead. Poellnitz: I forgot what I was going to say, go ahead. Savo: Speaking to the space having evolved, you mentioned that Hill Street became a space that allowed for those economic hardships of the pandemic, to kind of be alleviated for your artists. Could you speak about the political upheaval? Because we all lived through 2020 and we all know how painful it was during April, May, April through June of 2020. How did that come about? How was Hill Street a space for comfort, a space for expression? Poellnitz: Yeah, that was interesting. Cause like I'm the only like Black gallery owner in San Diego. And I've been doing this for so long that I, I belong to extended part of the San Diego art community that a lot of folks don't see in North County. Like I know a lot of people in museums and galleries and stuff like that. And I know a lot of people in City government and Federal government. And so, you know, during that time it was just like, this is when you make art. This is when you talk about these issues and you use art as a language and as a tool to have these community conversations. But also, this was also opportunity for us to do mutual aid. We went into care mode, like how do we care more about people? Like how do we care back? Like how do we take care of each other? Because during that time we know who's not taking care of us, we know who doesn't protect us. And it was more like being available to protect and provide care. Transcribed by Riccardo V. Savo 9 2023-04-24 �DINAH POELLNITZ Transcript, Interview 2023/04/05 I kind of miss those days. Those were the days where we were talking about liberation and how to use resources to create safe, safer communities. We were talking about solutions for the first time out loud as a public. We were sharing empathy with each other. I thought it was a beautiful opportunity for us to build something new. But it was also beautiful to see that we could be in solidarity. I had people who knew me in the business community of Oceanside, but never went to our events. Always knew what I was doing if I went into their store or their restaurant or coffee shop or whatever. And that was the first time a lot of those folks came out and donated to us. <laughs> You know, like checked on us. And I was like, “Wow, this is the first-time people cared about what we are doing over here. Like, this is interesting.” And I think there was a fear for a lot of folks like “I hope this isn't discourage her.” Or maybe I'm just thinking that in my head, I don't know. But I did see a lot of people come out the woodworks who started supporting us. And it gave us funding to create more programming and we kept going. So, I don't know. I was just adapting. I think that's what you do when you're in survival mode all the time. Savo: And since the pandemic, obviously the adapting to the circumstance and situation, have there been any local projects or exhibits that you've, partaken in or helped organize that reflect those changing structures or those change in activism? Cause you mentioned a lot about talking about solutions and you mentioned how there's this real need for concern for one another, this care for one another. Has there been any of these projects that reflect that? Poellnitz: Yeah so we got really involved during the pandemic. We created like a mental health like group therapy program for young middle school kids, “The Social,” and it was just like, we had a license. We have a licensed therapist, one of our artists, and it's like a group therapy through art, but also peer on peer because a lot of young folks were isolated from each other during the pandemic. And they're still coping with, you know the environment they had to live in, to stay away from everyone and not getting us sick to die. That's kind of traumatic. And then we're asking them to like, go back to normal real quick so we can jumpstart our economy. So we created a program, “The Social,” with the therapist for young people. And now we're gonna be part of the Oceanside Unified School District programming for summer, fall, and winter, I mean summer, fall and spring now. So we're now like, we created a program that's gonna be in the school system that provides mental healthcare for young people who need it the most. And then we just recently had an exhibition with <inaudible> Roca Gonzalez, who lives in Oceanside, who's from Puerto Rico. And they're working about all these social issues and we're coming together and recognizing we are a product of gentrification and colonialism. We live through it every single day. Like we have all this architectural vernacular that reminds us that we're all living through this. It's not just Puerto Rico, you know, it's everywhere. We're all surviving. I've been able to sit on a lot of committees and boards and be part of more equitable decision making for artists that I'm excited about that's gonna be coming out soon with the city of San Diego, helping a lot of like artists get access to money. That was like one thing that I did during the pandemic, was I did sign up on committees and boards because I'm just like, “You guys are making this process way Transcribed by Riccardo V. Savo 10 2023-04-24 �DINAH POELLNITZ Transcript, Interview 2023/04/05 too difficult for people who have to work full-time jobs and take care of family.” Not everyone's out here just being an artist on retirement mode and can fill out all these questions and type all these like, letters of intent. You gotta make this more equitable-like process for like poor people with very limited time, you know? So it was part of a San Diego artist project that raised like $150K for artists in San Diego. And we made the process so easy that a lot more like trans and BIPOC artists actually applied and received funding to be a artist over the pandemic. That was amazing. I mean once I decided I was committed to equity and inclusion for myself, everything I do affects everyone. As a Black woman, it just does naturally, like we're-- The stats prove it. If you improve my life or if you improve my life in your surrounding, you benefit from it. Like literally, like if Dinah says she wants more vacation days, I work too much and because I, and I don't normally give vacation day. Oh my God, imagine if you give it to me, you're gonna have to give it to my coworker. Not everything I want, everything I need because equity benefits everyone. So I understand a lot of my personal experience or communal experiences and has universal like means that needs <inaudible>. Savo: And I was just curious, because we were speaking about these different programs and different committees that were happening during the pandemic. Before we jump back to the equity portion that I'm really fascinated to know more about, how were these committees and how were these programs organized? Were they all organized remotely? Were these children or these group therapy sessions that you mentioned, where were they held remotely or was there a creative space for that? Poellnitz: We did it at the gallery space every Saturday. Every Saturday. And our therapist had a baby. So, they're coming, they're gonna go back in the summer. They're gonna start back in the summer and we're gonna be at Jefferson Middle School. Last year we had a four-week social camp with them, with community artists and the therapists as a camp. And it was four weeks of campers and we had four cohorts of students and we're returning to that program in the summer. And we'll be returning with like regular art programming with Oceanside Unified School District on top of providing the Saturday space for the students again for group therapy. Savo: And I'm also curious to know like what kind of activities were these students engaged in when it came to the group therapy sessions? Because obviously this is a period where, it's a lot of, where social distancing was a very key thing and masking was also very important. How are these exercises or how are these sessions organized? What were these specific activities? Poellnitz: Well, it's so interesting ‘cause we kept over going through the whole pandemic. We, Hill Street changed its whole operation system to be more appointment-based. And we created capacities. We were very highly sensitive about Covid, like people had to wear masks all the time. We provided, Dr. Bronner’s used to donate tons of like hand sanitizer. Like we used to give like little packets out to people who came visit the gallery space. If anyone wanted to see an exhibit, they make an appointment. They would have the space to themselves for 20 minutes to visit the exhibit. And we wouldn't be in the space with them. We'll be like upstairs above where, you know, the distance, like it basically were by themselves. And then with “The Social,” “The Social” was like every Saturday. We had a capacity, I believe of like eight students at a time. And so, we have the space for people to spread out. And then Transcribed by Riccardo V. Savo 11 2023-04-24 �DINAH POELLNITZ Transcript, Interview 2023/04/05 everyone had materials. I mean, it was really easy to manage. I think when people care for each other and they care that they have a safe space, people make sure they don't show up sick. People made sure to wash their hands. People made sure to keep their masks on. We did have a lot of workshops on Zoom. We had a lot of artist’s talks on Zoom. We had like – what is it called? We had AR [augmented reality] gallery exhibitions. So if you couldn't see the work in person, we recreate gallery space online, and people can navigate and look at art online as if it was in a gallery space. Savo: That’s really interesting-- Poellnitz: Yeah, we did a mobile art workshop. We got a grant right before the pandemic hit and we were supposed to have all this programming in every community center in Oceanside, but it was Covid and so we had to adapt, and 'cause they already gave us the money for it. So, we created a mobile art kit and like a lunch bag and it was like all the materials to like the perfect measurement and quantity that you needed for that project. We had our exhibition artists create a project and give us a list of materials for that project. And we used to do like a whole visual, like YouTube recording of how to create the piece. And then we did like a live Zoom and Instagram workshop, but anyone with a library card was getting mailed a mobile art workshop kit from us. Yeah so, we did a lot of organizing through the pandemic to stay open. It wasn't just simply being open, like we had to reorganize like our operations. We created an appointment system, we created more QR codes for people instead of like, there was no reason for anyone to touch anything in this space. People were able to pull out their phones and QR code and read like the show statement. And then we had Zoom workshops and people will get their MOD kits and you know, we did a lot of cool things on Zoom. It was fun. I don't know, you just learn how to care for people! Savo: What do you think was the— <Poellnitz and Savo talking over each other> I’m sorry. Poellnitz: Go ahead, no you go ahead. Savo: What do you think was the reception towards all these different restructuring and different outreach? Were people positive? Poellnitz: People were positive. People were very positive. And not only just positive, but our audience grew. We were more accessible to people outside of Oceanside. Transcribed by Riccardo V. Savo 12 2023-04-24 �DINAH POELLNITZ Transcript, Interview 2023/04/05 Savo: Do you think that broadened the scope of Hill Street? Do you think it helped? Do you think it helps sort of bring a lot of those ideas and those concepts from the North County down to the South Bay? Poellnitz: Oh for sure. When I moved to Normal Heights a year and a half ago and people were like, “oh, you're here now. I'm like, yes.” And then just we love everything that you're, like, people from the arts commission knows what we're doing. Like I see a lot of gallery spaces and museums who are working with artists I worked with now. Worked with like five years ago, two years ago. I see the influence of our work on visuals. I see a lot of art spaces in San Diego, like institutions with bigger budgets, now creating visuals about their space. And I know we influenced people over the pandemic. They tell me and sometimes their programs look like it. It's wild. And it's like, wow. We did a lot over the pandemic while they sat still and they just watched us. Jeff always tell me, he's like, “you can't be mad if people are copying. Isn't that what you want?” I was like, “Oh yeah, that's how that works, huh?” Like, you influence people and they do the things you want them to do. Like have more like Queer folks or Black people or do more of this type of art. Like, oh they are listening, that is an impact. I didn't think about it like that. And he's like, “Yeah you just keep doing what you're doing. If they wanna do what you're doing in, see how far you can teach them, see how far they're willing to go.” And you know, that's, that's been like the best advice I've ever had doing this work. Because it's true. When you have autonomy and you could do whatever you want or say whatever you want, or stand by what you believe in, you have a bigger impact than the person who's quiet and not doing anything ‘cause they're scared. Savo: And speaking to that, that wanting to take initiative and be expressive. How does that coincide with some of the challenges that you were mentioning earlier about equity and inclusion? How do those two sort of intertwine with one another? Poellnitz: Dude, it's because it hurts. Because a lot of like organizations, a lot of people who do fund the arts are scared. They just scared of change. People are scared of change. And so there's always gonna be resistance. There's always gonna be the folks with resources who can like, jump like pounce on your idea. And because they have money, they can do it sooner and faster and get more visibility. That's gonna happen. It is exhausting. It wears you down, it discourages. Makes it harder for you to get access to grants or, or donors. But then at the same time, I've just been thinking about this a lot lately. Cause you know, Hill Street, we're at a point where I'm kind of exhausted, but at the same time I know why I'm exhausted and I gotta do things differently and I have to be a little bit more strategic now, like where I wanna go because I notice that a lot of people are watching us. And then people have a lot of expectations for us. And there's also a lot of opportunities for us in the position that we're in because of the work that we've done over the last ten years, you know? And especially the work that got highlighted during the George Floyd protest era. So, like I'm hyper aware and I'm being a little bit more wise about who I partner with. I'm being a little bit more wise on how often I say no because I was a person that never said no before. And Transcribed by Riccardo V. Savo 13 2023-04-24 �DINAH POELLNITZ Transcript, Interview 2023/04/05 because I never said no, I got burnt out and not paid a lot. And I'm learning that me as a Black woman, my rest is very important, but it's also important that I have equity so I can get paid to do this work. So, I've just been thinking about how to slow down and sometimes less is more like I don't have to be over the place. I just need to be effective where I have intentions. So, it's like pulling back to that personal space has been going on with us lately. Like this being more local, bringing it all in, focusing on what we're strong at, getting into contract with the Oceanside Unified School District. Like that's a healthy source of funding for us. Instead of chasing donors who don't share our principles, I think artists and art organizers need to ask themselves like “Why are you here? What vision do you have? What community you belong to? What are your principles?” I think those are questions that anyone in the arts needs to ask themselves. Just be honest with yourself and if you could be honest with yourself, you should always know the choices that you're making. For me, I realize I wanna be my own institution and there's gonna be some hardship ‘cause I won't be conforming to a lot of institutional like practices. I will be creating new practices. I'm highly aware of the up and down of this art world for me. For me. And I'm honest with myself. So it's easier for me to commit, but because I'm honest with myself, I create ways that can sustain me. Like, I do more like art consulting jobs. I collaborate more with non-art, institutional spaces, you know? I work a lot more with community members who are in the political scene. So I understand like the fluidity of art. And if you're heavily relying on the same funders that fund the problem, yeah I would have concerns for the equity. But if you are creative and you know your worth and you are honest with yourself about why you're here, you always can find a solution. And because that's what's worked for me. Savo: And speaking to equity and how Hill Street has evolved over the past ten years, what do you think are some of the things that you personally wanna see for the Hill Street Club? You mentioned that you prefer more local engagement. You prefer being with individuals that are more like-minded in terms of art expression, in terms of inclusion. What are some of the hopes that you have for Hill Street moving forward? Poellnitz: I would love to have a community school. I want a community school. I worked for a nonprofit in City Heights and we worked with community schools that worked with juvies. They call them JCCS like Juvenile and Correction Community Schools. And they're like directly tied to the unified school district and the court system. At one point when I was heavily involved in politics, I was working with a former city council member in hopes of becoming like a divergent program for youth in the arts. So like, if a kid got arrested for the first time, instead of like putting them on probation and sending them to jail, you send them to like a diversion program. And the city of Carlsbad Police Department is the only police department in San Diego County that has an actual diversion program for youth. And so, you know, you get to be an organization as a choice for, for young folks and teach 'em all the skills, like how to create programming, how to run programming, how to make art. It's like a six-month commitment. I wanna do something more like that. I wanna have a community school. I wanna teach art the way that I experience art, the way that artists experiencing art. I wanna create a new institutional space for art Transcribed by Riccardo V. Savo 14 2023-04-24 �DINAH POELLNITZ Transcript, Interview 2023/04/05 practice. I don't know, I just really wanna grow as a bigger institution, as a choice, as an alternative choice to other places. Savo: And obviously you've given a lot of thought to the idea of this community school and obviously diversion programs as well, such as Carlsbad's. Do you see potentially a branching out of Hill Street? Moving forward within not just North County, but also San Diego County as a whole? Do you see elements of what you've been able to create and to adapt with? Do you see any of that being replicated any elsewhere in the County? Poellnitz: Um, not yet, but we partner with a lot of folks in San Diego so we are very unique because we have to adapt. One thing you learn about our institutions, old ones, they can't adapt. So, when they can't adapt, they move slow. They struggle with adapting. And one thing about us, because we don't, we don't follow institutional like, uh wisdom. A lot of us are taking in diverse knowledge from each other, practicing being inclusive. And once you do that as an action, you can make decisions a lot sooner than later. And so we've been doing a lot of like partnerships and pop-ups with a lot of orgs in San Diego. I just want a community school. I want a community school. I want studio spaces for artists. I would like to have a choice for young people to learn about art and not just learn about art but have creative access to like a space where they can learn about the world and express themselves. Like I would like to have a community school. I have no aspirations to be all over San Diego County. That sounds like a lot of work. <laughs> Savo: Oh, absolutely <laughs> Poellnitz: And I worked with a lot of people in San Diego County. I love you San Diego, but North County is so special. Like us North County people, we are so innovative 'cause we've had so little. And when we learn something new, we master it because we don't have all the museums in galleries and big budgets that San Diego has or L.A has. So we are very mom and pop and DIY in North County and we support each other. And so, I don't know, that's the civic identity for me. You know, that's part of my civic identity. Savo: And speaking to this, sort of bring it all back in identity, the personal, the communal, the universal that Hill Street represents. Do you think that a community school would be a perfect foster for that? And I'm just curious about the age groups. Something I'm actually quite interested about, would this be open to not just middle schools, the middle school age range that Oceanside education part has worked with, but would you extend that? Would you put a limited K through 12 per example? Transcribed by Riccardo V. Savo 15 2023-04-24 �DINAH POELLNITZ Transcript, Interview 2023/04/05 Poellnitz: I don't know. I don’t know. That’s a lot of years. <laughs> Savo: It's a lot of funding. Poellnitz: It's a lot of funding. I know that the folk at Link-Soul, they run the Goat Hill Golf course in Oceanside and it's already been promised to us that we will build some type of like, institution space for a community school one day. So, we're all dreaming like what we wanted to have. Savo: That's awesome. And just before we wrap up our interview here today, was there anything that we had previously discussed or discussed throughout the interview that you wanted a little bit more emphasis on or anything that you wanted to touch base with before we end today? Poellnitz: I don't think so. You're fine. Savo: Awesome. Again, thank you so much for this interview. It was really informative, and I think it's great to learn about how art has really grown in North County. Because I'm from the South Bay, so I wouldn't know too much. But I think this was a great experience and I thank you a lot for that. Poellnitz: Oh, thank you, I appreciate that. Transcribed by Riccardo V. Savo 16 2023-04-24 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transcripts Description An account of the resource Written oral histories and transcripts are available for researchers that prefer the written word, or to see the whole interview in a document. Transcripts of <a href="https://archivesoralhistories.csusm.edu/collections/show/5">audio and video files</a> are also available as part of those video files. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Poellnitz, Dinah. Interview transcript. April 5, 2023. Description An account of the resource Transcript of oral History Interview of Dinah Poellnitz on April 5, 2023. Interview discusses Dinah Poellnitz’s community engagement within the city of Oceanside through art. In particular, the interview focuses on Poellnitz's involvement in the founding of the Hill Street Country Club art gallery in Oceanside, CA. Poellnitz discusses how to navigate through the art community as a Black woman, emphasizing the importance of equity and inclusion. Poellnitz also discusses operating her gallery during the pandemic, and future aspirations. Creator An entity primarily responsible for making the resource Dinah Poellnitz Contributor An entity responsible for making contributions to the resource Riccardo Savo Date A point or period of time associated with an event in the lifecycle of the resource 2023-04-05 Subject The topic of the resource Art -- Study and teaching Art galleries -- nonprofit Artists, Black Community Engagement COVID-19 (Disease) and the arts COVID-19 Pandemic, 2020- Hill Street Country Club -- California -- Oceanside Women artists Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Los Angeles (Calif.) Oceanside (Calif.) San Diego (Calif.) Vista (Calif.) Publisher An entity responsible for making the resource available California State University San Marcos University Library Language A language of the resource English Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/InC/1.0/?language=en">https://rightsstatements.org/page/InC/1.0/?language=en</a> Rights Holder A person or organization owning or managing rights over the resource. Dinah Poellnitz License A legal document giving official permission to do something with the resource. Property rights reside with the university. Copyrights are retained by the creators of the records and their heirs. This resource is licensed for noncommercial educational use using CC NC-BY 4.0. Please contact Special Collections at archives@csusm.edu if you need reproductions made. Please see the related “Preferred Citation note” for language on citing materials from this collection. 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In assuming full responsibility for use of the material, the researcher also understands that the materials they examine may contain Social Security numbers, other personal identifiers, and/or sensitive material on potentially living and identifiable individuals (e.g., medical, evaluative, or personally invasive information). The researcher agrees not to record, reproduce, or disclose any Social Security number or other information of a highly personal nature that may be found. Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context SC027-025 Activists and activism Art and artists Black experience Community history History Department internship Women's experience