4 10 182 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 Judith Downie Interviewee The person(s) being interviewed Rick Blankemeier 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=BlankemeierRick_DownieJudith_2025-01-03.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 6.0 Blankemeier, Rick. Interview January 3rd, 2025. SC027-067 01:28:35 SC027 California State University San Marcos University Library oral history collection CSUSM csusm Brewing industry ; Stone Brewing Company ; Belching Beaver Brewery ; Modern Times Beer + Coffee ; Microbreweries -- California -- San Diego County ; Brewing industry -- Quality control ; Brewing industry -- Accidents Rick Blankemeier Judith Downie sound BlankemeierRick_DownieJudith_2025-01-03.m4a 0 https://archivesoralhistories.csusm.edu/files/original/bd5e888c4de2b7cf6584dfe5ca3b1bcb.m4a Other audio English 0 Introduction Oral history of Rick Blankemeier on January 3rd, 2025 by Judith Downie, Special Collections Librarian at the University Library, California State University San Marcos. 0 150 Getting Started in Brewing Rick Blankemeier discusses his education as well as how he got his start in brewing through his wife who got him his first home brew kit. Brewing ; Home brewing ; Colorado 0 618 Quality Control Manager Rick talks about his work at Stone Brewery, Modern Times Brewing, and Belching Beaver Brewery as a quality control manager and the collaborative spirit of the San Diego brewing scene. collaboration ; brewing ; Stone Brewery ; Modern Times ; Belching Beaver 0 1038 Winning Stone's Spotlight Competition and Leaving Stone for the Director of Brewing Operations at Modern Times Rick talks about how he and Robbie Chandler won Stone Brewing's first Spotlight competition by creating Spröcketbier. After spending years as a quality control manager at Stone Brewing, Rick jumped on the opportunity to become a Director of Brewing Operations at Modern Times, another brewery in San Diego. He talks about the transition from one position to another and how he needed to reshape his way of thinking to encompass a larger picture of the brewing business. Manager ; Director of Brewing Operations ; Brewing ; Stone Brewery ; Modern Times Brewing 0 1751 Designing Spröcketbier's label and a Tribute to Matt Courtright Rick talks about how he came up with the Spröcketbier label design and how that gave tribute to Matt Courtright who lost his life in a forklift accident while working at Stone. That accident had a big impact on how Rick approached safety while working for Modern Times and Belching Beaver. Matt Courtright ; Label Design ; Workplace accident ; Workplace safety 0 2186 The Physical Toll of Brewing Rick talks about how the manual labor of brewing at scales like Stone, Modern Times, and Belching Beaver can have an impact on the quality of life and health of workers later on in life. 0 2301 Marketing Spröcketbier Rick talks about how he and Robbie Chandler were flown around the country to go to different brewing events and talk about Spröcketbier. Spröcketbier ; Work trip ; all expenses paid ; Brewing events 0 2746 The Impact of the COVID Pandemic on Brewing Rick talks about how the COVID-19 pandemic impacted the brewing industry in San Diego. COVID ; Pandemic ; Shutdowns 0 3537 Belching Beaver and International Relations Rick talks about being let go by Modern Times and going back to his roots as a Quality Control Manager at Belching Beaver Brewing. At Belching Beaver he developed relationships with Chinese distributers while educating them on the quality control process. international relations ; quality control ; Belching Beaver 0 4013 Leaving Brewing Rick talks about how both he and his wife decided to leave the brewing industry during COVID because of the poor treatment of service industry workers and the rocky ups and downs of the economy. 0 4254 Teaching at UCSD Rick talks about his time teaching at UCSDs Brewing Extension program. He started as a substitute instructor whenever the courses' primary instructor was absent and eventually became the primary teacher. UCSD ; Teaching ; Brewing Extension program 0 4736 Still Enjoying Craft Beer Rick talks about how he still enjoys the craft beer scene even though he is no longer involved with brewing. His favorite watering hole is Battle Mage Brewing in Vista, California. 0 Oral history Rick Blankemeier was a quality manager at Stone Brewery from 2010 - 2017. Rick and his colleague, Robbie Chandler, were the first to win Stone's internal brewing competition which was called the Stone Spotlight in 2014. Rick and Robbie's beer was called Sprocketbeir and it was brewed and distributed nationally as part of the competition. Blankemeier was also the Director of Brewing Operations for Modern Times from 2017 - 2019 and the Quality Manager of Belching Beaver from 2019 - 2022. He also taught a brewing course at UCSD. NOTE TRANSCRIPTION BEGIN 00:00:00.220 --> 00:00:06.264 And that, and send that to you later. So. Okay. Well, Rick, if you will start by introducing yourself and what you do now. 00:00:06.264 --> 00:00:20.065 Oh, okay. Um, yeah. My name is Rick Blankemeier. I am a, right now I'm the quality, one of the quality engineers at a place called Hydronautics, which makes reverse osmosis filtration membranes. 00:00:20.065 --> 00:00:22.925 Ah, So you're still kind of in consumable beverages in a way. 00:00:22.925 --> 00:00:25.675 A little bit, yeah. In like the water side of things, 00:00:25.675 --> 00:00:25.684 Uhhuh. 00:00:25.684 --> 00:00:53.195 Like we make desalination elements. And, stuff for wastewater treatment and, uh, dairy processing. That's like one of our big things we do is make elements to separate the curds and the whey in cheese making. So, but we do sell elements to breweries too. And, like Belching Beaver, I know buys them and Stone does for all their reclamation operations that they have there still. So, yeah we're pretty happy about that. 00:00:53.195 --> 00:01:01.244 Yeah. So are they any of them using your systems for the water that they're using to brew with? Or is it more for their reclamation? 00:01:01.244 --> 00:01:30.000 Uh. Both. Yeah. So we have different elements that, you know, perform differently. The--one of our elements is definitely better for just--brackish--we call it brackish solutions. It's basically filtering city water or even just like slightly heavier salt water. But then we have desal stuff, which they don't use, but then we also have wastewater reclamation elements that are more specialized for that. And like high pH environments. 00:01:30.000 --> 00:01:37.045 And certainly something that we need around here. With our abbreviated waters supplies, which, you know, yeah. I've grown up with. 00:01:37.045 --> 00:01:53.114 Actually most of our clients are customers are in the Middle East and India. Actually. It's like, where a lot of it's being used. We actually sell the desal elements to the Gaza Strip's desal plant for drinking water for all the Gaza folks there. So-- 00:01:53.114 --> 00:01:56.305 And there's probably a lot of that that's been blown up and ruined and-- 00:01:56.305 --> 00:02:06.444 Yeah. Well, they try not to target infrastructure like that Because it also feeds drinking water into other parts of Israel too. So, I think it'll, yeah-- 00:02:06.444 --> 00:02:09.693 Yeah. So there's some self self concern going on there. 00:02:09.693 --> 00:02:10.638 A little bit. 00:02:10.638 --> 00:02:10.875 Oh, man. 00:02:10.875 --> 00:02:12.884 Yeah. It's a pretty bad situation over there. 00:02:12.884 --> 00:02:15.568 Well, but that certainly is, is keeping you busy. 00:02:15.568 --> 00:02:16.104 Yeah, no, absolutely. 00:02:16.104 --> 00:02:19.895 So anyway, well, we'll--we're gonna start delving into your past. 00:02:19.895 --> 00:02:19.905 Okay. 00:02:19.905 --> 00:02:26.432 And of course, focusing on the brewing industry. But first, where are you from and what's your educational process or path been? 00:02:26.432 --> 00:04:05.625 Oh, okay. Yeah. Um, so I, my, both my parents were in the military, so we moved around a fair amount, but when I was younger, if I was gonna say like where I'm from, it'd be Colorado. And we settled down in Aurora when my parents were stationed there, and then they retired. Yeah, so we--I stayed there from basically ages, uh, six until we moved out here for work. But, uh, they--my education path's pretty similar, but I got in, I went to the University of Colorado at Boulder, and I did a combination master's, uh, a bachelor's/master's degree in chemical engineering with an emphasis on bioengineering. So I did a lot of, uh, actually it was specialized in tissue engineering. And then once I graduated, decided not to do anything with that and went into natural gas. Um, and so I did a natural gas plant and worked, you know, to set up a process for turning natural gas into hydrogen for fuel cell cars. And also for other hydrogen needs that a lot of other, you know, applications in the petrochemical business. So we'd sell hydrogen to other plants for that. And then, uh, I hated it. And so, my wife and I, well, my girlfriend at the time, now my wife, got me a homebrew kit and, uh, when I was kind of miserable and really enjoyed that. So I found a job out here, and that's when we moved out here in April of 2010. To work at Stone. And I started as a brewer and worked my way up to the quality manager there. 00:04:05.625 --> 00:04:09.844 Do you think it was advantageous to work as a brewer before you went into quality management? 00:04:09.844 --> 00:04:51.944 I think so. Yeah. Um, brewers, at least when I worked with them, I'm not sure if that's the same now, but they definitely respected you more if you worked on the floor. They called the office people, carpet walkers, a lot. And, uh, which they're--a lot of 'em are very necessary for the operation of business. But in terms of the amount of respect, they definitely respected anyone who was, you know, worked on the floor at least, and a recent amount of time, so like, and plus I had to be on the floor a lot, you know to help out with certain things. And, you know, I still enjoyed brewing, so I helped out with brewing a fair amount too. During that time. 00:04:51.944 --> 00:04:57.754 So going back to your home brewing, do you remember the first beer that you brewed? 00:04:57.754 --> 00:06:24.605 I think it was a red ale. It was just a, it was a, just a kit that came with, I think, their home brew kit that my wife got me. And so I brewed that up and kind of got hooked on that. I do remember, it was really funny though because like we just moved in together--this is in Colorado, and I needed shoulder surgery because we went on a rafting trip and my--I was like, try, I got--our boat got turned over in the rapids, and then I tried to swim for it and my arm, like, came out of its socket. So then I had to, I know it was pretty--and it was one of those things where it, uh, tore a labrum, so it was kind of loosey-goosey. So if I like stretched too much on it, it would just like pop out. And I was like, ah! So I eventually got that repaired. And so, my wife kind of helped me with my convalescence with that. But right before I got into surgery, I brewed a beer and put it in the closet. And it just went crazy and kind of, I think over pitched yeast on it, and it kind of just put like, all the clothes in there got like sprayed with yeasty beer, and then she's like, yeah--I was like recovering from soldier shoulder surgery. And she was like, "you clean this up now." So anyways, we had--we had a little rocky start to the home brewing thing, but she eventually-- 00:06:24.605 --> 00:06:26.086 Well, she stuck with you-- 00:06:26.086 --> 00:06:26.721 She did! 00:06:26.721 --> 00:06:27.770 You know, you learn not to over pitch your yeast. 00:06:27.770 --> 00:06:30.996 She got involved in the brewing industry too, so-- 00:06:30.996 --> 00:06:31.722 Oh, really? 00:06:31.722 --> 00:07:10.964 After that, and she was, uh, she was a tour guide at Stone for a bit and then she was the--basically the admin assistant for the brewing department for a few years. And then she left there to go work at Lost Abbey for a bit at the Confessional and, uh, what's it called? The--Cardiff. And was a bartender there for a number of years and really enjoyed it. So she's--she and I are both out of beer now. She's working as a dev test for medical device company in Carlsbad. So. I know. It's like, well, we're actually earning money now, that's crazy. 00:07:10.964 --> 00:07:18.132 Yeah. Well, yeah, you kind of touched on a--on a pretty common theme and you know, you do it for the passion. You do not do it for the income. 00:07:18.132 --> 00:07:19.725 No, no, no. 00:07:19.725 --> 00:07:35.754 You know, you're--I'm--we're watching all these breweries right now closing, and it's this, and, so many of 'em gone up for sale and nobody's buying 'em because they just, you know, they're, "yeah, I'm gonna pour all this money in and not make any, so, you know, can't do that right now. It's just not feasible." 00:07:35.754 --> 00:08:15.000 Yeah. I mean, I feel like probably from like 20--you know, 2006 to about 2018 or so, there was like this, I don't know, I feel like it was more of like a gold rush mentality. I'm sure you have better perspective on it than I do, but being in the industry, it felt like people were just getting into it and thinking that either they would make a pretty decent living on doing it, and they were homebrewers or whatnot, or they were trying to strike it rich somehow and it was felt like that, you know, if you got into this niche and did well, you can make a bunch of money at beer. And I don't think until it's like economies of scale bigger, you don't really make a lot of money with that. 00:08:15.000 --> 00:08:48.004 Yeah. You don't. Yeah. I mean, the margin is way too small on your individual glass or can of beer to be making a fortune until you go, like you say, the economies of scale. But, uh, that's something that a lot of people went into because they were making beer and all their friends--they had a passion for it. Their friends told them they were making great beer, you really ought to open up a brewery I'll put some money behind you and yet nobody really had a true business plan or an understanding, or especially when 2020 came around an allowance for some kind of crisis. 00:08:48.004 --> 00:09:27.065 Right! Yeah. Like a kind of a, you know, the emergency funds or like a plan for anything like that happening. Yeah. It was, um, I mean, that was how I actually wanted to get into beer in the first place, was that I wanted to like work at a brewery, so I knew what it was like. So, you know, when I asked, you know, friends, family, and investors for, you know, starting my own brewery one day, that I know what I'm talking about. And like, what I was expecting. And then of course, like after the years went on, I was like, I am, there's no way in hell I'm opening a brewery. There's so much work and there's so much capital in terms of all the stainless you have to buy and-- 00:09:27.065 --> 00:09:53.284 The hours you have to put in the headaches. I mean, the amount of legislation and just reporting and--oh yeah. My head swims when I look at all that stuff and just go, you know, and if you go into it because it's an emotional passion, be because it's creative. That is exactly the sort of thing that you don't do, don't excel at, hate, you know, things like that. But you were wise. You got into it and you saw what was going on and you said, oh, wait a minute. 00:09:53.284 --> 00:10:18.835 Yeah. I mean, it was fun and I really enjoyed, and I learned a lot and, you know, did a lot of work, especially on the quality side and learned a lot about what breweries should be doing in terms of quality assurance, quality control, and that I just wasn't seeing a lot of it. And the breweries that succeeded ultimately, like, had really good marketing and really good beer. I mean, that's essentially what it boiled down to. 00:10:18.835 --> 00:10:52.335 Well, and the good beer goes back to the quality control because there are a lot of the smaller breweries that don't really have the capacity to do really thorough quality control. They're doing the best they can, but it shows when the beer, you know, you've got this one beer that's one of maybe your staple beers that you've always got on tap, but it changes from brew cycle to brew cycle, which part of that is the ingredients change, but your quality control is where it's supposed to step in and say, "oh, wait a minute, this isn't what people are going to expect, and what do we do to fix it?" 00:10:52.335 --> 00:11:34.485 Right. Yeah. And that was kind of--and oh, I was the sort of defacto, being at Stone, and then later at Modern Times a little bit and--but also at Belching Beaver--at Stone, I was definitely like, I felt like the quality control person for all the breweries in the area because they would come, it's like, "Hey, Rick, there's this issue. What should I do?" And I'm like, well, you know, sometimes I'd be like, oh yeah, I'll maybe do this and this and see if it works and they're like, "Oh, it worked really good!" "Thanks Rick!" Uh, but then there were other times where I'm like, uh, dump it. I'm sorry, dude. There's not much you can do without that. Yeah. It's, uh, that's kind of SOL. I just, I would not serve that in any sense or form to you know, a customer. 00:11:34.485 --> 00:11:47.575 Yeah. I mean, and that's hard news for somebody, but really you're not doing in favors to say, hey, go ahead and try this and see if you can resurrect it when you just know is not gonna work. That's just, you know, that's not the San Diego spirit-- 00:11:47.575 --> 00:11:47.585 No. 00:11:47.585 --> 00:12:17.105 --San Diego. Everybody's been so collaborative with each other. That's one of the things, when we first started looking at founding the Brewchive®, I started talking to some brewers and they all said, oh, you need to talk to so and so, and you need to talk to so and so. And giving me all these names, of course, of people who I didn't know but it was just like, people really like each other. I would've thought in an industry where you're all trying to cover the same consumer base you'd be at each other's throats and that's not what San Diego does. Very different. 00:12:17.105 --> 00:13:22.085 No. And that collaborative spirit, I feel like is what really elevated a lot of other breweries and even with like collaborations and everything, it seems like that, it's like definitely an exchanging of information, but also just like better practices too. Felt like the breweries, like I know for sure that I went to other breweries, not even in San Diego, but other places and, you know, like Chicago or down south in like Atlanta and all that. And I saw see things, and I was like, oh, this is a really brilliant way of doing this. Oh, I'm definitely, you know, as our--after Mitch left Stone, Joel Grosser was the kind of brewmaster there, and he'd always say like, yeah, if you see like something at another brewery that was like, better practices, even if it's like just like safety related, or better cleanliness or whatever? Yeah. Steal that, steal with pride. He used to say that, and I was like, and he came from Anheuser-Busch, so I'm not sure--(laughter)--I'm not sure if that means anything, but I was like, yeah, steal with pride! 00:13:22.085 --> 00:13:24.004 Yeah. I like that saying. 00:13:24.004 --> 00:13:48.683 But, I mean it was about like, more about like seeing better ways of organizing things, cleaning things. Safety related, which I feel like is like every brewery would be like, yeah, no. like we understood that like a rising tide lifts all boats and everything. And we know that if a brewery was really bad, that would look--people, the average consumer, at least for the most part, we feel like doesn't really, like they lump all the craft beer in one, in like one bucket. 00:13:48.683 --> 00:13:50.485 Yeah. If one's bad, they're all gonna be bad. 00:13:50.485 --> 00:13:51.284 Yeah so that's-- 00:13:51.284 --> 00:13:51.524 That's not the way. 00:13:51.524 --> 00:14:24.000 So that's what we, I think we're trying to avoid and that's why I helped out so many other breweries with their quality control issues, was that, you know, (we) were at another company. They were like, oh, they're having quality control issues, good. So we're good. But then, yeah, I was actually encouraged at places like Stone and Belching Beaver to help out some other breweries with some of their issues as long as it didn't take away from my duties. But if it's like a phone call and be like, yeah, do this, do this, this, this, hang up, it's fine. And they didn't feel like it was like violating an NDA or anything along those lines. 00:14:24.000 --> 00:14:42.325 Right. Did you find much opportunity with all your, with your working to go visit other breweries? That seems to be a real constant around San Diego is a lot of the brewers, front of house, back of house, whoever they go and they drink at other breweries as well, you know. It's not like, oh, I gotta spend all my money at my own brewery. I'm gonna go visit everybody else's and find stuff I like. 00:14:42.325 --> 00:15:19.485 Well I feel like it was actually the opposite, is that we didn't wanna spend any of our money at our own brewery because they weren't paying us enough, and then we'd give them back our money. So, yeah. I mean, me personally, I would always drink other people's beer. I would only like bring, you know, the free beer I'd get at Stone, just because I'm like, here, have some beer from Stone. And it was always polite whenever you went to other breweries is to bring gifts of your own beer and everything there. And then they would also in turn, give you free beer and like a tour of the place. And you get to see everything and that was, kind of that it was like a cultural exchange, it felt like. 00:15:19.485 --> 00:15:41.884 And you never know, you might wind up working with those people at some point too because there's so much cross pollination and job jumping for whatever reason within the local breweries. But then again, being collaborative and getting along with people, leaves those doors open where if you've always talked bad about another brewery, well, they're never gonna hire you if you did need a job somewhere else. You know, that's just not gonna happen. 00:15:41.884 --> 00:16:42.215 Although I have to have a confession that I did talk badly about Modern Times when, um, because Jacob McKean worked at Stone. And, I just, I--full like, you know, full confession. I was not, I did not enjoy him as a person in the very brief instances we worked, because he was on the marketing side, I was on the brewing side, but then he came in and did like, you know, some videos of like, me working the lab you know, the marketing stuff and he's like, you still write all this down? Like, why don't you use like spreadsheets and everything? I'm like, well, I do. I double enter. So then if I lose one or the other, like if you know, the shared drive fails, then at least I have like the paper copy of it because this is all important stuff in terms of quality control. If I can't look back and see like, oh yeah, this had this bacteria in it then, and then something happens, or, you know, it gets in a fire or lose all the saved data, then I don't have that reference to come back to. 00:16:42.215 --> 00:16:44.187 Or if you're walking around with a laptop and beer gets spilled in it. 00:16:44.187 --> 00:16:54.235 Which happens a lot. Yeah. So, I don't know. I just, I wasn't a fan of him. But then later on, I, uh, you know, when I applied for the job, I was like, oh, okay. I think he's kind of gotten a little bit less snooty. A little bit. 00:16:54.235 --> 00:17:10.755 Well, you know, and you know, when it's put to you in a certain way, sometimes your hackles just raise. I mean, it's like you're attacking the way I do things. And it works for me. So, you know, great. If it doesn't work for you, fine. But, so yeah. First impression sometimes. 00:17:10.755 --> 00:17:20.884 Yeah, I know. But in general though, I enjoyed the Modern Times beers. When the opportunity for a director brewing operations position opened up, that's where I went to it. 00:17:20.884 --> 00:17:25.164 Because that was, that would be a step up from where you were at Stone at the point. Right? 00:17:25.164 --> 00:17:58.865 Yeah. And I didn't really have a good--once I got to be Quality Manager, they kept putting people above me from outside from, usually from Anheuser-Busch. And, I was like, well, I don't really have a good career path. And even my boss at the time was like, when I put in my notice, he's like, "yeah, you know, it's, I don't see--I understand you don't really have like a path for growth here anymore." I'm like, yeah. 'cause you got, you've got where I wanted to go. But anyways. But after that, that's where I went to Modern Times for a little bit. It was only there for about two years before I went to Belching Beaver. 00:17:58.865 --> 00:18:08.345 So well before we leave Stone and jump to Modern Times and your experience there, of course, you know, you with Robbie Chandler--now, who is Robbie? 00:18:08.345 --> 00:19:06.983 So Robbie was the warehouse lead at Stone. He was the kind of the--he was the forklift jockey, the guy unloading the trucks. I think eventually became the warehouse supervisor there. But, you know, he was the guy, just big personality and just a bear of a man, big old beard and everything, and he and I just really got along well together. The funny thing was--is that when they announced that if you wanted to be part of the Spotlight competition you pair off with, you know, whoever you wanted to do it with. And so it came down to it. I was like, I signed up for it and then I was like, who do I want to brew with me? Oh, Robbie said he wanted to brew with me. And so I was like, Hey, Robbie, you want to come? He's like, oh, yeah, no, I'll brew with you. And I didn't realize that he had another partner that was already set up, so he just totally like, ditched that, that group, and then came over to my side and people were angry. It's like, I didn't, I didn't know. I just asked him. 00:19:06.983 --> 00:19:08.684 Yeah, yeah. You didn't poach him! 00:19:08.684 --> 00:19:15.085 I know I didn't, I had no idea. He didn't even tell me that. He was like, no, I'm with you on this one. So. 00:19:15.085 --> 00:19:22.384 Well. If he had been talking to you about brewing with you and that, that was the opportunity, I can kind of see why, but yeah, I can see feelings being being maybe a little bit hurt there too. 00:19:22.384 --> 00:19:34.525 And I mean, and bless Robbie, he's got such a good personality and such a, he was very jovial. He just didn't know as much about the beer brewing process as I did. So, you know, I basically-- 00:19:34.525 --> 00:19:36.204 He, he had not been home brewing then? 00:19:36.204 --> 00:19:52.434 He did a little bit of home brewing, but it wasn't like when we were coming up with a recipe, you know, I was just like, Hey, just feel free to jump in if you want, change anything. But I was thinking like, let's do something different, something kind of off the wall, at least-- 00:19:52.434 --> 00:19:53.674 Very Stone that way. 00:19:53.674 --> 00:20:17.404 Yeah. And let's do a black rye kölsch. And he is like, yeah, that sounds good. I'm like, no notes or anything? He's like, no, let's just do it. And I was like, okay. All right. So I guess we're doing a black rye kölsch. Sure. And we spent most of the other time talking about what we'd name it, and we were both fans of SNL and the sprockets skit that Mike Myers was on when he was on SNL. 00:20:17.404 --> 00:20:18.525 Boy, I don't even remember that one. 00:20:18.525 --> 00:20:23.684 Uh, it was like, um, the German ones. He's like, "Velcome to Shprockets, My name is Dieter," you know. 00:20:23.684 --> 00:20:24.674 Oh, okay. The Dieters. 00:20:24.674 --> 00:20:44.884 Yeah. The, yeah. And he is like, yeah, "Vould you like to touch my monkey?" You know, stuff like that. And I guess that's what with my German last name, he (was) always like, um, he's like, no, Rick, I do not to touch your monkey. But anyways, we were all goofing around and kind of riffing off each other and doing these silly little bits, but that's what we wanted to call it Sprocketbier. 00:20:44.884 --> 00:21:07.065 Okay. Okay. Well then that explains the name. I'll have to go back. And probably on YouTube there's some of those old, and rewatch those 'cause, it's been, it's been so, so long. So when you were designing that beer, did you have test batches that you made? How much time did you have to prepare for the competition and it-- 00:21:07.065 --> 00:21:21.204 We made one test batch before we brewed the kind of scaled up one on the small system at Stone. So I did, you know, we did that at Robbie's house 'cause he had a better house for that, to kind of brew on there. So we just did once. And-- 00:21:21.204 --> 00:21:24.355 Your wife probably wasn't real happy about you maybe having beer in the closet again. 00:21:24.355 --> 00:22:22.025 Well, she, uh, she was fine with it after that. We'd have better areas to store things at that point. But, yeah. But we brewed one batch of it, and it came out pretty well. We made--I made some adjustments to the amount of Carafa malt, which is like, that de-bittered black malt. We'd add to it. But after that, we just kind of scaled it up to the small system and brewed it. And yeah. It was Robbie and I kind of on there with the--under the supervision of Steve Gonzalez, who was the small batch manager. I think he still is at Stone, at this point. But, uh, yeah, no, we brewed that. And really, I was hoping to do well, like come in like the top three, but I really didn't expect to win on that. Well 'cause everyone else was like doing IPAs, like fun or other kinds of like, fun kind of Belgian-style beers. And I wasn't really expecting to actually do anything too revolutionary with it. 00:22:22.025 --> 00:22:23.724 Who were the judges, do you know? 00:22:23.724 --> 00:22:27.904 Yeah, it was Greg, Steve and Mitch. Yeah. So. 00:22:27.904 --> 00:22:28.859 The highest level. 00:22:28.859 --> 00:22:29.815 Highest level. Yeah. It was-- 00:22:29.815 --> 00:22:32.914 There was nobody to go to if you wanted to contest the results. 00:22:32.914 --> 00:23:54.924 Well, I mean the whole concept of the Spotlight series came about from sort of the amount of unhappiness of the brewers of not having ways of being creative. So, I think it was in 2013 or 2012 or 2013, they did like the first employee survey. And, they did like a kind of a presentation on that and for everyone, and kind of understood that like there was a lot of unhappy people working at Stone at the time . And, the brewers more specifically were very unhappy with the lack of creative control that they had, which is, I mean, looking back at it, I'm like, it's, you know--it wasn't necessary. I don't know, like it was, we had a lot of really talented brewers. Very, you know, very talented brewers. And I think that they thought working at Stone that they'd get a chance to do a lot more of the creative stuff. And then they did like the creative casks thing where they would like pull beer off into a cask, do cask conditioning and add different ingredients to the base of our core lineup of beers. And that was fun. But then they also wanted to make something that could potentially do well for the company in a national release. And that's where the Spotlight series kind of came in. 00:23:54.924 --> 00:24:06.055 Yeah. There's that tension between personal creativity, what's gonna be marketable, and how many people wanna participate, and how sustainable a program like that actually is. 00:24:06.055 --> 00:24:16.325 Right. And I think that, you know, I'm sure if they reflected on it, they would've gone with a much smaller batch, and-- 00:24:16.325 --> 00:24:17.884 Well, how big was the batch? 00:24:17.884 --> 00:24:41.590 Um, so, I think it was three fermenters for it, which is pretty good for nationwide release at the time, based on the distribution network. So that was, and each batch was about 350 barrels after filtration. So 350, so 700 and about just about a thousand. 00:24:41.590 --> 00:24:42.117 Yeah, Over thousand barrels or more. 00:24:42.117 --> 00:24:44.799 Yeah. And so, yeah, they, that's what they did. Of course-- 00:24:44.799 --> 00:24:45.581 That's big. 00:24:45.581 --> 00:25:24.355 Next year was only two fermenters, and then the year after that was only one fermenter as far as from what I remember. But they wanted to, I think, to keep doing a little bit of that in case like something, you know, like a hit happened. Ballast Point, that was the reference of it 'cause Ballast Point had their Homebrew Mart. And they would brew, you know, a few beers and I mean, obviously that's where Sculpin came from. That's where some of their other hits, uh, Indra Kunindra. That weird curry beer that they made that actually did pretty well came from that system. So Stone wanted something similar, I think as like a sort of incubator for interesting, you know, a potential beer that could do well for them. 00:25:24.355 --> 00:25:50.674 Yeah. 'cause I'm thinking, I'm not clear on the date on this, but the American Homebrew Association competition, that Stone sponsored, and then they would take the winning beer and, you know, it's like Chris Banker Xocoveza. Um, Ken, now his name escapes me right this minute. I can see his face in my head! But, you know, uh, Ken did the, um, he always wears Hawaiian shirts, big guy with a beard. 00:25:50.674 --> 00:25:51.815 Oh! Um-- 00:25:51.815 --> 00:25:53.743 I'm just blanking on his name and-- 00:25:53.743 --> 00:25:56.375 Yeah. The coconut porter? 00:25:56.375 --> 00:25:58.265 Yeah. So he did that. And, uh-- 00:25:58.265 --> 00:25:59.835 Yeah, I know you exactly what you're talking about. 00:25:59.835 --> 00:26:06.334 Yeah. And so Mo-J's come out of that, you know, so there've been beers that have come out and like Xocoveza now is a staple. 00:26:06.334 --> 00:26:06.875 It is. Yeah. 00:26:06.875 --> 00:26:16.704 I mean, that really, that went over very well. But I'm not sure when those beers started as opposed to the Spotlight series. 00:26:16.704 --> 00:26:41.944 Yeah. So, the Homebrewer competition stuff was at the same time. I mean, I started in 2010 and we did the first, I think the first of the Homebrew was Ken's beer. And that was the year before, I think in 2009. And then we did all those collaboration series as well. with like Jolly Pumpkin and Firestone and all those other ones. So-- 00:26:41.944 --> 00:26:41.954 Yeah, Dogfish Head-- 00:26:41.954 --> 00:26:43.243 There was always these-- 00:26:43.243 --> 00:26:47.484 There was, I think, was it Dogfish Head, Stone and, you know-- 00:26:47.484 --> 00:26:48.412 Victory. 00:26:48.412 --> 00:26:51.000 They would do like a triangle--Victory. They would do triangle along the, along the bottle. 00:26:51.000 --> 00:26:54.145 That was the Saison du BUFF. 00:26:54.145 --> 00:27:06.724 Each year the position of the breweries would switch around. I mean, 'cause I've got a lot of those bottles from Greg and going, what's the difference between these two bottles? Oh, wait a minute. Stone's on the top now Dogfish Head's at the top now at the apex. 00:27:06.724 --> 00:27:11.164 Yeah. Saison du BUFF. That was kind of one of Greg's fun collaborations with-- 00:27:11.164 --> 00:27:13.365 Yeah. Then the wOOtstout. 00:27:13.365 --> 00:27:33.365 wOOtstout. That was fun. I got to meet Wil Wheaton because he was a homebrew nerd at the time. He's now sober. But, he came in in the lab and was like nerding out. And I told him, and he actually brought some of his homebrew. And then I ran it through our alkalizer, which measures alcohol content so I could tell him what his alcohol and everything was. 00:27:33.365 --> 00:27:33.993 Oh, very good! 00:27:33.993 --> 00:27:35.483 Yeah. It was a lot of fun. 00:27:35.483 --> 00:27:40.085 Yeah, I didn't understand how Wil Wheaton had gotten into that, but, you know, if he homebrewed, then yeah. That would-- 00:27:40.085 --> 00:27:46.285 Yeah. I think it was he homebrewed and kind of, you know, I think probably got approached by Greg or something like that to make-- 00:27:46.285 --> 00:27:47.000 Or he approached Greg at a festival who knows. 00:27:47.000 --> 00:28:21.325 Or something. I forgot what it was, but yeah. Yeah. So that was, that was a--that was a real fun part of the process. Like that was what kind of kept me going on, was meeting these really cool people, not only from like Wil Wheaton, all them, but from other breweries as well. On these collaborations, kind of like, just talking shop about how they did things differently, how we did things differently. You know, I was--I've always been kind of that person that wants to expand my horizons or best practices. I'm like, oh yeah, that makes total sense! Why aren't we doing that? You know? 00:28:21.325 --> 00:28:23.464 Yeah. Steal with pride! 00:28:23.464 --> 00:28:24.891 Exactly. Yeah. Exactly. 00:28:24.891 --> 00:28:32.460 But yeah. Yeah. I mean, people should always be learning in my book, but, oh, yeah--Uh, so, Spröcketbier won first-- 00:28:32.460 --> 00:28:34.983 Yeah. It did, 00:28:34.983 --> 00:28:44.355 And then you brewed over a thousand barrels of it. And, you know, that's a lot of gallons of beer. So, you need to promote that! 00:28:44.355 --> 00:29:16.884 Well, yeah. And I, and that was, uh, there was--actually you can look on YouTube. We actually did some little videos. At least the marketing team did. Tyler Graham was the I think, head--no, I don't think he was head of marketing, but he was kind of the head videographer and creative presence there. He did a really good job with us. Actually, one of the fun things that we ended up doing was actually being very involved with the making of the label. 00:29:16.884 --> 00:29:19.365 I was gonna ask, how was the label designed? 00:29:19.365 --> 00:29:43.404 Yeah, actually, I'll show you. It was, um, for the--so the Monarose, who was actually a wife of one of the brewers came in and we wanted to do like, homages to the other brewers there. So we had this whole entire like, side of the label here. And all these have like little, I guess homages or-- 00:29:43.404 --> 00:29:44.454 References of some sort-- 00:29:44.454 --> 00:29:45.714 References to people who worked at Stone. 00:29:45.714 --> 00:29:49.484 Yeah 'cause there's a rooster. There's a couple of profiles. Well. 00:29:49.484 --> 00:29:50.994 Yeah. Well, that's us. Yeah. 00:29:50.994 --> 00:29:53.404 Okay. Because I was gonna, I'm not quite sure who that-- 00:29:53.404 --> 00:29:55.065 That's Robbie. That's, that's me. 00:29:55.065 --> 00:29:55.505 Okay. 00:29:55.505 --> 00:29:56.565 And then, so. 00:29:56.565 --> 00:29:59.845 Powell, and it looks like a little space--spaceman helmet or something? 00:29:59.845 --> 00:30:27.000 So one of the brewers we had, his name was, well, his nickname was Rooster and he's actually brewing down in Mexico right now. But he would just, like, we called him Rooster because he would just be like, "what's up Rooster?" And like, and he would just caw at us. So we wanted to have Rooster there. One of the other brewers, I don't know, we almost considered him kind of like our mascot 'cause he really--I love the guy. Robskie 00:30:27.000 --> 00:30:28.404 That's the letter bit. 00:30:28.404 --> 00:30:28.785 Yeah. 00:30:28.785 --> 00:30:29.317 The "S." 00:30:29.317 --> 00:30:39.657 He'd always just like, like a finger up and be like, "Hey, money, how's it going money?" And he had like a higher-pitch voice. And so we would--so that's a reference to him. And then-- 00:30:39.657 --> 00:30:41.745 Pow is? 00:30:41.745 --> 00:31:17.164 Is for, oh gosh, I'm so sorry. I'm, uh, it's Cecil. Cecil. He's still there. He just, he was just like, pow! Because he'd always like make it like he's gonna, you know, punch you in the dick. And so he, that's where we got that from. And then this is a reference to Steve Via, who was another brewer there. And we used to draw these, like, he used to draw these stupid little faces, 'cause that's what he kinda looked like. And he'd draw these stupid little faces called, we called 'em Steve Heads, on like the whiteboards everywhere. 00:31:17.164 --> 00:31:19.005 Steve was here. 00:31:19.005 --> 00:31:28.525 Yeah. And then, we had a little tribute to the brewer that, uh, Matt, who lost his life at Stone on the forklift accident. 00:31:28.525 --> 00:31:30.194 Oh yeah. That's the hand with the finger pointing up. 00:31:30.194 --> 00:32:05.285 Yeah. With that, with the same tattoo that we, a bunch of us ended up getting on the finger right there. Because he, it was kind of a jab at him too in a playful way, is that he recently got a--he was very religious and had some Bible quotes tattooed on his bicep. But he was like, he over-ellipseed. And we'd make him fun of him for that. It's like, that's permanent, you know, on there? So then, but that's what we all ended up getting. 'cause he, instead of just doing the dot, dot dot, he'd do dot space, dot dot and so that's what we ended up doing for that. 00:32:05.285 --> 00:32:08.515 Well that's really, really sweet that he's memorialized there. 00:32:08.515 --> 00:32:50.525 Well, and then the burning roses was actually his submission. He actually ended up being able to, um, we, oh--so Chris Ketchum down at Liberty Station, he wasn't able to brew it 'cause he passed away before he was able to brew it on the system. But they made a bigger batch of this and like another couple, like three fermenters full to honor Matt Courtright for that. So that was actually his submission for the Spotlight series. And so he and I--I think it was Jason was his brewing partner on there, but yeah. So they brewed this and it was, it's super tasty. It's really good stuff. 00:32:50.525 --> 00:33:01.954 No, and that's very, very touching because I knew somebody had lost their life on the work floor, but hadn't really delved into who it was or what had happened or anything. 00:33:01.954 --> 00:34:20.525 Yeah, it was, you know, it was that--it was 2013 and it was that time at Stone where we were growing really rapidly and there was where the bottling line used to be, they moved that down to the new packaging hall that was just built. And then they set up a--it was just an empty area there. So it wasn't really, people didn't really forklift around that area very often. So they weren't really aware of where the pillars were. The support pillars. Because there was equipment in the way during that time, but it was a good, convenient storage area until we actually ended up filling it up more with fer--more fermenters. And he wasn't-- you know, looking back on it, at the time it felt like it was a result of Stone growing too fast, not caring about the employees, et cetera, et cetera. But really looking back on it, it was a lot of unfortunately bad decisions made by Matt. He wasn't wearing a seatbelt. There were some drug use implications. I'm not exactly sure if that was the case or not, but I mean, regardless of what he was doing, it was super tragic and he ended up, pop--you know, transporting a chemical drum, turned too fast with his forks up, which is still a bad idea. 00:34:20.525 --> 00:34:22.405 Oh, that's gonna throw your balance off. Yeah. 00:34:22.405 --> 00:35:33.764 He hit the pillar, tumbled over. He tried to jump out. That was also a no-no. So there, like, there was a series of mistakes that happened during that point that if he would've done one of those things, it would've, at least he might--he would've gotten hurt but he wouldn't have died. And, so it was really unfortunate, but we all were devastated. There was so much good talent there that ended up leaving over the next year and a half pretty quickly. I mean, that was other reason why the Spotlight series was kind of, you know, I think it was gonna dwindle down pretty quick because there was just a lack of involvement there. But I mean, we, the brewers that were involved in the Spotlight series, one was Hollie (Stephenson), she ended up being the brewmaster at the new Guinness facility in Maryland. Left to do that. Chris Baker, he ended up being the brewmaster at Mother Earth. Casey (Harris), he's now the co-founder and brewmaster at Topa Topa up in Ventura area. I mean, there was so many really awesome brewers that went on to do better at the brewing industry and just great things. Yeah. And it was just hard to lose all those folks. But losing somebody like that at work, I mean, that's-- 00:35:33.764 --> 00:35:34.795 That's very hard. 00:35:34.795 --> 00:36:02.164 Yeah. It's it at like Modern Times and, uh, Belching Beaver, after I left to work for those places, I always harped on safety as a huge thing because I saw what it did. When you, you know, someone gets seriously hurt or loses their life at the place, it just destroys morale. And I mean, really from some of the people that I still talk to at Stone, it really didn't recover until very recently. And that was only because I think Sapporo bought them and kind of changed-- 00:36:02.164 --> 00:36:06.204 There was much going on. It's kind of like, you know, you--you're looking forward. 00:36:06.204 --> 00:36:07.364 Yeah, exactly. Yeah. 00:36:07.364 --> 00:36:13.222 Yeah. But you still wanna remember Matt. That's, that's just very, very important. But yeah. 00:36:13.222 --> 00:36:14.110 Yeah! 00:36:14.110 --> 00:36:25.025 That's Wow. That, yeah, people don't think about what goes on behind the taps. You know, that back of house stuff, the brewery operations are--things can happen. 00:36:25.025 --> 00:36:40.275 Oh yeah. No, it's dangerous back there, especially in big operations. That's why it costs so much to run a big brewery, is the automation that needs to get involved with that. Because you can't do all this just with the, your, you know, strength of your back in terms of labor. You gotta, you know-- 00:36:40.275 --> 00:37:23.715 Well, I have said, because I helped brew the last batch at Chuckalek with Sam (Samantha) Olson. It was a Pink Boots blend, and I'm a "pink booter," so I went out to help Sam and of course it was horribly hot that day and their little tiny operation. And I was going, it's hot, it's heavy, it's sticky, it's awful. I--this is a young person's job. My toes are near flame, I don't like this. But at least you know it, again, it gave me that view into the brewing process. So I had more appreciation for what brewers actually do. But I went, this is definitely a young person's occupation. And not forever because boy, your back is gonna give out eventually. I don't care how much automation you have to help you, there's still a lot that is just simply manual labor. 00:37:23.715 --> 00:38:20.704 Yeah. I mean, I--actually it was interesting. My wife is now working in the medical device industry. But one of the--she actually got to observe a surgery because her company does back surgery equipment and like procedural stuff and everything. And one of the people that was there was someone who worked in the warehouse most of their life at Wyeast who you know, they make the yeast that a whole bunch of breweries use and everything. And yeah it's just his spine was messed up from all the work that he was doing, from that. And I've just seen, so like the--how this amount of manual labor really does wear someone down. You can see somebody, or like, wow, that person has to be like 50 years-old and ends up they're like just coming out of their thirties. You're just like, ooh. That's a lot. That's why I was glad to where I was kind of doing stuff in the lab most of the time. If I wasn't jockeying a desk. So, yeah. 00:38:20.704 --> 00:38:39.105 Now, before I asked you a qu--I need to make a note to myself here about, uh, hopefully that word will remind me what I want to ask you, but I still wanna ask, because you said that after the beer was bottled, you've explained the labeling. You went on a promotional tour. 00:38:39.105 --> 00:39:53.344 Yes. Yeah. That was the real fun part was like over the course of about two months, like we'd go to a location for like a weekend or whatever and then fly back and then do that about three or four times. And, yeah, we went to try to hit all the major hubs. So we did like obviously a promotional thing here. Or at Liberty Station and also at Escondido. Went to Seattle, Atlanta, Cleveland and Philadelphia. From all these places. And so we'd made up with the Air District Sales Manager there, and they would take us where they would want us to, you know, sometimes it was a bottle shop, sometimes there was like a, you know, event happening or whatnot. And that was really super fun. Especially at that time. Because you know, Stone paid for everything, so it was like, okay, it was, you know, making as little as we did at the time, it was nice to go on kind of an all expense, essentially paid tour of these like, you know, places and either have the sales reps or Mitch's credit card kind of pay for everything. So it was--it was a lot of fun. Like Robbie and I got into some really good places, met some really good people and-- 00:39:53.344 --> 00:39:56.525 Did you have to spend a lot of time explaining the beer? 00:39:56.525 --> 00:40:55.954 A little bit. I mean, like, between you and me and the recording, if you tasted a black rye kölsch, and you're familiar with beer styles, you're like, wow, that tastes exactly like a Schwarzbier. It is a Schwarzbier, basically. It's, uh, we wanna make something that's low alcohol, or lower alcohol. I think it was like five point a half percent. Yeah. 5.4%. And so it was something that we could probably drink a lot of during the sales tour and not get too schnockered during that time, and, but yeah, no, we--we did a lot of explaining of the beer. We did, you know, to--we wanted to make it a little bit more unique with using kölsch yeast instead of like a lager yeast. Because I don't thi--at that time, they would've, uh, I think Mitch would've been like, we're using ale yeast for this because it's gonna, we don't want it to sit in a month in, you know, in these tanks. So using the kölsch yeast, that's why I picked kölsch because it turned around much quicker. 00:40:55.954 --> 00:40:57.905 Yeah. Yeah. 00:40:57.905 --> 00:41:13.000 And I like rye. Rye is like one of my favorite grains, so. And I like, kind of like the idea of like using Carafa malt, which was originally designed to use in Schwarzbiers in Germany as a de-bittered black malt so you don't get a lot of the flavor of the malt, of the black malt, but you get the color. 00:41:13.000 --> 00:41:15.945 Right. Okay. 00:41:15.945 --> 00:41:16.644 So, yeah. 00:41:16.644 --> 00:41:18.585 Very interesting. 00:41:18.585 --> 00:41:33.275 Yeah. So we did all that and journeyed around the place and did--we had a, it was a place in Seattle where we did--we chugged boots of this beer. It was like a race and so-- 00:41:33.275 --> 00:41:34.684 Good it was 5.4%! 00:41:34.684 --> 00:42:08.885 Yeah, I know. I was getting kind of, I was definitely getting a little tired of all that after, at the time. But I mean, I wasn't. The traveling part was a lot of fun, especially since they always took the--to their best accounts and their--they were just geeking out that they had brewers there to kind of help like promote it. And people came up and asked us a bunch of really good questions about the process and you know, what--how everything is, how we're doing, you know? And what do you do for all this? How, how does this work on a scaled up process, all the geeky homebrewer questions that come our way. 00:42:08.885 --> 00:42:12.992 Yeah. Well, and it also, you know, it humanizes Stone. I mean-- 00:42:12.992 --> 00:42:13.335 Oh yeah. 00:42:13.335 --> 00:42:35.795 Stone has become such so mythic, you know, with the gargoyle and everything else. That to actually have brewers there and real people there from Stone representing Stone. It's not that big mega monolith that the bigger beer brands are, that you don't know who those people are, and they--they're so distanced from the brewing itself that you don't feel the connection. 00:42:35.795 --> 00:43:00.281 Well, and to kind of expand on that, at the time, Greg was very much the face of Stone. And people--and Greg had a kind of polarizing personality, still does, I think. But when you get to talk to with him one-on-one, he is like a super nice guy. Little bit awkward, you know, on that interpersonal basis, but when you get him in front of a camera or in front of a crowd, he turns into the "arrogant bastard" essentially the, you know--we joked around that it was like the Greg-face effect, back in the early days. 00:43:00.281 --> 00:43:16.125 I've seen a reference somewhere to Greg-face. I don't remember where it was-- 00:43:16.125 --> 00:43:54.195 He just had like a open mouth, like ahhhhhhhhh, and that was like his, you know, he's angry about, you know--was it, he's angry about making sure people have good beer or something like that. I don't know. It was marketing around him and I don't think it really landed as much as he was hoping it would land. But, I think part of the pro--but I think that was part of it was when you got the brewers out there, we're just, you know, normal people making beer and really enjoying it. And I think the crowd and people really enjoyed, like actually seeing that there was actually normal people working there. We're not all just like raging maniacs. 00:43:54.195 --> 00:44:10.605 Well, and that's the whole thing about craft beer is it's, you know, there are people and personalities behind it as opposed to anonymous, everything's automated production, so people who want that human interaction, that human touch or, you know, craft beer is really-- 00:44:10.605 --> 00:45:34.394 Literal blood, sweat, and tears going into this beer. I've seen it. It grossed me out, but I've seen it. No, it's, um--but yeah, no, it was--I think that was a big part and I think that's why like the cask events we did at the Escondido restaurant location and also at Liberty Station, the wOOt Fest. And when we released it during Comic-Con and we would make different casks and different beers with like, celebrities or like the minor ce--like kind of like geeky celebrities. That was fun and people I think really enjoyed seeing the brewers kind of working together with that instead of just being like you're saying against like a faceless monolith of a company, there was actually real people that work in this. You know, the ones working actually, like destroying our bodies to get beer to you. You know, and it's--that's a big part of it. I mean, that's why we were really focused on safety pretty hardcore, obviously after Matt's passing because of everything. And it was, uh, it was a big, you know, it was a big wake-up call for I think craft beer in San Diego in general because there was so many people that either knew Matt or knew about him. And then there was obviously like kind of self-reflecting of like, whoa, what if somebody died at our brewery? I mean, that was--that'd be devastating. And they saw that, so. 00:45:34.394 --> 00:45:41.580 Yeah. And that's part of the maturing of the industry is accepting that things aren't always going to stay the same and bad things can happen. 00:45:41.580 --> 00:45:42.686 A hundred percent. 00:45:42.686 --> 00:45:45.684 And it could happen to you just as easily as anybody else. 00:45:45.684 --> 00:46:22.045 Yeah. And like COVID was a big, you know, that was a huge, uh--I think the way I like to, at least I've thought about it and the way that it kind of looked to me was an accelerating event, meaning that it kind of accelerated the, you know, whether a brewery was gonna do well or--Like, you know, I think unfortunately a bad example, or a good, bad example would be Iron Fist. Iron Fist was kind of trailing off there for a bit, but after COVID it was just pretty much done. You know, it kind of accelerated that. I think if COVID didn't happen, they would've limped along for a couple more years, maybe. But I feel like-- 00:46:22.045 --> 00:46:22.605 Hard to say. 00:46:22.605 --> 00:46:25.804 Yeah. I feel like COVID kind of accelerated that. 00:46:25.804 --> 00:47:08.434 I--well, I think it did for a number of breweries, but then we also had a whole bunch of breweries that were in process. They would already, you know, bought--things were already ordered and stuff like that. So it was, well, either we dump everything we've done so far and just take this massive loss--or hope, because who knew how long COVID was going to last, you know, people took the gamble and unfortunately now those gambles and the loans and everything else, they're starting to catch up with everybody. So we're seeing this horrible downturn right now, which just breaks my heart. Every day it seems like there's somebody else. I'm just like, no, not another one! But, you know, if you prepared properly or through the luck of the draw, whatever, some are gonna make it and some aren't, unfortunately. 00:47:08.434 --> 00:47:08.445 Yeah, absolutely. 00:47:08.445 --> 00:47:30.804 So again, the maturing of our industry locally. And I think that if we looked at other regions, we'd probably see a lot of the same thing. Areas that became hotbeds of brewing before we did in California or whatever, we'd see that they've gone through the same sort of cycle, so it's not just us, so that it just, we're here. So it really hits us hard. 00:47:30.804 --> 00:47:42.445 Well, yeah. And, San Diego is such a tight-knit brewing community too. It's like, you know, you hear about, it's like, oh, did you hear that? Rouleur closed. Did you hear about this? And you're like, oh, yeah, I met all those guys. I know them. 00:47:42.445 --> 00:47:57.635 Yeah. I went to Rouleur's last day and, you know, Tomme Arthur was there, Paul Sangster was there, Chris Banker was there. I was seeing all these people that, you know, haven't seen 'em recently, for whatever reason. And it was kind of like, well, it's great to have an old home week, but it's a terrible reason to have an old home week. 00:47:57.635 --> 00:47:59.804 Right. I know. 00:47:59.804 --> 00:48:22.034 So, yeah. But we--we'll pick up and move on, I guess. So speaking of moving on, the little note I made to myself was, when I've been over at Stone, I have been stunned by the speed at which everything's bottled. And I understand that stuff is pulled off the line like every five minutes and checked for quality control? 00:48:22.034 --> 00:48:23.744 Mm-hmm. 00:48:23.744 --> 00:48:29.125 How do you manage it at that speed? I mean, that was just stunning to me. 00:48:29.125 --> 00:48:54.885 Um, I mean, I've seen it happen where there's like times where I went to like, on a tour of the Budweiser facility up in Van Nuys. And they run about twice as fast, if not three times as fast as what Stone does. It--there was a guy on the line, just like looking around, like, oh, looks at the time, says it's about time for collecting a sample. And you just (makes a "tchew" sound) and it just, it's like just second nature to them. He doesn't even do that. 00:48:54.885 --> 00:49:06.844 But then you've still gotta run it through the process. And what if it's bad? What if you do have to pull it? How do you find it? In all that stuff that's already, you know, all this other stuff's gone through in the time it took you to do the quality check. 00:49:06.844 --> 00:51:35.465 Well, I think that's the thing about most beer issues, at least from, like non-sour beers. Like non-barrel-aged sour beers is that if there is an issue, then that's why you drew a lot of--you try to find the quality issue earlier on when it's less expensive to do something about it. So, like with the ingredients, try to do as best as you can as a brewery, depending on, as like how big you are. You know, like friability of malt, you're looking at the quality of the water, making sure there's no chlorine in there. You know, hops themselves, you do sniff tests, and you make sure that's stored well. So once it goes through the process, then at certain points it'd be like, well, if the ingredient's bad, we're just not gonna brew it. Which is, you know, it sucks, but at least we're not gonna like, spend that much money. If we already bought the ingredients, that's one thing. But as soon as you start investing time and labor into it, then it gets more and more expensive. So hopefully by the time you actually put it into a bottle, you know exactly what the quality is gonna be on there. But you still gotta do those checks as due diligence. So the thing about most beer is that if there is an issue with the beer itself, it's as a result--it's like, it's gonna be a systemic issue. Like, with that batch, and not necessarily with like these, like three boxes over here. That you have to, it's like a needle in a haystack, what to call it. And so that's why you try to take samples during fermentation, do taste tests before you send it to the filtration or what, centrifuge, whatever you end up doing with the finishing process of the beer. And then once it's in the bright tank, you also take samples before it's packaged. Uh, for taste testing and approval. And that's kind of the final go/no go. And then you taste it after it gets bottled or canned as well, too, but at that point it's pretty much on a truck that's heading to distribution. So it's a lot more involvement in terms of like doing a recall. If there's an issue with that. So typically if it's a off flavor issue you catch it early enough. Usually it's right after fermentation because that's where most of the off flavor issues may occur. If it's during the pr--and then you take samples, at least on our size, we took microbiological samples, like samples of it, plated it, see what grew. Made sure it wasn't a beer-spoiling organism or anything there. 00:51:35.465 --> 00:51:38.835 How long does it generally take for something like that to develop? 00:51:38.835 --> 00:51:40.324 Well, so that's, that's a-- 00:51:40.324 --> 00:51:43.034 Coming from a non-scientist person, I have no idea. 00:51:43.034 --> 00:53:59.635 Well, no, it is actually kind of complicated because when you take--so I take a sample from, you know, let's say a bright tank. It's about ready to be packaged. I grow it, and look at it and there's some concerning cells that grow up there. It looks like there might be lactic acid producing bacteria on there like lactobacillus or pediococcus. That's immediately sends things, red flags up in my head. So then I inform, you know, my bosses to say like, Hey, I'd like to put a hold on this and do maybe some forced aging to see if it'll actually express itself. Sometimes you see these organisms and they grow on the plate, but they might not necessarily grow in the beer. Um, and with like a lot of--and that's where like a, I think a lot of breweries went hard on IPAs is that IPAs have a lot of hops in them, they're usually a little bit higher in alcohol, which would inhibit growth of bacteria like that if their process wasn't as clean. If you're making lagers, that's a lot harder because it's lower alcohol, it's lower bitterness, IBUs, which it also inhibits growth and bacterial growth. And so if it was like a lager that I found this in, I'd be like, yeah, we're not selling this. But if it was an IPA, I'd probably put a couple, like, you know, I get like--package a few of them put into our incubator for like a day or two and see if anything produces. And, it depends on the beer, but if it, usually, if you don't see anything growing more, or if after you plate it, you don't see any more colony forming units in there, you could pretty much say that it's not gonna grow in it. But that's typically like the bigger issue. And especially we didn't do any sort of, uh, what's it called? Uh, pasteurization at the time, too. That's actually a bigger issue for all the non-alcoholic beers we're making up now, is the pasteurization part of the process. That's the kind of the expense limiting step for it at this point. But, um, but yeah, so that--it might take a day or two, it might take a couple weeks. There's some times where it kind of like caught me sitting up at the time where I released a beer knowing that this isn't--feeling pretty confident it's not gonna grow in it. But then I'm like, well, what happens like six months from now or whatever? 00:53:59.635 --> 00:54:05.744 Yeah. When its sitting on a shelf in a store, especially if they, they're not rotating their stock properly. 00:54:05.744 --> 00:54:08.914 Or keeping at room temperature. Exactly. Exactly. 00:54:08.914 --> 00:54:12.925 Yeah. No, that sort of thing always alarms me. 00:54:12.925 --> 00:54:31.875 Oh yeah. No, it's--that's what keeps you up at night is being a quality manager, is that like, you know, there's that give and take. Like the job of the quality manager is to assess and inform your management about the risk. So, and then see how we can mitigate that risk. And so for-- 00:54:31.875 --> 00:54:36.925 But it's not really your final call. It's gonna be higher ups that are gonna say, we're gonna pull this. 00:54:36.925 --> 00:55:07.565 And it should be. because I'm the one informing them of what the risks are. It's like--and if there's something that's like super high risk, like in terms of like something they want to do, I'd be like, no. Absolutely not. Like I, when I was at Belching Beaver, they kept wanting to do a Radler and without pasteurization and I'm like, absolutely not. Because you are adding sugar to it. Because like sugar and grapefruit juice or sugar and lemon juice. Whatever, which way you go. And if there's anything growing in there, it's going to grow a lot more you know? 00:55:07.565 --> 00:55:09.045 Right. Something's gonna explode. 00:55:09.045 --> 00:55:12.025 And I don't want that. I do not want that. 00:55:12.025 --> 00:55:17.275 No, that's your name on the line plus the company and everything else. 00:55:17.275 --> 00:55:21.224 They called me a spoil sport and I'm like, good! I am. That's my job. 00:55:21.224 --> 00:55:22.724 That's exactly right. 00:55:22.724 --> 00:55:37.385 Like, there's times where I'm like, well, this plate might not grow or might not, but I'm informing you about the risk. I'm, you know, whatever direction you want to go. I'll be happy with. But then there's other ones where I'm like, absolutely not. No, I'm not gonna have my name attached to this. 00:55:37.385 --> 00:55:55.045 Yeah. No, good for you. Stand up for it. So, um, when you went to Modern Times then, in 2017 as Director of Brewing Operations, this meant you were not doing quality control anymore? Or how much interaction did you have with the QC people there? 00:55:55.045 --> 00:56:45.965 I had a lot of interaction. I mean, that was my background. So, you know, I really wanted to make sure that we focused on the QC aspect of it and any sort of money we could invest to help out with that. Modern Times did a lot of barrel-aged beers. And so Morgan Tenwick, who was the QC manager at the time, she was kind of struggling pretty hard with that. So I ended up purchasing more kits and we kind of worked with her on how to do better barrel testing. So when I was discussing before about how, like usually if it's a tank of beers, it's gonna be bad, it's gonna, you know, it's gonna be bad. But with like barrel-aged beers and sour beers, anything you put into a barrel, you have these discreet, like mini vessels, right? And you have to test pretty much all of them. 00:56:45.965 --> 00:56:50.844 Yeah. It's a much more uncontrolled environment because a barrel is wood. It's not-- 00:56:50.844 --> 00:57:17.885 It breathes. It has stuff in it. Yeah. So then that's why you have to pretty much do micro-testing on every single barrel that's going into a batch. That way if you find something in one barrel, you can leave that out of the blend. And so that's what we ended up doing for the barrel-aging program at Stone, after we kind of got hit on a few of the like big infections that came out of it. You know, we--because if as soon as you dump that infected barrel into the blend its-- 00:57:17.885 --> 00:57:18.405 Oh yeah. The whole thing's gone. 00:57:18.405 --> 00:57:31.000 Exactly. So that's what we ended up doing there. So I helped out with that a lot. Because that was like low volume, but high margin stuff for us. So we wanted to do that. And then-- 00:57:31.000 --> 00:57:35.596 And, Modern Times's reputation was really, is really reliant on a lot of that barrel-aged stuff. 00:57:35.596 --> 00:57:35.606 It's huge. 00:57:35.606 --> 00:57:45.105 I have several friends that are members and they just, you know, when the barrel-aged, you know, some of 'em have got massive cellars of the Modern Times barrel-aged. 00:57:45.105 --> 00:58:55.525 Oh, it's huge. Yeah. And it was really good too. And so that was one of our big priorities. The other beers, like, I mean, that was pretty much we could handle like the normal production stuff with our IPAs and whatnot. Um, the, yeah. My biggest adjustment was like actually caring about the budget. I mean, I always cared about the budget when I was on the quality side. But it was like, how do I, you know, they gave me this money. How do I spend that? What new equipment do I need? What--do I need to hire somebody else? Stuff like that. Instead of being like, okay, here's the budget. How do I deal it out to like, quality? How do I deal it to brewing and packaging? And so that was a big adjustment for me. And then of course, all the other things that happened during that time, that's when Modern Times is blowing up. They bought the Commons Brewery up in Portland. And so I had to go up there to help set them up. And you know, I think, Tim (Kamolz) and Andrew (Schwartz) did a lot of that work, and Matt (Walsh), who moved up there to take over that position as a brewer up there. And so I do a lot of that. And then we opened up downtown LA location, and then we-- 00:58:55.525 --> 00:58:56.844 There was a lot of expansion. 00:58:56.844 --> 00:59:22.804 Oh. So much expansion. And, you know, that's--it kind of got to me. Plus I was still living up in Vista, so I had to go all the way down to Point Loma all the time on that. So, and then they kind of did like a whole kind of reorg. And so I got, you know, thrust out of my position there. And then I, but I already was kind of looking at leaving too. So it was, it was good timing. And then that's where I went to Belching Beaver after that. But. 00:59:22.804 --> 00:59:29.000 Okay. So now Belching Beaver, again, you're going back to more quality management. 00:59:29.000 --> 01:00:54.074 I learned my lesson that I think, well, I could have done I think a good job at that position as a, well, DOBO, Director of Brewing Operation. But it was just getting to be a lot for me. Plus I wasn't really, you know, I think Modern Times was hurting by that time with all the expansion and it really just came to a forefront. I think after like, not only COVID, but the rat magnet thing that happened too after that. So, but the, uh, but yeah, going to Belching Beaver was, you know--it was like going like, kind of going back down again in scale. And it was very much like a family run, you know? It is, it was still a family run place and all that. But yeah, just a, they were having a lot of quality issues and they needed somebody to kind of with an experienced hand to help set things up in terms of their quality systems and do the micro testing. And, because they were selling a lot of beer to China, especially the peanut butter milk stout. And that was really super popular in China. So they wanted to make sure that, you know, and Chinese are very--they will try to get as much out of you as possible for as little money. It's kind of their business, way of doing business. And so when they were having a lot of quality issues going there, I found a lot of where the issues were coming from on the bottling line, because they only wanted bottles. They didn't want cans over in China. 01:00:54.074 --> 01:00:58.355 Well, when I think of Chinese beer, everything I can think of is in a bottle. 01:00:58.355 --> 01:01:48.005 Yeah. Mm-hmm. They like it. And you know, I think they have a big recycling program for glass bottles there. So like, we send those over and it was fine, but it was just, it was, you know, they--I had to be the kind of interface on the quality side. They take it very seriously there. And so I was like showing them what we were doing, where the issue came from, how we're resolving it, being very transparent with them kind of as a, you know, since we're the supplier, they're the customer, we wanna make sure that they basically saddled us as I'm using in my new industry, a supplier corrective action where I could actually like, basically tell them exactly what we were doing to resolve some of these quality issues and being very forefront with them, upfront with them, but also holding them accountable for how they store our beer. Because-- 01:01:48.005 --> 01:01:56.125 That seems to be a big problem with the imports. Or exports that we're putting out to other countries is how it's being handled on the other end. 01:01:56.125 --> 01:02:27.164 Well, because they, because, and they were--they didn't know much about the beer and how it should be stored. So I kind of educated them on that. So then they can, because the distributor, that distributor of beer, so then they can tell their customers when they come back for a, you know, as a complaint, the distributor can come back and be like, how did you store it? And it was like, did you transport this case of beer on the back of a scooter up this mountain after sitting out for like three days in like the sun? You know, it's not gonna taste the same as they remember it. 01:02:27.164 --> 01:02:29.324 How true. 01:02:29.324 --> 01:02:33.565 Yeah. And that's what we had to like, really deal with, was like-- 01:02:33.565 --> 01:02:40.034 Well, I mean, I'm sure people don't think how their actions can affect a product. 01:02:40.034 --> 01:03:13.244 Yeah. Well, and craft beer over there is very new. And or, and the beer that they were used to is the mass produced stuff from like, Snow and some of the other imports in the area. You know, coming in, but not American craft beer which is a lot more sensitive. We don't at least at that point, pasteurize our beer, which helped, you know, stabilize it, but also affected the flavor. Like the non-pasteurized stuff I think tastes better because it doesn't get cooked a little bit. You know, it's not designed for that. And so. 01:03:13.244 --> 01:03:19.525 Well, and that's the argument Coors has made for all those years, is we don't pasteurize so you get a better tasting beer. So, you know. 01:03:19.525 --> 01:03:21.474 Yeah. I think they still pasteurize a little bit. 01:03:21.474 --> 01:03:22.085 Yeah. It's-- 01:03:22.085 --> 01:03:24.474 But not the--that brand. 01:03:24.474 --> 01:03:32.454 Yeah. No, I remember their ads from when I was little. But anyway, so Belching Beaver, you were there during COVID? 01:03:32.454 --> 01:03:33.784 I was, yes. 01:03:33.784 --> 01:03:35.045 How did that work out? 01:03:35.045 --> 01:04:06.525 Um, you know what it was--I mean, we were all, it was a very confusing time whether I would get like furloughed during that or whatnot. But, with--at least we were considered an essential business, so we ended up doing a lot of production during that time. And actually our production increased significantly because like a lot of other breweries that were more reliant on taproom sales, we weren't as much. 01:04:06.525 --> 01:04:08.614 Right. You were already canning and-- 01:04:08.614 --> 01:04:09.490 And distributing. 01:04:09.490 --> 01:04:22.045 --distributing a lot of your stuff, which was very different because a lot of the smaller guys had only been tap rooms and they had to suddenly turn around and get canning equipment or a mobile canner or something to keep them in business. 01:04:22.045 --> 01:06:38.474 Absolutely. Yeah. So that was kind of the big turnaround there was that we were able to distribute to, you know, we used the Reyes Brothers (Reyes Beverage Group) distribution, and they got us into grocery stores a lot and our beer sold really well in the grocery stores. So actually, COVID was pretty decent to us, actually pretty good. I think the, obviously the restaurants that we had, the one, the pub in Vista and then the downtown one in downtown Vista suffered a little bit because of that. But after all, kind of like more restrictions were lifted and you can do outside seating and all that it was, you know, it turned out okay. But the beer definitely was helping us survive that and we actually did really well. That was like our biggest selling as far when I was there, it was actually during COVID in terms of like distributed sales. Which was actually pretty cool. So, but yeah, I mean, it was, it was weird, like wearing masks around the place. Really not knowing what sort of, I don't know, like what, like early on what actually was like the vector of contaminant--you know, of an infection was until it was like a, it was a, you know, respiratory infection. But what the interesting thing was, is like everything else that we did to try to like, reduce the amount of people working there, we furloughed a few of the brewers, so it was kind of a skeleton crew, but then we eventually had to bring them back on because we were making so much. The, the funny thing was, is just everything we were doing, like trying to help out with some of the other friends and family of the business. We actually had, one of Troy or one of our director of sales's friends is a barber and he came in and took over our bathroom and gave people haircuts in like our single stall bathroom, because they were all, like all the salons and haircut places were closed because they weren't considered an essential business. So that's how he made money, was like every week he'd come by and be like, who needs a haircut? And then we'd just go into the single serve bathroom across the way from my office. And give us haircuts. I got, it was a really nice haircut from him. 01:06:38.474 --> 01:06:42.965 Well, and that's also a bit of a morale boost that you can get yourself tidied up a little bit. 01:06:42.965 --> 01:06:45.965 Yeah! No, we were all looking a little rough there. Around the, the hair so it was-- 01:06:45.965 --> 01:06:52.525 Between all the emotional upheavals and the ups and downs everybody went through, just being able to get your hair cut was a big thing. 01:06:52.525 --> 01:08:36.000 Oh, yeah. No, and that, and that was, yeah. Like, so my wife, that was kind of the impetus of kind of both me and my wife to kind of consider where we'd want to go, you know? And beer kind of wasn't looking to be that direction. She was working at The Confessional at the time and in Cardiff. And of course they shut everything down was like supposed to be to go only, although she made exceptions for really good customers that come in and hang out, like socially distanced inside, but still just hang out and drink their beer at the bar, like a normal person instead of like having to go beers go out the front door. But, yeah, she--they had to set up the out--and then once they were allowed to do outside service, they had to set up these tables and then break 'em down again. So they wouldn't get stolen. And it was really like taking a toll on her. And we were watching a lot of Star Trek during that time. And she was like, man, I wanna be a programmer! And I was like, oh, interesting. Okay. I didn't really expect this, because she loved, I mean, she loved the customer service aspect. Like, we got to be decent friends with a lot of her regulars that were really good and, you know, met the celebrities of the Cardiff area that like to come in. Like Haro, Bob Haro of Haro Bikes. He was a regular out there and we met a lot of, you know, a lot of really cool people, including our realtor that bought our house, we met from there. So like, her wanting to move on, like she was getting really tired of moving all these tables and dealing with the customers that were upset about the whole, like, wearing your mask and-- 01:08:36.000 --> 01:08:38.835 The service staff got so dumped on. There was so many people. 01:08:38.835 --> 01:08:46.614 Yeah. Just because people were frustrated, the COVID thing, and they took it out on the service staff and they're just like, Hey man, we're just here trying to make some money. You know? Because-- 01:08:46.614 --> 01:08:48.925 We're not any happier about it than you are, but-- 01:08:48.925 --> 01:09:28.604 Yeah, but we're the ones that deal with it. But, and I mean, luckily enough of the regulars were, you know, kind of helped settle anyone that's like, Hey, you need to, you need to be quiet because she's doing the best she can. And she is an angel. But yeah. So, but she went to a coding bootcamp and got her certificate and then got a job at Tandem Diabetes. They make the insulin pumps for type 1 diabetes. And she was a tester for the software for the website that, you know, you order your refill kits and everything from. Um, yeah. And she misses customer service. But she doesn't miss the-- 01:09:28.604 --> 01:09:35.645 Day to day-to-day grinding part. Yeah. I mean, yeah. Watching people have to set up and break down tables and then all the cleaning you've gotta do, it's like-- 01:09:35.645 --> 01:09:37.034 Disinfecting and everything. 01:09:37.034 --> 01:09:38.925 Yeah. I got my own house to clean. Thank you. 01:09:38.925 --> 01:09:41.305 Right. I know. And that's, yeah. So I-- 01:09:41.305 --> 01:09:44.234 So yeah. That would get old again, you know, just-- 01:09:44.234 --> 01:10:23.864 Yeah, exactly. So that's what she--so that's kind of like where we were at at that point. And then, about just a little over two years ago was when, yeah, like there was kind of a, the big peak at Belching Beaver in terms of distribution during COVID. And then once everything started opening up again, I think people really wanted to go out. They didn't want to just buy beer from the grocery store anymore. So then our distribution sales fell off, but our restaurant sales went up. But the--I was probably the most expensive employee they had so they had to lay me off at that point, so. Which was good because I was actually kind of getting, I don't know, I like being in places where I learn new things and-- 01:10:23.864 --> 01:10:30.145 It sounded like you were already questioning, you know, you and your wife both. She had made a decision to make a change and, you know. 01:10:30.145 --> 01:10:44.725 Yeah. And I kind of wanted to follow that. So, yeah. And then I went--yeah, I got a job at Hydranautics and that was a little bit too--yeah. I started on Halloween of 2022. Or that was my first day. It was a Monday. 01:10:44.725 --> 01:10:47.000 A a memorable day. To say the least. 01:10:47.000 --> 01:10:53.324 Exactly. No. So, yeah. So that's why I kind of, that's how I got ended up out of beer at this point. 01:10:53.324 --> 01:10:58.604 But while you were in beer, you were teaching at UCSD in the Brewing Extension program? 01:10:58.604 --> 01:10:59.045 I was, yeah. I was teaching-- 01:10:59.045 --> 01:11:01.555 What classes and how, when did you teach? 01:11:01.555 --> 01:12:43.000 Yeah, so I remember like really--so it was when Yusuf first started, Yusuf Cherney first started up that--at least helped start up that program, I wasn't involved at the very beginning of it. Gwen Conley, she and I, she was kinda like my mentor--still is to a certain extent--in the business when she was at Lost Abbey. And so she was teaching the sensory classes at the time. So she actually ended up, when she wouldn't be able to make a class or whatever, she would ask me to be involved and then she would give me a portion of her money for that, which was really nice of her to do that. But I taught a little bit of that. But then, so that introduced me to them. Mitch left and stopped teaching after he left to go open his New Realm place in Atlanta. So then, Justinian took over, Justinian Caire, took over the work production class for about a year or so, but then he quit that. But then, so then they came to talk to me because Gwen recommended me. And so then I started teaching, uh, work production in 2017 -- 2018. And, I did that. At first it was pretty popular, so I did it like twice a year. I think usually like a spring and fall quarter because they did quarters there. And, but then it kind of started trailing off where I do once a year. And then last few years, it was like once every--and I taught during COVID. They wanted to have a class during COVID. So I did a whole entire remote session on Zoom and everything. The Zoom teaching, I'm sure you're all familiar with that process. 01:12:43.000 --> 01:12:44.326 Oh yeah. 01:12:44.326 --> 01:13:34.045 Yeah. It was, you know, I didn't like it just because, you know, people had their cameras off. I wasn't--I usually thrive on the back and forth, and I usually told my war stories about like, oh yeah, you should do this and let me tell you why about this. You know, like, and usually people, especially that want to go start their own breweries are kind of interested moreso in like my war stories than the actual like content of the--at least I think so otherwise they're humoring me. I'm not sure. But I know I got pretty good evaluations for on there. So, but yeah, I taught work production, recipe development for yeah--and my last class was actually, because they wound down that program. They only did the last class to help clean up anyone who still wanted to get their certificate. And that was of July of last year. Now 2024. 01:13:34.045 --> 01:13:34.645 Yeah. 01:13:34.645 --> 01:13:35.125 That was the last one. 01:13:35.125 --> 01:13:38.664 Still not used to last year being 2024. 01:13:38.664 --> 01:13:39.845 Yeah. Right. Yeah. It's-- 01:13:39.845 --> 01:13:49.805 But yeah, I mean, it was nice that they did actually get people through the program rather than just saying, okay, that's it. We're done. You know, we don't care where you are in the program. Ta-ta. 01:13:49.805 --> 01:14:11.664 Yeah. They just wanted to, yeah. There was a lot of gauging interest in who wanted to complete it because I mean, it was a lot of money people spent at that time and they just wanted very much try to get all that back. And it was a nice little supplement for my--like by the time it got around here, I was like, I was okay with letting this go. I mean, I still enjoyed it to a certain extent, but-- 01:14:11.664 --> 01:14:15.925 But you've already got a full-time job. This is on top of that. And yeah. 01:14:15.925 --> 01:14:28.000 I'm not even really in beer anymore. You know, like I have a lot of experience and a lot of knowledge about it and everything, and joy sharing that with people who were interested. But, you know, my last class, I only had three people in there. 01:14:28.000 --> 01:14:28.265 Oh gosh. 01:14:28.265 --> 01:14:34.675 Yeah. And one of 'em wasn't even signed up for the class, so, but they wanted to take it. That's fine! I'm okay with it. 01:14:34.675 --> 01:14:39.295 Yeah. Yeah. You know, I mean, get your knowledge where you can. 01:14:39.295 --> 01:14:39.305 Exactly. 01:14:39.305 --> 01:14:43.784 So at one point you were also on the Brewer's Association Quality Subcommittee. 01:14:43.784 --> 01:14:44.635 Oh yeah. 01:14:44.635 --> 01:14:47.755 What years was that and what did that committee actually do? 01:14:47.755 --> 01:17:38.244 Okay. Um, yeah, no, I kind of got kidnapped into that. But it's like, usually when these like subcommittees pop up, they always need people to like, kind of fill them. And, you know, there's a few people leaving or whatnot. But, I got in that in like 2019, I believe? Because we had some meetings over COVID. It was all Zoom meetings because it was people from breweries from all over the country. But yeah, I, um, I was involved with it. It was like the subcommittee on quality. So a lot of it was just prepping for any sort of quality talks that the Brewers Association wanted to demonstrate, like the lab, the lab in a--Lab In A Fishbowl. That's what it was called. The Lab In The Fishbowl that they always did at the Brewers Association, uh, the craft brewers conferences. And then anything else that might come up to promote quality from either the American Society of Brewing Chemists aspect, or the Master Brewers Association. And we just kind of discussed about programming and talking and any sort of big quality issues that are coming up. Like the big one they were hitting on at the time was hop creep. We're doing excessive dry hops, for usually hazy beers. Uh, ended up maybe causing some refermentation because of the enzymes that were present in these hops were--because one of the bigger innovations that came out last, like fifteen years or so, was to not kiln hops as hot. Because it, it made it like less fruity. Less flavorful, so. But as a result, some of the enzymes that are naturally present in hops kind of went in and maybe did some disassembling of some of the, like dextrins and all that and started creating more simple sugars inside the bottle or can and causing refermentation. And so it was a big quality issue and like how to avoid that. The other thing that came up, and I quit after I got my job outside of beer--I basically resigned my position. They're like, yep, you're outta beer so that's cool. All right. Well, good luck. Um, but, it was the people making non-alcoholic beer, but wanting to make sure that they know they have to pasteurize it. Because that's a big quality concern. Because not only are you having risk of like bottle or can explosions, but pathogenic bacteria too. Because you don't have alcohol. You don't have that aspect that prevents things like listeria and, you know, E coli. 01:17:38.244 --> 01:17:40.314 It's a full different basket of issues. 01:17:40.314 --> 01:18:02.226 Yeah. So that was a big thing that we talked about there. But it was, it was a good time. It was nice because I felt I was coming full circle. And one thing I forgot to mention was I was an intern at the Brewers Association when I lived in Colorado. And I helped work on the craftbeer.com website. And so I--my boss was Julia Herz, who's very famous in the industry. 01:18:02.226 --> 01:18:04.805 Yes. I've met Julia. 01:18:04.805 --> 01:18:45.845 She is a firecracker, full of energy, and she was very proud that I got a job at Stone. Um, you know, felt like she did her part to get some of these craft beer and evangelists in positions there. So, but yeah, she, that was kind of fun. So I got to be there for a year. And then we moved to out here from Colorado to work in the beer, the brewing industry actually in general. So I felt like going back to the Brewers Association, you know, at least on a subcommittee. I was like, oh, I'm doing things! It's good. I'm back here where I kind of started my little adventure. 01:18:45.845 --> 01:18:52.545 Yeah. Contributing to the industry in a broader scale than just, than just the locals. Not that there's anything wrong with just helping the locals. 01:18:52.545 --> 01:18:54.744 That's a hundred percent right. Yep. 01:18:54.744 --> 01:19:10.284 So, so then you were let go from Belching Beaver and you were already kind of looking to, you know, get out of the beer industry anyway. You kind of realized the financial repercussions of working for passion rather than-- 01:19:10.284 --> 01:19:32.234 Yeah. You know, it's, yeah. It is crazy how I was the Director of Brewing Operations for Modern Times was a very well known, very widely appreciated brewery at the time. And now I'm getting paid about 50% more than when I was--as a Director of Brewing Operations. Which is one of the highest positions in the company, so. It's just the way that it ends up working I think with that. 01:19:32.234 --> 01:19:34.798 Different industries have different pay scales. 01:19:34.798 --> 01:19:35.164 They do. 01:19:35.164 --> 01:19:40.005 It's just the fact of life, sadly. But, are you doing any homebrewing anymore? 01:19:40.005 --> 01:19:48.954 Um, no, I'm not, not homebrewing. I did get a little still, so I've been kind of home distilling. 01:19:48.954 --> 01:19:54.484 Okay. So you're kind of going, I mean, we are seeing more and more distilleries popping up. 01:19:54.484 --> 01:20:29.000 We are. Just, I mean, between you and me, it's just easier to distill because you don't have to worry about the fermentation quality or anything. You just, especially if like, I don't wanna spend like a weekend doing homebrewing anymore, just I'd rather do things around the house. Maybe play video games, but, you know, I'm not a into the, like, spending your weekends, like slaving over hot, you know turkey fryer burner, like I used to. But I do like the idea of distilling. I mean it, like--and it's all stovetop too. The way I do it. So it's, you know, it's simple. 01:20:29.000 --> 01:20:31.166 Very small batch. 01:20:31.166 --> 01:21:09.364 It's very small batch. Yeah. And so, I make like little, like, you know, like, I call ghetto fermentations of like corn and sugar. Kind of like this, like real moonshine. And I've done like, did a little mash and did some like maybe try to do my stint at like a single malt whiskey essentially. But right now my favorite thing is that they have actually a fair amount of wine in the break room at my wife's work. And so--but no one ever goes through all of that. So we have a bunch of like, half bottles of wine. So I make brandy out of it. 01:21:09.364 --> 01:21:11.784 I was gonna say, you're not gonna drink that are you? 01:21:11.784 --> 01:21:33.484 No, no, no. That's why I just distill it and make a little, uh, a little brandy. And then we put little, um, you can buy from like home brew stores online, like little like swirls or of oak. And then you put that in there. So you have oak-aged brandy. And that's like one of my things I do. 01:21:33.484 --> 01:21:34.274 Oh, how fun! 01:21:34.274 --> 01:22:02.725 It's easy too. Because you just pour a bunch of wine into this, put the lid on, and there's like a little coil and you keep that filled with water to cool it down and just brandy comes out of the condenser. I don't have to do a second distillation on it. It just, it comes around 20% or so. Which is plenty. I've done like the three times distillation ended up with like a mason jar this full of like a hundred and like sixty proof. 01:22:02.725 --> 01:22:04.164 Whoa! Goodness. 01:22:04.164 --> 01:22:13.125 Yeah. I was doing a little bit when I had access to lab equipment, so I was able to measure the potency of what I was doing. As long as I gave a sample to our brewmaster. 01:22:13.125 --> 01:22:20.290 There you go. So, being out of the industry, do you still enjoy any of the local beers? 01:22:20.290 --> 01:22:21.484 Oh, yes. 01:22:21.484 --> 01:22:24.145 Or are you just so focused on your distilling now? 01:22:24.145 --> 01:22:38.125 Oh, no. I'm not. It's like a maybe like once a month thing that I do. But, um, the yeah. Actually our kind of local like watering hole now is Battle Mage Brewing. That's where we go all the time. I actually-- 01:22:38.125 --> 01:22:40.592 I would assume you've walked over to Henebery then? 01:22:40.592 --> 01:22:41.086 Henebery's right there. 01:22:41.086 --> 01:22:43.364 Since they do the rye whiskey. Yeah. 01:22:43.364 --> 01:22:48.204 Yep. Yep. They have like a little, you know, they have a fun little collaboration. 01:22:48.204 --> 01:23:07.204 They're very collaborative. I mean, because I go to Henebery and meet up with friends Friday nights. So they can go down to Battle Mage and get glasses of beer and bring it back to drink it at Henebery. But they can't take the, any of the hard liquors over to Battle Mage. You know, I find that sort of dichotomy very interesting in the, you know, it's like-- 01:23:07.204 --> 01:23:19.000 Just alcohol. It's these alcohol rules, man. It's--they're so arcane and esoteric sometimes, you're just wondering, like, I don't know if you've heard of Yuseff's getting married story? 01:23:19.000 --> 01:23:20.150 No. Mm-hmm. 01:23:20.150 --> 01:23:48.564 Oh, gosh. So, you know, Yuseff being co-founder of Ballast Point then eventually Cutwater. He met his wife, now wife, um, she is the owner, or was the owner at the High Dive. I believe down there. And, you know, they dated and then they wanted to get married and they got married. But when they were processing their marriage license it got denied. 01:23:48.564 --> 01:23:50.414 What? 01:23:50.414 --> 01:24:16.005 Right. And they're like, well, what's the deal here? So it turns out as a result of the legislation that came out after Prohibition, it is illegal, or at least is--yeah, it's illegal or not allowed to have someone who owns a distillery or brewery marry an owner of a bar because they're worried about tied-house. 01:24:16.005 --> 01:24:20.185 Tied-house. That's extreme. That is crazy. 01:24:20.185 --> 01:24:27.965 So she, the, uh, and I totally forgot Yuseff's wife's name. Wife's name. And I'm friends with her on Facebook and everything but-- 01:24:27.965 --> 01:24:30.944 Yeah, and I'm--I know her name and it's, well, it's just like-- 01:24:30.944 --> 01:24:49.505 She speaks German and Spanish. She's lovely. Awesome person. But she had to sell her stake and the High Dive in order for them to officially get married, which they did at Valley High. And it was a whole thing, but they was like, yeah, we tried to get married now part deux, you know? 01:24:49.505 --> 01:24:55.604 Yeah. But the fact that anybody would even dig that up, I mean, we're talking a hundred years ago. 01:24:55.604 --> 01:25:03.164 Right! I didn't even think that. It's like, we know those old laws on the books that nobody enforces anymore. But apparently it's still a thing. They wouldn't allow it so. 01:25:03.164 --> 01:25:03.912 That's crazy. 01:25:03.912 --> 01:25:09.725 I know. I--it was kind of crazy to, I don't even know how they found out. Like how would you look that up? Like really? 01:25:09.725 --> 01:25:09.928 Yeah. 01:25:09.928 --> 01:25:14.244 I mean, because usually it's like, there's this person, there's this person, or you related? No, okay's. Let's do this. 01:25:14.244 --> 01:25:22.284 Yeah. Really, you know, you've done your blood tests and fine, you know? Great. You're now legal. So, oh, that's amazing. I hadn't heard that story. 01:25:22.284 --> 01:25:25.849 No, that's one of my favorite stories to tell, especially for history buffs. 01:25:25.849 --> 01:25:31.085 Well, it's a perfect example of how arcane our laws are and how they need to be cleaned up. 01:25:31.085 --> 01:25:31.704 A hundred percent. 01:25:31.704 --> 01:25:53.835 And of course, you know, with former President Carter passing away at a hundred, the fact that he actually gave homebrewing that kick to become, start commercializing. A lot of people are bringing that up now. And as you know, a way to remember him, you know? Oh, yeah remember Carter was the one that, you know, made home, homebrewing able to go commercial and stuff. 01:25:53.835 --> 01:26:08.614 Yeah. My dad was never a Jimmy Carter fan. Because you know, during--he was in the military at the time and he did a lot of pay cuts for the military. Of course, when Ronald Reagan came into play, we went into a lot of debt to give the military pay raises. 01:26:08.614 --> 01:26:09.784 Which they needed. 01:26:09.784 --> 01:26:16.005 But, he always says like, yeah, that's the only thing, good thing that Jimmy Carter did was legalized homebrewing. 01:26:16.005 --> 01:26:18.326 It certainly wasn't the fact that the brother brought up Billy Beer. 01:26:18.326 --> 01:26:21.164 Yeah. I was like. I was gonna say, I think it was more like his brother. Yeah. 01:26:21.164 --> 01:26:26.234 I think he had to apologize for Billy's beer. 01:26:26.234 --> 01:26:26.244 Billy Beer! 01:26:26.244 --> 01:27:03.305 Yeah. That's wild. Oh, Rick, this has been absolutely wonderful and very intriguing seeing your path through the ins and outs of the San Diego brewing industry from being brewer, but also working it through quality control. Because I think quality control, well, even proper packaging, those are unsung heroes. You know, if you don't treat the product right, it's not going to fly. And especially now after COVID with everybody expecting everything to be packaged, it makes a huge difference. 01:27:03.305 --> 01:27:55.814 No, it's, um, I think that's one of the biggest hurdles that many breweries run into is like really taking it seriously. You can't just like, put things in bottles or cans like you did when you were homebrewing. You really have to think about like, the steps that it takes to get there in order for it to be considered a high quality product. Going in. And of course quality is subjective. It really is. But the fact is, is that, you know, and of course the joke is that, quality is subjective, but it is the same definition as porn. I know it when I see it. You know. Or I know it when I taste it. So it's, you know, it's been hard at certain points to get to that point because a lot of breweries don't take quality issues seriously until it really seriously affects them or their brand. 01:27:55.814 --> 01:28:00.345 And some don't ever take it seriously. And that's the reasons they're no longer open. 01:28:00.345 --> 01:28:01.354 Exactly. Yeah. 01:28:01.354 --> 01:28:04.034 I mean there are some names I could name and I won't. 01:28:04.034 --> 01:28:29.354 Oh yeah, no, same, same. Yeah. But it's always the--it was always the case where if I knew they were trying to take it seriously and sometimes they just didn't either have the financial or the scientific expertise to go through it or the experience to do it, then it's like, I'll take you way more seriously because you want to, instead of some of these breweries that take pride that they don't, sometimes. And there was a few of those. 01:28:29.354 --> 01:28:34.854 Yeah. So, well, on that note, I will end the recording. NOTE TRANSCRIPTION END ]]> 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. 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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=BlankemeierRick_DownieJudith_2025-01-03.xml BlankemeierRick_DownieJudith_2025-01-03.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 Blankemeier, Rick. Interview January 3rd, 2025. Description An account of the resource Rick Blankemeier was a quality manager at Stone Brewery from 2010 - 2017. Rick and his colleague, Robbie Chandler, were the first to win Stone's internal brewing competition which was called the Stone Spotlight in 2014. Rick and Robbie's beer was called Sprocketbeir and it was brewed and distributed nationally as part of the competition. Blankemeier was also the Director of Brewing Operations for Modern Times from 2017 - 2019 and the Quality Manager of Belching Beaver from 2019 - 2022. He also taught a brewing course at UCSD. Identifier An unambiguous reference to the resource within a given context SC027-067 Subject The topic of the resource Brewing industry Stone Brewing Co. Belching Beaver Brewery Modern Times Beer + Coffee Microbreweries -- California -- San Diego County Brewing industry -- Quality control Brewing industry -- Accidents Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-03 Format The file format, physical medium, or dimensions of the resource audio Creator An entity primarily responsible for making the resource Rick Blankemeier Contributor An entity responsible for making contributions to the resource Judith Downie Robert Sheehan Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant San Diego County (Calif.) Publisher An entity responsible for making the resource available California State University San Marco 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">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. Rick Blankemeier License A legal document giving official permission to do something with the resource. <a href="https://creativecommons.org/licenses/by-nc/4.0/">https://creativecommons.org/licenses/by-nc/4.0/</a> Brewchive(r) Community history 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 Sierra Jenkins Interviewee The person(s) being interviewed Marilyn McWilliams 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=McWilliamsMarilyn_JenkinsSierra_2021-04-05.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. Black Student Center 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 6.0 McWilliams, Marilyn. Interview April 5th, 2021. SC027-09 00:00:00 SC027 California State University San Marcos University Library oral history collection CSUSM csusm Black Student Center Black experience Office of Inclusive Excellence Marilyn McWilliams Sierra Jenkins moving image McWilliamsMarilyn_JenkinsSierra_2021-04-05.mp4 0 https://archivesoralhistories.csusm.edu/files/original/93959df71a6dacc7ab6c495d62947c4d.mp4 Other video English 0 Interview Introduction 0 39 Childhood McWilliams discusses being raised in Oakland and her early school and family life. They were the first Black family in their neighborhood. Oakland ; middle class ; Oakland Hills 0 277 Path to employment at California State University San Marcos McWilliams talks about the importance of education in her family and the life circumstances and choices that led her to working at California State University San Marcos. education ; civil service ; Associate degree 0 567 Learning about Black history and the Black experience, from childhood to adulthood McWilliams' father played a key role in her experience of Blackness. This was heavily based on their interaction with predominantly white people and focused on equality. jazz ; equality ; imposter syndrome 0 1010 Personal impact of Black activism and social justice movements McWilliams speaks about how her role in the Office of Inclusive Excellence has made her aware of the current state of racism and inequity. Black Lives Matter 0 1240 Role in the creation of the Black Student Center McWilliams reflects on how her early support of Black students played into the creation of the Black Student Center. students 0 1600 Previous efforts to establish the Black Student Center Marilyn outlines the development of student identity centers on campus. She also reflects on the student leaders who accomplished the approved proposal for the Black Student Center. multicultural center ; Cross-cultural Center ; Latinx Center ; student leaders ; Associated Students, Incorporated ; pushback 0 1991 Leaders on the Black Student Center project, their contributions, and unsung heroes McWilliams speaks in more detail about the student leaders and others who worked tirelessly on the creation of the Black Student Center. Black Student Union ; Associated Students, Incorporated 0 2200 Needs of students, staff, and faculty involved in the Black Student Center's creation McWilliams discusses how students need to see more Black faculty, staff, and administrators on campus. cluster hire ; representation 0 2445 Pushback to the creation of the Black Student Center McWilliams reflects on pushback from students to the creation of the Black Student Center. pushback 0 2551 The Black Student Center Grand Opening and McWilliams' first visit to the BSC after opening McWilliams discusses her pride in experiencing the opening of the Black Student Center and her happiness for the students. Her hope is that the space can be expanded over time. pride ; students ; inadequate space ; Anthony Jett, Sr. ; University Student Union 0 2935 Early focus of the BSC's initiatives, programming, events McWilliams discusses how Black Student Center events focused on bringing Black history and education to campus. Kwanzaa ; Tulsa Race Massacre ; Black women ; Black Panthers 0 3148 The move from Student Success to Student Life McWilliams comments on the history of the organizational structure surrounding the student identity centers including the Black Student Center. student life ; student affairs ; Associated Students, Incorporated 0 3319 Achieving the purpose of the Black Student Center and future needs McWilliams states that growth is still needed for the Black Student Center to achieve its purpose including more space, support, and staffing. space ; staff 0 3460 Personal impact of the Black Student Center on McWilliams McWilliams talks about how to continue moving the Black Student Center program forward. events ; duplication 0 3577 Expectations for the future of the Black Student Center McWilliams discusses her expectations for the new director, John Rawlins III, especially once campus is re-opened post Covid closure. She reflects on the student experience during the Covid closure and virtual learning. John Rawlins III ; Covid ; virtual learning 0 3837 Developing an understanding of Blackness McWilliams talks about coming to her understanding of Blackness during an incident with her son in elementary school. Blackness ; motherhood ; son 0 4269 Final thoughts about the Black Student Center and the Black Faculty/Staff Association &#13 ; McWilliams reflects on her time as president of the African-American Faculty Staff Association (now Black Faculty Staff Association) at California State University San Marcos. Black Faculty Staff Association ; African-American Faculty Staff Association ; outgoing 0 Oral history Marilyn McWilliams retired after 23 years at California State University San Marcos, where she most recently was the Administrative Assistant for the Office of Inclusive Excellence. McWilliams has been particularly active in advocacy and assistance to underrepresented communities on campus, and has been recognized by the Black Student Union at their awards night, named a Civility Champion, and received the Jonathan Pollard Award for social justice through student affairs. In her interview, McWilliams gives an in-depth account of her Black Experience starting with her childhood. McWilliams considers her childhood connection to education and how that led her to an administrative role at California State University San Marcos. McWilliams also discusses the CSUSM Black Student Center, her function in a supportive capacity, and the important role students' advocacy played in the creation of the Center. NOTE TRANSCRIPTION BEGIN 00:00:00.000 --> 00:00:25.000 Today is Monday, April 5th, 2021, at 3:02 p.m. I am Sierra Jenkins at CSU (California State University) San Marcos, and today I'm interviewing Marilyn McWilliams for the Black Student Center Oral History Project, a collaboration of the CSUSM Black Student Center and CSUSM University Library Special Collections. Marilyn, thank you for being here with me today. 00:00:25.000 --> 00:00:28.000 Thank you, Miss Sierra, for having me. 00:00:28.000 --> 00:00:38.000 Of course. So we're going to just jump right into it, the questions. First one I have is where were you born? And where did you grow up? 00:00:38.000 --> 00:01:03.000 I was born in Oklahoma City, Oklahoma, but I was raised in Oakland, California. We moved to California when I was six, six years old. So I was raised in Northern California. In the last 23 years I've been here in Southern Cal. 00:01:03.000 --> 00:01:07.000 So interesting. 00:01:07.000 --> 00:01:19.000 And when you think about that, Sierra, that is like full circle. O, Oklahoma to Oakland. And now I reside in Oceanside. Full circle. 00:01:19.000 --> 00:01:30.000 Really? That really is full circle (laughs). It was meant to be. So tell me about your childhood growing up in Oakland. 00:01:30.000 --> 00:03:38.000 I had a pretty good childhood, growing up. I think we moved to California for better opportunities. My father had graduated from Langston University in Oklahoma and moved the family. I'm the baby of four. And actually, I'm sorry, I'm the baby of five. I found out I had another sister in Oklahoma. She's in Oklahoma, but my father moved the four of us and my mother here, to California for better opportunity. He got a job at a high school, Castlemont High in Oakland. And for me, that's when I started school. I started kindergarten and at the age of six in Oakland and I had a pretty good childhood, never wanted for anything. I considered myself basically growing up middle-class and that was very important for a Black family during that time and when we did move out here, nothing but the best for my father. We moved to the Hills, Oakland Hills and we, I can't say if we were the first Black family in our neighborhood, but if we wasn't the first, we were the second, ‘cause it wasn't many of us in my neighborhood growing up. But I think that my childhood prepared me for you know, what was ahead. My mother worked in civil service and my father in education and, like I said, I've never wanted for anything. And, I had a very good foundation. 00:03:38.000 --> 00:03:44.000 How did you come to your understanding of Blackness? 00:03:44.000 --> 00:04:17.000 Ooh. That's a, that's a pretty deep question. Me. Okay. How did that come to my understanding of Blackness? Let me think on that one. Let's come back to that one, Sierra. Cause that kind of took me off guard. Let me kinda’— 00:04:17.000 --> 00:04:36.000 Okay. Not a problem. Let me see what it said. And your childhood, what were you taught about in your childhood and adolescence about Black history and the Black experience? 00:04:36.000 --> 00:09:17.000 I was taught that we could be anything that we wanted to be. I was taught that education was very, very important in order to get to where you want it to be. School was drilled in us. Like I said, my father was in education. I think it was drilled in us so much so that I wanted to steer away from it. It was just, my father made us like homework, whether or not you have homework in that particular, especially when you got to like junior high, we, back then we had elementary, junior high, then high school, junior high started at ninth grade. Am I aging myself? Cause that's not it now. Junior high started at ninth grade and you had like different classes, six classes. And I remember my father was like it doesn't matter if you have homework in that particular class that night you bringing all your books, all five of your books home and you're going to be studying. So, I know that for me, school wasn't—it was important, but for me it was, I’m kind of over it. So by the time I graduated high school, I knew I had to go to college, but I didn't want to. And so I started working, and I went to a junior college directly out of high school, and I completed one year and then I had a car accident and I took a year off. And once I did that, it was like, who wants to go back? But I did. I went back and I got my AA (Associate of Arts). That was it. In that time, I had fell in love, met this man and fell in love and going away, like out of state to college or anything like that—it just was not in the cards for me. I got my AA. We're talking about back in the early eighties. I think that was ‘81. And it's like, I'm set. I got my degree. I'm set. So I started out on the work field and like I said, my mother worked in civil service, and she had worked there and retired after 25 years. And I said, I could do that. So I got me a civil service job and I said, this is where I'm going to, I can do this. I'm good. And until, did 13 years there until the base closed, and then it's like, oh my God, now, what am I going to do? So the best thing for me to do was to try to get back in college, but I still wasn't feeling it, you know, and I ended up moving here, and remarried, and during that time I had divorced my husband, but I remarried, and I moved down here and after a year down here, I lucked up and got a job at Cal State San Marcos. They had just opened up the Early Learning Center, the first childcare center on campus. So I started working there and when I started working there, it was working as a—just coming in to get the books up and running for the Early Learning Center, and it was an eight-week position. I was hired knowing that it was only a temporary position, that eight-week present position. But after my eight weeks was over, the program director at that time felt the need that they needed someone longer. So then that's where my career at Cal State San Marcos began, and I’m very fortunate to say, 23 years later, I'm still here. What turned out to be an eight-week position into that being 23 years for me and I'm very thankful for that. But I think I detoured from the question you asked me, what was I answering, Sierra? I'm sorry. 00:09:17.000 --> 00:09:26.000 No problem. That was really interesting. I was asking about, how, what was your taught experience about Black history, experience? 00:09:26.000 --> 00:12:13.000 Yes, my, like I said, my dad's in education, so we were taught and he actually was a musician. He played the saxophone, so, jazz, listening to jazz was like, you know pretty good, but as far as we were taught that we were just as good as everyone. And by my father being in education he was surrounded by whites. So you know, things, parties and things that he would have at the house, it will be a mixture. So I've always seen a mixture, and everyone should be treated equal. And we were just as good as the next person. So I was taught that you don't— such a cliche, you know—you don't see color, but you know that it's there. You know that others look at you differently. The high school that I went to was predominantly white, predominantly, because of the neighborhood that I lived in and where we went, and it's just like, if now I go, I look back at that high school and it's predominantly Black is like, what a difference generations make, where people start, more Black people started moving towards the Hills moving in the Hills, so like I said, we were one of the first, if not the first in our neighborhood, but most, more started moving and in today's this like—and I think that when I be talking, I don't know where I be going, but I probably steered away from that question again, so I think I need to just leave it there. My parents really did instill the importance in us that we can do and be anything that our hearts desire. But for me back then, all I wanted to do was be a housewife and a mother. I wanted babies. I wanted to be, but I also knew that you needed, you need it more in order to sustain. So. 00:12:13.000 --> 00:12:34.000 That's really interesting. And you mentioned how, right after you finished high school, you went to junior college and then you were in the workforce for a bit. During that time, did you learn anything new or different about the Black experience or about being Black yourself? 00:12:34.000 --> 00:15:44.000 Not me personally, no, because me growing up as a child, I never had to struggle or want for anything. So, I never felt that for me personally, I never felt that. And I think my type of, I don't know, probably because of how I raised, because my mother was such an outgoing person, I never felt unwanted. I never felt as if when I walked into the room I wasn't wanted there. But I've always been a somewhat shy type of person, so I never wanted to be the person to stand out, but yet still, I always ended up being the person that stands, that stood out because I think, because I was loud and always wanted to make someone smile, you know, just, I wanted to bring joy. And then I would find myself being like the center of attention that I never ever, ever, ever wanted, but it always ended up like that. And then I'll walk away and say, how did I just do that? But I've never, ever felt unwanted or, not or looked upon as someone less than. I never felt that in my life, even working at Cal State San Marcos, at a university. I did feel—that's sometimes inadequate in parts, partly because I only had an AA and here I am working at an institution, a four-year institution where degrees were so important. Bachelors, masters, doctorates, you know, so important, but even working there I still never had that desire to go on. And probably because of my experience, I still was able to be me, if that makes sense. 00:15:44.000 --> 00:15:45.000 It does. 00:15:45.000 --> 00:15:59.000 I felt, I think sometimes I did feel less than because I only had an AA, but that AA didn't really define me if that makes sense? 00:15:59.000 --> 00:16:05.000 Yes. So kind of felt like imposter syndrome type thing? 00:16:05.000 --> 00:16:09.000 Probably. Yeah. Why am I here? 00:16:09.000 --> 00:16:10.000 Yeah. 00:16:10.000 --> 00:16:21.000 I deserve to be here, too, but do I? But I'm still here. So I guess, yes, yes. 00:16:21.000 --> 00:16:46.000 Yeah. That's actually a great segue into our next question. How has Black social justice and activism such as the Civil Rights Movement, feminism, the natural hair movement and Black Lives Matter affected you? 00:16:46.000 --> 00:19:10.000 It. How has it affected me? It affected me in a way that it's sad to see the world in the state that it is in right now. Especially with everything that's going on now. Like I said, all of that was not part of my upbringing or who I am as a person. And I guess I must've always just surrounded myself around individuals that didn't feel the way, like some, like a lot of people out there are feeling social justice, Black Lives Matter. Especially working in the department that I work in. We get, I work in the Office of Inclusive Excellence, and we get a lot, you know, inequity things that are happening on campus with our people. But how did it affect me? Oh. Affects me to the point of will it ever end? It’s, I don't understand it. I don't understand. And I know, you know, why can't people see us all as humans? We're all human, everyone has their own experiences, their own—okay, Sierra, I need to articulate that a little better. 00:19:10.000 --> 00:19:13.000 You’re doing, you’re doing good. 00:19:13.000 --> 00:20:22.000 And it's like, how did it affect me? I don't know. I don't, I don't know. I don't know how it affected me. Maybe, I don't know. It's sad. It's sad to see. It hurts me to see how a lot of people, I know people that don't know how a lot of people are treated. It’s sad for me to see how – not sad. It's, it's like, I don't understand how, well I guess I do understand because it's how people are raised. But I don't understand how people can look at an individual and just think that they're not worthy to be here to occupy this space, to offer input or, I don't know. I think I'm just rambling. So, let's go to the next one. 00:20:22.000 --> 00:20:23.000 Okay. 00:20:23.000 --> 00:20:25.000 That one stumped me. 00:20:25.000 --> 00:20:41.000 (Laughs) It is another deep one. This one goes more towards your experience at San Marcos specifically. What role did you play in the creation of the BSC? 00:20:41.000 --> 00:26:10.000 Not much of a role. I understood the students. I understood their need and desire to have space of their own. And since I, I think since I started working, working there, I think the way that I found my calling, because remember I stated earlier how I pretty much felt somewhat inadequate because I only had an AA. So working there when I first started, I started off in the Early Learning Center with the little babies and as the admin person working in the Early Learning Center, which was very, so fulfilling. Then you get, I got to meet a lot of the students because they will bring their children there and I worked there for about five years, and when a position opened up at the Associated Students (Incorporated, student government) office, working with the board of directors, an admin position opened up there, I applied for it, and I got it. So then I moved into that position. So now I'm around students, all kinds of students, and they're the ones that's pretty much running the association. And they're technically like our bosses, but, you know, the staff is there to make sure that they're doing everything according to code, Title IX policy and all of that, but they were technically our bosses. I found my calling during that particular time because I felt more of a mother figure to the students and the Black students really kind of cultivated towards me. Like I said, I don't know, sometimes I’m like the loud one in the room. I'm making them feel kind of like a home. I'm like that mother figure, like: what are you doing in here? Shouldn't you be in class or, you know offer things that way where a lot of my other colleagues would offer advice on this is the class you should take, or you know upper division, lower division, all of that type, this is the path that you need to go, or in order to graduate, these are the things, and my role was totally different, you know. Take care of you and make sure you're eating. Did you have lunch today? Or you know just things like that. So that kind of like mother away from home type of situation. So I found myself that way. So I think the students felt, I think they felt that way also because they always came to me, and I've always had an open-door policy no matter where I was, where students can come. So I got their, I understood their need. Ever since I've been there, the Black student, faculty and staff was at 3%, you know, always at 3% at our university and that's not a high number. So it's like, how do we get more and more students? But in order to get students, you want to have faculty that students want to go into a classroom where they have faculty that looks like them. And so, I got that a lot. So the need for them to have their space was very important. And as far as like playing a role, I was that listening ear. So I would listen and I can, I would be able to advise some: well, you know, have you tried, have you talked to such and such, have you did this, have you did that? And then when you get those students that are outspoken and it's like, no, we need action! We need, we need this, we need that, I'm there with my colleagues to help them navigate that. So my role wasn't big, but it was there. It was big enough, if that makes sense. 00:26:10.000 --> 00:26:38.000 Definitely. It sounds like you're the moral support, probably the push sometimes people needed to hear. Since you definitely were an ear to students prior to the creation of the BSC (Black Student) Center had you heard a previous like previous push for the center before the one that, that, allowed it to be created this time? 00:26:38.000 --> 00:32:51.000 Oh yeah, yeah, yeah. Students wanted that. And then, you know, there's no space, so there's no space on campus. Which came first? We got the Multicultural Center, which ended up being the, the multicultural center and that ended up being the Cross-Cultural Center and that on our campus kind of like predominantly, it (was) designed to be for all, but it ended up being more of our Asian, Pacific Islander Desi, it ended up being kind of like the center where a lot of our Asian students kind of like gravitated to. And then I think we got the, the Latin /x Center after that, which ended up being a very small area. But then we got some very outspoken, I mean, even before the (Black Student) Center did become, even before the center five years ago, we got some very outspoken students that would not take no for an answer and demanded the president, where it was so much so, they had help from others, not me as far as like writing the proposal and all of that, more my other colleagues that had their master’s (laughs), their degrees and stuff, to help them put all of that together to bring to the president. I think my role was small, but I think it was, it was there. And I was very proud of them. Very proud of them for how they went about it. At one point as—I do want to mention that I did end up after 14 years with ASI, Associated Students (Incorporated), I did get the position when we first opened our diversity office on campus. Diversity, Educational Equity, and Inclusion was the office that opened up in July 20, no July, where are we? 2021? July 2011, when that office first opened up and then I applied for an admin position there and I got that in November 2011. So when that office opened up, it opened up a more direct avenue for the students to advocate for the space, and our office helped. But my part was just being there to be supportive in any way that I could. And right now, if I was to list those to you, I couldn't even tell you what they were but I do know that with—that's where I was going—see how I'm just going all over the place? I do know that within ASI, it was the very first time that ASI had an all-color female executive board. So we had a Black female for president, a Black female for executive—I forgot what the titles were, a Black female for the diversity rep, and like a Latina female for the vice president of something. So all the execs were females of color. And I do want to say that that year was really, they did so much, but they got so much pushback. And it was really sad to see that. They was, you know, all strong women. I'm hoping that some of them are part of this interview. Naturally they're great. They've graduated, but they were in our office all the time because of how, because of how they were being treated. So I know that when, if they are in the interview, their experience at Cal State San Marcos way different, because they got so much pushback and it was like, they couldn't do it, but they did some amazing work. Amazing. And it was during that particular board when the president decided that yes, we do need a (Black Student) Center. So I don't even know if I answered that question and let me apologize to you right now because I noticed sometimes I hear one and then I start saying something that I may be, so I don't know. I know that you're recording. So if you have the capacity to like, okay, she wasn't making no sense, you know, cut! You know, I have no problem with that because I'm probably just going off on a tangent, like I am now. So I’m gonna’ be quiet. 00:32:51.000 --> 00:33:08.000 No, that's totally fine. You answered the question perfectly and then actually it actually goes into the next one. Cause it sounds like those women were kind of like unsung heroes that maybe not everyone knows about when it comes to the BSC. 00:33:08.000 --> 00:33:09.000 Absolutely. 00:33:09.000 --> 00:33:10.000 Yeah. 00:33:10.000 --> 00:33:45.000 Absolutely. Like I said, I truly hope that they are part of the interview process. I believe the director, well, I did reach out to one of the students that I'm hoping that the director of the BSC has contacted her, but I do hope that these students are part of this interview process because I know that they will be able to share a lot of information, especially from the student perspective. 00:33:45.000 --> 00:33:58.000 Yeah. Who are the different leaders that like spearheaded the BSC project? 00:33:58.000 --> 00:34:00.000 The different leaders? 00:34:00.000 --> 00:34:11.000 Yeah. Like who were the main people you would say advocated or were central to creating the Black Student Center? 00:34:11.000 --> 00:34:57.000 Oh the students definitely, the BSU, the Black Student Union president at the time. And not just the president, but the Black Student Union student organization, a lot of the students there, as well as the execs in the ASI (Associated Students Incorporated) board of directors. So the—I'm sorry, I just, I just saw your cat and my mind—No, no, no, it's not you it's like, Ooh, she has a cat. I'm sorry, Sierra (laughs). 00:34:57.000 --> 00:35:05.000 You’re totally fine! I was surprised they've been good this long, this far in (laughs). 00:35:05.000 --> 00:36:20.000 But the students definitely, I would say definitely they are the main ones too, that make, and they wasn't even here wh- oh yeah. When we opened the ASI (Associated Students Incorporated) board, they were graduating, but some of the students from the Black Student Union student organization wasn't even here for the opening (of the Black Student Center). They had, you know, they had since left. They wasn't even here for the opening to the, to see that. But the ASI, the ASI executive board were. So I'm thankful for that because I'm thinking about the opening now. And the three of them were there at that, but I will say the students were the main force, but they had help. They had help from some faculty. We have our Sharon, Dr. Sharon Elise at the time. Dilcie Perez, Ariel Stevenson, a lot of the faculty and staff, they were there to help support them, but it was mainly a student effort. 00:36:20.000 --> 00:36:37.000 Okay. That also leads into the next question. What did staff faculty, and especially students, since they were central to this, that were involved in the creation of the BSC, what did they feel they needed? 00:36:37.000 --> 00:37:57.000 Ooh. They needed. I know that a few of my colleagues were able to help with the proposal. Would that be a proposal? The writing, you know, the letter to the president, I know that a lot of the, a lot of my colleagues were able to assist with that. The letter, to get it to the president's office and, and make sure that it was in a… format. If that's the word I'm looking or a different word, but format, that would be looked at and not just pushed to the side, you know it, that made in such a way that, okay, we can't like, not just ignore this. So. That wasn't even your question. What was your question again? 00:37:57.000 --> 00:38:06.000 You're answering it. What did the students feel they needed? And you were saying how the letters they were getting helped with that sort of thing. 00:38:06.000 --> 00:39:38.000 Yeah. And they needed to, they needed to know and needed to feel that what they were asking for was something that was needed and not just—something that was really needed and not just: we're asking just to be asking. And they needed that for them, you know? And there's more, and that's why now we're into cluster hire, because even the Black Student Center has been here for five years, going on five years, and we still are not where we should be at with faculty hiring, administrative hiring for the African Americans, you know, for the Blacks. We, there's definitely more that needs to be done, but that was a step in the right direction. But there's still more that needs to be done. 00:39:38.000 --> 00:40:01.000 Yeah. What did the university administration communicate was their vision? You mentioned it was more students. So what maybe what was their, what did they communicate? Was there a vision for the BSC? 00:40:01.000 --> 00:40:06.000 Hm. I'm not sure how to answer that one. 00:40:06.000 --> 00:40:26.000 Okay. No problem. We can go on to the next one. Was there external or institutional pushback to the creation of the BSC, or did you experience or witness any pushback upon the creation of the Center within the Center or on social media? 00:40:26.000 --> 00:40:43.000 Hmm, not sure how to answer that either. I'm not really a social media person, I'm on Facebook, but I don't do the Instagram or, you know, so hmm. Was there pushback? 00:40:43.000 --> 00:40:44.000 Yeah. 00:40:44.000 --> 00:41:15.000 I'm pretty sure. I'm pretty sure there was pushback in the beginning, but I think it got to the point where, because I'm pretty sure that like this last group, it wasn't the first one to bring this up to the president and to administration. And now I'm not sure how to answer that question, Sierra. 00:41:15.000 --> 00:41:25.000 No problem. Maybe. Did you, were you aware of any pushback from other groups of people to the creation of the Center or… 00:41:25.000 --> 00:42:25.000 Oh, that way. Yeah. Yeah we got pushback because then you have students start asking for white center. So, but I don't really know how to answer that question as far as pushback, what type of pushback? You know, there were students that, especially when they were talking about opening the Black Student Center, they, yeah. There were students like, we need this, we need that. Why are we having that? I mean you, you're going to have that, but how extensive that was, I can't answer that. 00:42:25.000 --> 00:42:31.000 No problem. Were you at the BSC grand opening? 00:42:31.000 --> 00:42:37.000 Absolutely! It was wonderful. 00:42:37.000 --> 00:42:44.000 How did you feel the first time you visited the Center once it opened? 00:42:44.000 --> 00:45:34.000 I felt pride. I felt overjoyed. I felt like now the students, and I'm looking at it from a student point of view, now the students can really feel like they have some place to call home here on campus. I felt, I felt prideful. I felt, yes! I felt like, okay, let's, let's do this. I felt as though the place was small and it was going to, it will be outgrown in two weeks, but it was the beginning, it was the beginning and the right direction. And I felt with what they had to, what they had to work with—‘cause I don't know how all of that stuff works. How do you find space on campus? And when you do that, and I know that when that was happening, they had to do away with another space that one of the student orgs had. It was, we had a like serenity type an office and then an area where you can go in and wash your feet before you go pray. And all of that, we had that area. And so they had to take that away. So I felt bad for those students because they were losing their space or they were sending them, giving them someplace else. But in order, it was just, I don't know. It was, you get rid of one in order to move one in and then it's still not really adequate, but it’s what you have. And at least you have something, you know, so I felt good about that. At least they have something and then maybe it can be expanded at a later time. But the mere fact that they did have a space, I felt very happy about that. 00:45:34.000 --> 00:45:42.000 That's amazing. What was the grand opening like? I want to hear that, more about that. 00:45:42.000 --> 00:48:11.000 We had speakers, the new director was hired at the time. Anthony Jett, he's no longer there. But the students, the Associated Students (Incorporated), they pretty much ran it. Not ran it (the Black Student Center), the program itself. They were the president of ASI, her name was Tiffaney. Her name is Tiffaney Boyd. They pretty much had a role. I'm trying to think. We had speakers there. It was like an open house where we were able to, first we were out in the amphitheater with just like a very nice program. And we toured, we had sororities from other campuses come and it was a big, festive event. And it was wonderful. There was all the students were so happy. It was wonderful. And, you know, I had on my little—kente, what did I wear? I was all gold. I was cute. I was cute that day! It was very festive. The president was there to cut the ribbon, and the students were all up there. I'm pretty sure I have some pictures somewhere from that time, but it was, it was a magical moment. It was wonderful. And it was in the (University) Student Union. The Student Union had just, I can't even remember time, but it was fairly new and like the perfect place for it to be. So by that time we had the Cross-Cultural Center, the Latin /x Center, the Gender Equity Center and the LGBTQ, no, no, no, the Pride Center. It's not LG. It's just called the Pride Center. So we had all those centers in our Student Union. And it was like, okay, this is what's it, this is happening! This is good. So I felt very prideful. 00:48:11.000 --> 00:48:15.000 That sounds like so much fun. I wish I was there. 00:48:15.000 --> 00:48:35.000 Then I walk in. ‘Cause you know, like I told you, me being who I am and stuff like that, I walked in. It's like: yeah, mama bear here! Hey! How y’all! You know, I walk in all loud and they sit behind their desk and it was just, it was like open arms. So it felt good. 00:48:35.000 --> 00:48:55.000 That is amazing. Now this is more about the early days of the BSC (Black Student Center). Tell us about the early focus of the BSC’s initiatives, like meaning programming, events, and their focus. 00:48:55.000 --> 00:51:55.000 We had some very good events. The focus was bringing Blackness and history and education to campus. I remember we had a event, a program with the Tulsa massacre. And I think we had an event with the founder of Kwanzaa. We had an event I think that year for the opening. I can't remember when we opened, but the, right after the opening, that first March was Women's History Month. So, the director made sure to recognize and honor all of the Black women at Cal State San Marcos. Faculty and staff, and to just, you know, recognize all of them. So it was a day set aside for that, which was wonderful. And I'm sure there's more events that I just can't think of off the top of my head right now, but it was like just going to those events, some were evening, some were during the noon hour. But going to those, it was like, Oh my God! You know, like even the Tulsa massacre, just like hearing about all of that. We had Black Panthers, it was an event where some of the members from Black Panthers was there. So, it was all about promoting history, Black history, and it was fabulous. It was just, it was good and it has continued but you know, now with this pandemic, it's been hard this last year, especially when we got our new director (John Rawlins III), I can see great things are coming. Great things will be coming, but just with this last year, things had to shift. Things had to change. But I think the pride in just educating Black history is his focus and goal and (he’s) doing a great job. 00:51:55.000 --> 00:52:28.000 That's so interesting. And I love that focused on Black history because oftentimes we aren't taught our correct history, you know, so it’s really important and awesome that they did that, especially so early on. Why was the Black Student Center moved from Student Success or Black excellence to Student Life? 00:52:28.000 --> 00:54:20.000 They, I don't know. They changed, well students, it used to be student. I don't know if necessarily changed. I think just the name changed. Changed because Student Life, what did they used to be called? SLL. Student—I'll have to look at one of my t-shirts to see what the SL is, but it's not necessarily changed because they've always been up under Student Affairs. They've always been part of Student Affairs and the student life center, all of this, not all of the centers—all of them have always been part of Student Affairs, but with, like the Pride Center and the Gender Equity Center was part of Associated Students (Incorporated), but then they branched off from Associated Students into Student Life. So that those twos’ kind of like move, but all the other ones have always been part of Student Life. So I'm not sure where that, that question you might have to check with director of the Black (Student) Center for more because I know that they just re- Student Life just, is it Student Life? They just recently changed their name. So they changed it to Student Life? They used to be. Yeah. See, I don't know. 00:54:20.000 --> 00:54:44.000 Okay. No problem. Were there any, or what are some of the wrinkles that had to be worked out in the early days of the Center? 00:54:44.000 --> 00:54:46.000 I don't know. 00:54:46.000 --> 00:55:21.000 Okay. No problem. We can go on to the next one. You actually mentioned this a bit, but the main purpose of the Center's creation was to, you know, have a, a place of community for the Black students on campus, place where they can learn about their history and just feel a sense of community. How do you feel like this purpose has been accomplished? Or do you think we're still working on working towards that? 00:55:21.000 --> 00:56:39.000 I think that yes, but there's still growth needed. And if that growth needed as far as more space, more support as far as like, employees to help, you know, yes, the students play a great role, but—a great important role—but students tend to leave. They graduate, they move on. And so, you know, to have like a strong foundation where you have a director and, you know, a couple coordinators or, like full-time staff there, would be helpful. I don't think I answered that question. So ask me that question again. 00:56:39.000 --> 00:56:52.000 You answered it, but I'll ask it again. You mentioned the main purpose. How do you feel like it's been accomplished already? That was the main question. 00:56:52.000 --> 00:57:19.000 Oh, yes. And no. I mean, yes, we accomplished because we have it, but there's going to always be more that needs to be done and more that can be done. So we're not finished, by no means are we finished. 00:57:19.000 --> 00:57:40.000 Thank you for that. Um, what has been the impact of the BSC on you personally? 00:57:40.000 --> 00:59:09.000 Just the mere fact of knowing that one piece has been accomplished. We got it. So now let's make use of it. Let's make it bigger and better. Let's do all that we can in order to keep promoting. Let's not stop. And even though, like I had mentioned a couple of the events, sometimes events need to be duplicated because you have a different audience, you know, you have new students, you have new freshmen, sophomores that probably wasn't here years ago to see some of the fruits from the events that took place earlier. So sometimes, sometimes things can be duplicated in order to continue the education, if that makes sense. Yeah, I think I'll stop there. 00:59:09.000 --> 00:59:12.000 Okay. 00:59:12.000 --> 00:59:14.000 Probably said to yourself, Lord have mercy. 00:59:14.000 --> 00:59:20.000 No, It’s been interesting and so amazing. 00:59:20.000 --> 00:59:24.000 Thank you for making me feel good. 00:59:24.000 --> 00:59:40.000 No problem, it's true. Like I'm, I'm being serious cause I'm new to San Marcos. So all of this stuff is brand new to me, so I like hearing about it. What do you expect to see next for the BSC? 00:59:40.000 --> 01:03:21.000 I expect to see John (Rawlins III, Director of the Black Student Center) do amazing things. He has the energy, and he has the means to bring amazing, new and amazing things to campus. So I expect for—I expect to see some great energy and great education coming from the Center, especially once we get back to campus. Everything is just so, you don't really understand and realize the effect, because this is new to everybody, the effect that this pandemic has had on many, and you don't know cause, like I've realized during this pandemic that depression, loneliness and all of that, all of that stuff is real. And you don't know what individuals are going through. Especially students from like a virtual learning environment to, what if you’re the type of student that you're visual or you're hands on and you can't get that now. And so how is that impacting your ability to learn and to grasp and to understand and to move on from this. So I'm hoping to see great things once we are out of this pandemic and once we're able to move back to campus. And like I said, especially with the implementation of the cluster hiring, I'm hopeful that we're getting ready to get more Black faculty, possibly Black administrators here on campus. I really feel in my heart that our new president (Ellen Neufeldt) she's on her, just completed her—is she going on her second year or first year? But I think that coming this July, I think this will be her second year. I think she gets it. And I think that that is going to be all the difference in the world for Cal State San Marcos, to really, especially where we're centralized, where we are here in North County, North San Diego County to be a little bit more diverse. I think our president now gets it, understands it, believes it, feels it, and is gonna’ make sure that it happens. And I see that in the future. And I don't even know if that that was your question? 01:03:21.000 --> 01:03:23.000 It was my question! 01:03:23.000 --> 01:03:30.000 And I know I’m, saying that a lot so you know, you will have to cut that, but I'm just being me, Sierra. 01:03:30.000 --> 01:03:45.000 I love it. It's fine. And yes, you answered the question perfectly. Did you want to go back to that previous question about, how did you come to your understanding of Blackness? 01:03:45.000 --> 01:08:46.000 Hmm. I'll use this as an example. I came to my understanding of Blackness when my son was in the second grade. And like I told you, by this time I'm in Oakland and the school is not predominantly white at the time. You know, it was getting to be a mixture, but I started having problems with my son in school with this teacher, I'm getting phone calls every single day, every day about him doing this, him doing that, you know. What I think what hurt the most is when I had to go to the school to have a conversation with the principal because on my son's report card, the teacher wrote on there that he has, how did she phrase that? Animalistic behavior or something, something she said in that sense? And I'm like, whoa, that was you know, or is she calling my son an animal? Why teacher? But that made me realize, well, how can you put something like this on an important document? And it was one of those situations where I'm constantly getting calls, I'm taking off work, I'm going to class, I'm going to school, I'm doing everything that I needed to be doing. And then for her to put something like that. So I think at that point, it's like, is she calling my son out as a you know, is this because he's Black? And I'm using this as an example because I'm trying to think of how did I come to my real realization of Blackness, of being Black. And that took me for a loop. Later on I began to realize, later on—my son is 38 now. So I'm saying this was back in second grade. I think back then, my son realized at the time that he can get to this teacher and now thinking back on it, I think that she was afraid of my son. A second grader! How old are you? How old are you that? So I have a granddaughter who is seven in the first grade. So you're like, eight, and for teacher to be afraid of a eight-year-old child at that time. And then to say things like that. So naturally I went to the principal's office and I wanted him moved. I wanted him moved out her class because I didn't think that that was healthy. And you know, for him, definitely not, for me, it just, it was like one of those that sent me back like, wow. And that's kinda’ like the only thing that I can kind of like think of right now, coming back to that. But yeah, I think that, that time she was afraid of him and didn't know how to articulate it and but to articulate like that is demeaning. And that let me know that something wasn’t right with her to feel that way and to put that, you know, he ended up—he's married. He’s doing well. He ended up being, he's like one of those giant, what do you call them? Who's real quiet. Quiet giants or no that's not, what's that saying? 01:08:46.000 --> 01:08:47.000 A gentle giant? 01:08:47.000 --> 01:09:29.000 Yes, thank you! And that he ended up that for that's how he is now. He’s about six two, and just so gentle, soft-spoken and it was like, you know. But anyway, sorry, that's the only thing that I can think of. I'm pretty sure as soon as we, soon as we end, this is like a whole bunch of things are going to pop up and say, you should have told her this, you should have said this, but right now? I'm not, I'm not feeling any of it. I don't have the words are just not there. 01:09:29.000 --> 01:09:48.000 That's fine. And I'm glad you guys are good now, but I'm so sorry that happened to you and your son at the time. And I just hate that, you know, as Black people coming into our Blackness always has a, there's always a hand in trauma and you know, discrimination. 01:09:48.000 --> 01:09:52.000 Oh, yeah. Oh yeah. 01:09:52.000 --> 01:10:01.000 Yeah. But thank you for sharing. And my last question is, are there any questions that I should have asked that I didn't? 01:10:01.000 --> 01:13:14.000 You asked some pretty tough questions, Sierra. They were good, but they were tough. And I just hope, I only hope that I'm not a good, um, it's so funny. I'm not a good public speaker. I'm not a good interviewer. And it's so funny that I'm saying that to say, when I came to work for Associated Students (Incorporated) on campus, probably the first year we have a faculty staff association, African-American Faculty Staff Association that has since been renamed. It used to be African-American Faculty, Staff Association, AAFSA, but once the Black Student Center came on board, they renamed it to Black Faculty Staff Association to be more in alignment, more in unison with, we had the Black Student Union, which was a student, which is a student organization. Then we got the Black faculty staffs no, the Black Student Center. And so then that's when they wanted to rename AAFSA to the Black Faculty Staff Association. But back then, when I first came to Associated Students (Incorporated), they needed a president for the African-American Faculty Staff Association. And because, you know, we're, our numbers. We're just. Multiple people have served that role before, but you're just so limited that after I was there for like about a year, they asked me to do it. And of course, I no! I can't be no president, president, no! And it's so funny because a lot of my colleagues, you know: we're here for you, we'll be here, blah-blah-blah. So I said yes, ended up in that role for two years. And with that is like, when we would have functions or a recognition ceremony, we have our signature, soulful luncheon, all those things I'm up on that podium, it's like just the, nervous as all get out. I can't do this, I can't do this. And then you get me up on that podium with that microphone. And I just wouldn't be quiet. I'm just up there just blah-blah-blah-blah. You know? And it just, for whatever event it was, it was wonderful. It was wonderful. So it's like, why am I even telling you, why am I even saying this? I don't even know why? I brought it up for a reason, I lost my train of thought, but—I don't know Sierra. And like I say, when I get off this call, I'm going to say, yeah, I knew that's why I was bringing it up. I brought that up for a reason, but I don’t know. 01:13:14.000 --> 01:13:19.000 Oh my goodness. 01:13:19.000 --> 01:13:26.000 I think we need to end this while I am ahead. If I am ahead. (laughter) 01:13:26.000 --> 01:13:30.000 You're doing so good, don’t doubt yourself. 01:13:30.000 --> 01:13:32.000 Just being myself. 01:13:32.000 --> 01:13:35.000 Alright then. 01:13:35.000 --> 01:13:40.000 Well, I appreciate you taking the time out with me. Hopefully your other interviews will go smoothly. 01:13:40.000 --> 00:00:00.000 Oh my gosh, this one went perfectly and thank you for taking your time for me as well and this project as a whole. And your input is so important to this project and just thank you. And now I'm going to stop recording. NOTE TRANSCRIPTION END ]]> 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 ; &#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=McWilliamsMarilyn_JenkinsSierra_2021-04-05.xml McWilliamsMarilyn_JenkinsSierra_2021-04-05.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 McWilliams, Marilyn. Interview April 5th, 2021. Description An account of the resource Marilyn McWilliams retired after 23 years at California State University San Marcos, where she most recently was the Administrative Assistant for the Office of Inclusive Excellence. McWilliams has been particularly active in advocacy and assistance to underrepresented communities on campus, and has been recognized by the Black Student Union at their awards night, named a Civility Champion, and received the Jonathan Pollard Award for social justice through student affairs. In her interview, McWilliams gives an in-depth account of her Black Experience starting with her childhood. McWilliams considers her childhood connection to education and how that led her to an administrative role at California State University San Marcos. McWilliams also discusses the CSUSM Black Student Center, her function in a supportive capacity, and the important role students' advocacy played in the creation of the Center. Identifier An unambiguous reference to the resource within a given context SC027-09 Date A point or period of time associated with an event in the lifecycle of the resource 2021-04-05 Format The file format, physical medium, or dimensions of the resource video Creator An entity primarily responsible for making the resource Marilyn McWilliams Contributor An entity responsible for making contributions to the resource Sierra Jenkins Subject The topic of the resource Anti-Black racism California State University San Marcos -- Staff California State University San Marcos. Black Student Center California State University San Marcos. Office of Inclusive Excellence Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant San Marcos (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" target="_blank" rel="noopener">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. Marilyn McWilliams Is Part Of A related resource in which the described resource is physically or logically included. Black Student Center Oral History Project Black experience Black Student Center Oral History Project CSUSM history 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 Aaron Williams Interviewee The person(s) being interviewed Merryl Goldberg 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=GoldbergMerryl_WilliamsAaron_2025-04-09_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. music;activism;arts education;censorship 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 6.0 Goldberg, Merryl. Interview, April 9, 2025 SC027-078 01:28:23 SC027 California State University San Marcos University Library Special Collections oral history collection CSUSM This interview was conducted in partnership with the CSUSM History Department, and made possible with generous funding from the Ellie John Foundation. csusm California State University San Marcos. Music California State University San Marcos. Center ARTES Klezmer music Klezmer Conservatory Band Soviet Union Boston (Mass.) San Marcos (Calif.) Smuggling -- Soviet Union music ; activism ; arts education ; censorship Merryl Goldberg Aaron Williams Video GoldbergMerryl_WilliamsAaron_2025-04-09_access.mp4 0 https://archivesoralhistories.csusm.edu/files/original/93e37e5636e5ef1f864f806c9067fbf1.mp4 Other video English 0 Introduction and roles on campus Goldberg discusses her roles on campus as a music professor and Director of Center ARTES at Cal State San Marcos. She describes their current project ART=OPPORTUNITY that encourages arts education for all students. With assistance from several funders, Goldberg enthuses about the capability of Center ARTES to implement creativity in curriculum across California. 0 ["[\"[\\\"\\\"]\"]"] 324 Family and music education Now a professional saxophonist, Goldberg shares where her love of music originated. She talks about being immersed in a creative household, pursuing the saxophone despite initial hesitancy from her parents, and joining the prestigious New England Conservatory of Music. Goldberg also shares about performing professionally with the Klezmer Conservatory Band. 0 ["[\"[\\\"[\\\\\\\"[\\\\\\\\\\\\\\\"[\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"]\\\\\\\\\\\\\\\"]\\\\\\\"]\\\"]\"]"] 659 Klezmer Conservatory Band After sharing about her musical education and introduction to klezmer music, Goldberg recounts the foundation of the Klezmer Conservatory Band with Hankus Netsky at the New England Conservatory of Music. After completing her education, she supported herself financially with performances and private lessons. Since most of the klezmer music was previously never written down, Goldberg describes being able to improvise, learn, and transcribe music. 0 ["[\"\"]"] 1198 Family background and Jewish identity Goldberg delves deeper into her family background. Although her parents were not musicians, she describes their creativity that was passed on to her. She recounts witnessing her grandfather play alongside jazz pioneers like Duke Ellington and Nat King Cole. Despite not knowing it at the time, Goldberg reflects upon growing up in a lower-income community that fostered a child's creativity and imagination. Subsequently, Goldberg shares more about her family background, her Jewish identity, and the foundational aspects of Judaism that encourage creative education. 0 ["[\"[\\\"\\\"]\"]"] 1980 Secret code with sheet music After describing her musical education, family background, and Jewish identity, Goldberg discusses her experience in the Soviet Union. Providing meaningful historical context, she describes the dire situation in the USSR faced by minorities and freethinkers alike. Utilizing her musical education, she recounts devising a secret code with sheet music. Goldberg then elaborates on why she felt compelled to take action, and why documenting stories of Jewish persecution mattered. 0 ["[\"[\\\"\\\"]\"]"] 2874 Music as resistance and arts education During her time in the USSR, faced with interrogation and possibly incarceration, Goldberg now reflects on music as a form of resistance. She expresses the importance of freedom within one's own mind, which can and should never be policed or censored by fascism and oppression. Goldberg then describes implementing and reinforcing this philosophy through her work as a professor. 0 ["[\"[\\\"\\\"]\"]"] 4042 Why histories matter Wrapping up her own shared story, Goldberg states why people's stories matter. Comparing the Soviet Union in the 1980s to the USA in 2025, Goldberg stresses the importance of empathy, nuance, and compassion. She further elaborates on the preservation of voices under persecution in the past and present. Additionally, she discusses the serendipitous revelation of her secret code and an upcoming book about her experience smuggling out stories of Jewish persecution in the Soviet Union. 0 ["[\"[\\\"\\\"]\"]"] Merryl Goldberg is a musician, author, and professor in the School of Arts at California State University San Marcos. She is the director of Center ARTES, which encourages artistic education for every student in California curriculum. In addition to being a founding member of the Klezmer Conservatory Band, Goldberg has toured internationally as a professional saxophonist. In combination to her musical skills, she devised a secret code using sheet music that helped smuggle stories out of the Soviet Union. NOTE TRANSCRIPTION BEGIN 00:00:00.000 --> 00:00:17.000 Okay. Today is Wednesday, the 9th of April 2025. For the Special Collections of California State University of San Marcos, my name is Aaron Williams. And I am interviewing Merryl (Goldberg). Thank you for joining me. How are you? 00:00:17.000 --> 00:00:20.000 I'm doing great, thanks. Thanks for having me. 00:00:20.000 --> 00:00:39.000 Yeah, of course. So, this is for the oral history project with Special Collections. You are a professor on this campus in the School of Arts and Director of Center for ARTES. Am I pronouncing that right? 00:00:39.000 --> 00:00:40.000 Yep. Center ARTES. 00:00:40.000 --> 00:00:44.000 Okay. Can I quickly ask about that and your role on campus? 00:00:44.000 --> 00:01:13.000 Yeah, sure. So I'm a professor, music professor. I've been here for over thirty years. And Center ARTES is a center dedicated to ensuring that all kids have access to arts education. Or arts integration in the classroom, and working with school teachers and districts to create those opportunities so people feel comfortable integrating the arts throughout the curriculum. 00:01:13.000 --> 00:01:25.000 Okay, cool. So do you work -- what does that look like for you and like the work you do? Like, what is your role in, or—sorry. What specifically do the work you do, if that makes sense? 00:01:25.000 --> 00:05:03.000 Yeah. So specifically, the work of Center ARTES, right now we have our ginormous project called Art=Opportunity. So, under Center ARTES, Art=Opportunities, there's myself, there are multiple faculty fellows who, you know, other members of the faculty, both in the School of Arts and in the School of Education. And actually one of our partners from San Marcos Unified (School District) is a fellow as well. We have several projects. One big one is creating career pathways for people who want to become arts teachers in schools, or teachers on special assignment where they can integrate the arts into the curriculum. By that I mean using music to teach biology, or visual art to teach reading or dance and science. There's just so many ways that the arts can really be foundational to learning and to knowledge and to kids' excitement and creativity and using their imagination. It’s really a foundational skill, the arts are. So, that's one of our big projects. We also have a lot of STEAM (Science, technology, engineering, arts, and mathematics) projects, which mean arts integrated into math and science and engineering. In fact, we have a whole group of STEAM ambassadors who are students who go out into schools doing the curriculum, developing STEAM curriculum, implementing it in schools. We have some podcasting that we do. We have a project called Harmony Hacks (funded by National Science Foundation that encourages women’s participation in computer science) in cooperation with Computer Science folks, which is coding through music. That's a really cool project. That's a—we have other projects too. And in the past, we've done quite a few professional development projects in schools. The DREAM Project, which is Developing Reading Education through Arts Methods. And SUAVE (Socios Unidos para Artes Via Educacion—United Community for Arts Education), which is an arts integration project. In addition to the actual hands-on projects and boot camps for teachers and for student teachers, we do quite a bit of documentation and evaluation of the programs as well. So that's a important aspect of what we do. What we do translates and has become a model statewide in several instances. And that really is something that I think is great cause our reach goes beyond here. I mean, here would be enough, but the fact that our reach goes beyond is pretty great too. And we have support from a number of funders. The—currently the Hewlett Foundation (founded in 1966 by William and Flora Hewlett in 1966 which awards grants that support diverse and inclusive causes) has been really generous with their support of our work. As been the Heller Foundation (awards funding that advances environmental and arts education opportunities). In the past we've had the Stewart Foundation (dedicated to programs that develop fundamental leadership skills for youth). We currently have a National Science Foundation (independent federal agency that funds non-medical science and engineering programs) grant. We've had California Arts Council (state agency dedicated to Californian culture that promotes creative arts education), National Endowment for the Arts (independent federal agency that funds artistic development). So, we're really a pretty robust center. And I would suggest anybody who is interested in looking at it in more depth could always go to csum.edu/artopp. 00:05:03.000 --> 00:05:32.000 Right, that's how I was researching this previously—prior to this interview. I love that you were talking about how far your reach has went beyond this campus using music. And I want to now specifically talk about your love of music and how that, or where that came from. 00:05:32.000 --> 00:07:49.000 Oh, that's a great question. I am a professional musician. I play saxophone. I was on the road for thirteen years performing professionally all over the world with a band called the Klezmer Conservatory Band (formed by Hankus Netsky in 1980 ; Goldberg was also a founding member). Klezmer music is Eastern European Yiddish music, kind of like the real version of Fiddler on the Roof (1964 Broadway musical by Jerry Bock, Sheldon Harnick, and Joseph Stein that was based on Sholem Aleichem’s character Tevye the Dairyman). I come from a really artistic family. My father was a visual artist, actually a graphic designer. And his father, my grandfather, played viola in the Boston Pops (offshoot of the BSO founded in 1885 that plays popular and classical music) and in the Boston Symphony (Orchestra or BSO ; founded in 1881, the second-oldest major American orchestra) and with big bands (also known as jazz orchestras ; ensembles of about ten or more musicians that popularized jazz and swing music during the 1940s). And later in life, my grandfather was the musical director at WEZE in Boston, a radio station. So as a little kid, I remember distinctly going to see my grandfather play on the (Charles River) Esplanade (state park) in Boston on, you know, on multiple concerts. Including July 4th seeing him up on the stage, listening to him play. And when we visited my grandparents, my two aunts who lived next door would come on over. And my Aunt Zelde played piano, and she was a piano teacher. My grandfather and my aunt would perform for us all the time when we were little. So I had music in my background and my— oh, and we had a record collection like crazy. And my dad played music always in the house. I even have pictures of myself with my dad when I was probably like a year and a half, or not even two, playing the bongos and having a record player right next door. So when I was in third, fourth grade, I knew I wanted to play music, and I really wanted to play the saxophone because I saw a picture in my music book of a saxophone. And there was just something about it, maybe it had so many buttons and it was shiny. I was dying to play a saxophone. 00:07:49.000 --> 00:10:49.000 I told my parents I wanna play saxophone. And they said, “No, it's a boys instrument. You'll have to pick something else.” So I picked guitar, but I never gave up on the saxophone. I started taking guitar lessons, which I also loved. And at the studio where I took the guitar lessons, the Buddy Reis studio in Somerset, Massachusetts, they taught all the instruments. And so, I asked if I could try playing saxophone. And they let me. (laugher) I took saxophone lessons on the sly. By the time I was going into high school, I told my parents that I really needed to play the saxophone at that point because I wanted to be in the marching band, no guitars in the marching band. They finally, finally relented and said, “Okay, you can play a saxophone.” I said, “Well, I actually know how to play saxophone. I just need one at this point.” And I had one of the best music programs probably in the state of Massachusetts, just absolutely incredible. Played a lot of music, was in the concert band, the symphonic band, the orchestra marching band. Got a lot of music education, ultimately decided that I really wanted to major in music. And was super lucky to have gotten accepted into New England Conservatory of Music (founded in 1867 in Boston, Massachusetts), which is a very elite music school. It's kind of like Yale is to Harvard (two private Ivy League universities that maintain prestigious reputations). New England Conservatory of Music, NEC, is to Julliard. If you know music schools. Really topnotch and I just loved it. I loved being at the conservatory. While I was there, performed all the time. Ended up being part of this band that we put together for a Jewish music concert. We ended up naming ourselves Klezmer Conservatory Band (and) played on a concert. People went nuts. And then built up a repertoire and we were just in demand. Constantly in demand for performances. Then a famous radio personality called— whose name is Garrison Keeler, on a radio show called Prairie Home Companion (weekly radio show from 1974 to 2016 that reached over four million Americans at its height), heard of us. And then we got national exposure and started recording, and it just built from there, there, there. I love music. I love listening to especially jazz, Brazilian music. Anything with a really good beat I really like. 00:10:49.000 --> 00:10:58.000 Yeah, I love hearing this passion of music. It's— I hope you don't mind, it's gonna be a prominent theme of this conversation. (overlapping dialogue) 00:10:58.000 --> 00:11:00.000 Yeah, sure. 00:11:00.000 --> 00:11:08.000 You were mentioning the Klezmer Conservatory Band, and you mentioned you formed it, or were you— How did that start? 00:11:08.000 --> 00:14:00.000 Yeah, so I was a student at New England Conservatory of Music, and I was really into Jewish music. Jewish music is really diverse because Jewish people are in the diasporas (referring to Jewish communities outside their historical lands, particularly after the destruction of Jerusalem in 70 CE). So, there's Jewish music from, let's say, Columbia in South America, from Eastern Europe, from the Middle East. One of the musics I loved like crazy was Yemenite music. There's a lot of Jewish Yemenite music, which is, it's got such an interesting sound to it, like (Goldberg vocalizes a Yemenite tune). It's very circular and it's fun to play and you can dance to it. And then it turns out there's actually a lot of Jewish themed classical music as well. So, for fun, I connected with a professor there, Hankus Netsky (multi-instrumentalist and chair of Contemporary Improvisation Department at the New England Conservatory). And he and I decided, wouldn't it be fun to have a Jewish music concert? And that played music that was, you know, everything from classical to Yemenite. He was really interested in klezmer, cause he had an uncle who had played in klezmer bands. I had not even heard of klezmer. But between Hankus and I and like a whole group of students, we put together this really cool program, very diverse program. At the end of it, we played three klezmer tunes that Hankus had brought to us. Now we learned those tunes by ear because they weren't written down. They were recorded on old 78s (vinyl records that play at 78 revolutions per minute, largely discontinued by the 1950s). And so, we would listen to the music and transcribe it note for note. And then we played together. So, one of the pieces we played on our very first concert, I think was “Silver Wedding,” which is a very upbeat piece. It sounds like this (Goldberg vocalizes tune). And, you know, really upbeat. Audience went cuckoo after we finished playing, wouldn't stop clapping. We didn't have an encore. So, we just played that tune again. And the rest is kind of history with regard to the Klezmer (Conservatory Band). But that's how it all started. So in a way, I was one of the, I was clearly one of the founders of the band, along with Hankus. And Hankus was really the one who brought that music to all of us. So, there you have it. 00:14:00.000 --> 00:14:04.000 Do you remember about like, the time period? So it was when you were in college? 00:14:04.000 --> 00:14:15.000 Oh, yeah. So that was, that first music concert was probably 1979 or 1980. 00:14:15.000 --> 00:14:18.000 And this is at the Conservatory— sorry, New York? 00:14:18.000 --> 00:14:18.399 In Boston. 00:14:18.399 --> 00:14:20.000 Boston. 00:14:20.000 --> 00:14:26.000 Yeah. New England Conservatory (overlapping dialogue) New England Conservatory of Music in Boston. 00:14:26.000 --> 00:14:27.000 Gotcha. 00:14:27.000 --> 00:14:34.000 Actually kitty-corner (diagonally opposite) to Symphony Hall (concert hall that hosts the Boston Symphony Orchestra since 1900). It's in that part of Boston where there's quite a lot of music. 00:14:34.000 --> 00:14:41.000 I have never left California, so everything in the East Coast is New York to my ignorant brain. (laughter) I apologize. Boston. 00:14:41.000 --> 00:14:49.000 That's okay. As long as you're not a Yankees fan, it doesn't matter. Boston Red Sox, Yankees, big rivalry. So-- 00:14:49.000 --> 00:14:50.000 Love the Red Sox. 00:14:50.000 --> 00:14:51.000 There you go. 00:14:51.000 --> 00:14:57.000 So, you started the music, the Conservatory— sorry— 00:14:57.000 --> 00:14:59.000 Klezmer Conservatory Band. 00:14:59.000 --> 00:15:10.000 Klezmer Conservatory Band in Boston around 1979. After you left the (New England) Conservatory, how did you pursue music still? 00:15:10.000 --> 00:16:12.000 Right, so, let's see. I graduated the Conservatory in ‘81. We were already performing professionally. You know, getting gigs in the Boston area and in the Philadelphia area, some in New York. And as the band’s popularity grew we continued to perform. So that's how I made my living, was performing with the band because I got paid for all the concerts. Also got paid to play parties and bar mitzvahs and wedding anniversaries and, you know, lots of things like that. So my, basically, I pulled together a living by performing teaching private lessons and I taught in a school part-time as a, you know, I was a music teacher. My degree from New England Conservatory of Music was in music education and saxophone performance. 00:16:12.000 --> 00:16:24.000 Yes. So, going with the— while performing with— music in Boston, what music did you lean towards? I'm guessing jazz, klezmer music? 00:16:24.000 --> 00:17:25.000 Yeah, klezmer music. Again, kind of like the Eastern European music. So I performed a lot— I mean, that was my main gig, was playing klezmer music. But I also did gigs with other kinds of music. Mostly classical. I was part of a classical like modern music ensemble. And we performed at the (New England) Conservatory as well. And that would be music that was so fun to play, might not have been as fun to listen to. Some crazy pieces with nursery rhymes and saxophone, or a solo saxophone, or saxophone quartet. Different pieces that were basically like twentieth century music or twenty-first century newly composed music. 00:17:25.000 --> 00:17:44.000 So it sounds like you really enjoy experimenting with music and seeing where it could go. (Goldberg affirms). Earlier you were mentioning writing— having to transcribe music. Or write music yourself, as there wasn't written (sheet music) previously. 00:17:44.000 --> 00:18:34.000 Ah, so the klezmer music, we learned all of that by listening to old recordings. Or finding older musicians who might have played the music and learning from them, because none of it was written down. So that's how we learned all of that. The klezmer music. And so what we did is we would listen to it— exactly, transcribe it, write it down. Although when we performed in concerts, basically because we had learned it all by ear, we just played without music, without sheet music in front of us. I could play easily play concerts without any, you know, music in front of me because I knew all the tunes. It's a lot more fun to play without the music anyways cause you're not constrained by it. 00:18:34.000 --> 00:18:53.000 Yeah, I cannot fathom that. Like, I played music in middle school and stopped. So obviously my knowledge is not at your level, but it was always, I'm sure, impressive. Or was it just like, was it just like innate or did, how did you get to that level? Just being able to play without sheet music. 00:18:53.000 --> 00:19:56.000 Without sheet music, you know, I think for musicians, once you know the tune you can just play it basically. Like for— in this genre of music anyways, or in any folk area, even in jazz I would say. Classical's a little harder because you have to be very exact. In klezmer music, you can just play. But I know what you mean because I look at people who are in the theater. In a million years, I could never memorize a play. I don't know how people do it. I don't know how the heck they can remember it. But maybe it is the same as, you know, the skill I have in music to be able to just play a whole concert without any sheet music because I know it, right? (Williams affirms). I guess that's a skill that actors have that's just a different part of the brain. But I can’t in a million years imagine being able to do that. 00:19:56.000 --> 00:20:15.000 It's fascinating, so thank you for that perspective. Cause yeah, it's unimaginable for me, both instances, acting and music. Thank you for sharing the, about your love of music. And the instrument. Saxophone— It was so interesting hearing how your parents were like, no, that's a boys' instrument. 00:20:15.000 --> 00:20:27.000 I know. Well, I'm old, you know, (laughs) and people had those, you know, those kind of biases back then. But, you know, ultimately my parents gave in. 00:20:27.000 --> 00:20:28.000 Right, of course. 00:20:28.000 --> 00:20:29.000 Yeah. 00:20:29.000 --> 00:20:32.000 Just the initial, like hesitancy. 00:20:32.000 --> 00:20:34.000 Yeah. 00:20:34.000 --> 00:20:42.000 Why do you think— cause again, I mean, I'm not from that time. But I would've thought, “But they'd let you play guitar?” That also seemed like a little— 00:20:42.000 --> 00:20:51.000 What was, you know, like an acoustic guitar, not an electric guitar. Although eventually I got an electric guitar too. That was really fun. (laughter) 00:20:51.000 --> 00:21:05.000 That's so fascinating. So, your parents were obviously supporting your music. Did you learn, did you mention— sorry, I forget a little bit. They played klezmer music as well? 00:21:05.000 --> 00:23:02.000 So my parents were not musicians. My dad was a graphic designer. My mom was a teacher. And my mom also was just phenomenally talented. She made, she knitted, she sewed clothes, she made stained glass and these really unique collage pins with decoupage (crafting with glued cutouts in combination with paint or gold leaf). So, she was very creative. And my dad, of course, was a graphic designer, visual artist. And he also painted wonderful paintings. I have so many of them up in my home. My grandfather is the one who was also a professional musician, and he played classical music, but he also played jazz. He actually played with Duke Ellington (pianist, bandleader, and composer who is considered a pioneer of jazz) and Stan Kenton (Stanley ; jazz pianist and composer) with a guy named Paul Whiteman (bandleader, composer, and violinist recognized by Ellington as the King of Jazz). These are— back in the forties and fifties, there were the big bands would travel from city to city. And they actually had a whole string section with them. I mean, a string section that would play with them. But they didn't travel with the string sections. They were hired in each town. So my grandfather was always hired. Yeah, we have pictures of him with Nat King Cole (singer, pianist, and actor who pioneered jazz ensembles and achieved crossover success during the civil rights movement), and other famous folks. And he played with him. And I remember as a kid, you know, he would tell me, “Oh yeah, I'm going off. They're playing with the Duke Ellington” (band) this, or like I said, I saw him perform both on the stage and in the apartment where they lived. And just out, well, basically part of Boston, Chelsea (city across the Mystic River from Boston). So, yeah. 00:23:02.000 --> 00:23:10.000 That sounds like an amazing upbringing and experience. Just being immersed in music and the arts, even your parents— 00:23:10.000 --> 00:25:12.000 Oh, it was amazing. And my grandfather who played viola—well, both sets of grandparents lived in what would— could be described as tenements. So, tenements are like apartment buildings where there are a lot of people living. And really lower, lower middle class if that. And you know, when you're a little kid, you don't know about any of this stuff. So I would go to my grandparents' apartment and, in Chelsea, Massachusetts, and it was it was like fairy land because my grandmother would be yelling down the stairs to the downstairs neighbor, “Ida, bring up this, bring up that.” And we'd go off the in the balcony and play in an area that's like a back alley. We'd go in the back of a store that you could get to from the alley. And in the meantime, the apartment really only was a very small one, maybe two bedroom apartment. My grandparents, when I thought about it later, their bedroom was actually what should have been the dining room. But they, there wasn't enough room, right? So, they made their dining room into their bedroom. And, but again, it was such a lively, wonderful place. I mean, I loved it as a little kid. And it didn't occur to me that it was very inner city, very poor. But what a fun place to live. And just all the commotion and the music and the people everywhere. It was like a little kid's dream. 00:25:12.000 --> 00:25:31.000 Yeah. It sounds like a fairy land. And even though you said it's lower income, just being surrounded by music and the commotion. I want— 00:25:31.000 --> 00:25:50.000 Yeah, they even had a— when you came into the apartment, there was a very long corridor. And we used to— we had a plastic bowling set. And my cousins and I, and my brother, we'd always bowl (laughter) in the hallway. 00:25:50.000 --> 00:25:54.000 That's funny. And you made your own little bowling alley. That's really cool. 00:25:54.000 --> 00:25:56.000 Yeah. 00:25:56.000 --> 00:26:13.000 What-- (laughter) For me, we just did hopscotch. I never thought to make a bowling alley. That's really fascinating. (Goldberg agrees) Do you have any other memories like that? What else? How else did you— did you convert any of the other rooms into anything else? Indoor aquarium? 00:26:13.000 --> 00:26:28.000 Well, the bathroom there had a— I don't even know if it had a shower, but it had a big clawfoot tub I remember loving as a little kid, taking baths there. That was just so much fun. 00:26:28.000 --> 00:26:30.000 I’ve only seen those like in movies. 00:26:30.000 --> 00:27:02.000 I know. And I'm very lucky cause I live— I was able, because of being, I was born in 1959. My parents were all first generation (American citizens). My grandparents were all immigrants. And they, because they were immigrants, they had what I would call kind of old country traditions and way of thinking. 00:27:02.000 --> 00:27:04.000 Did they immigrate? Where did they immigrate from? 00:27:04.000 --> 00:28:20.000 Eastern Europe. All of my grandparents escaped before the Holocaust. And my father's family ended up in Chelsea in the Boston area. My mom's family ended up in New Bedford, which is also outside of Boston. And then my family did, just my father's side, part of the family came to Boston, part of the family went to Israel, part of the family went to Brazil. Interesting fun fact, family fun fact, there are musicians in each of the— like my Brazilian cousins, there's an opera singer and opera— you know, there's several musicians. My Israeli cousins I have a cousin named Gila Goldstein, who is absolutely a top-notch pianist. She's president of the (American) Liszt Society (promotes and preserves the legacy of Hungarian composer Franz Liszt). She's just an amazing, amazing pianist. And then, you know, you've got me as the saxophonist. But it's just kind of cool that somehow the genetics of our family on that side we have a lot of musicians. 00:28:20.000 --> 00:28:28.000 Yes. Seems the musician is linked to, I'm assuming that's the Jewish side of your family. 00:28:28.000 --> 00:28:30.000 Yeah, yeah. Actually, all sides of my family are Jewish, so— 00:28:30.000 --> 00:28:32.000 Okay. I didn't know. 00:28:32.000 --> 00:28:34.000 There you have it. 00:28:34.000 --> 00:29:06.000 There we go. (laughter) That's so fascinating that music transcends generations and continents. (Goldberg affirms) I wanted to hear more about your upbringing, and were you closely— my upbringing was outside of religion, like Judaism, Christianity, all of it. So, I'm very naive to all of it. Was, is the term secular? Or were you immersed in the traditions (of Judaism)? 00:29:06.000 --> 00:32:36.000 I am, at this point I'm pretty much a secular Jewishly identified human. Growing up— and again, I think this was because when you consider my grandparents were all immigrants escaping Eastern Europe because they were Jewish. My grandmother lived through pogroms (violent attempts to massacre ethnic minorities, particularly Jewish people) in Eastern Europe. My mother's mother. They had, they escaped really terrible things. Jewish identity was something that was really important to my parents, my grandparents. We went to temple, a conservative temple. So Jewish, you have: reform, conservative orthodox, ultra orthodox, and then there's like a whole bunch of stuff in between. We were conservative, which means kind of middle of the road. Early on our family kept kosher (foods conforming to the regulations of kashrut, Jewish dietary law), but then we didn't, many of my cousins still keep kosher. That's a food thing. Dietary laws. And I went to Hebrew school on like two days a week during the week. I went to Friday night services, Saturday morning services, and Sunday school. So I was essentially at the temple five days a week. It was something that was an identity for sure. And I really, I enjoyed Hebrew school. I went all the way through Hebrew high school. And part of that was because in the, in Jewish learning, one of the things that's really central is that a love of learning, and B. that there are multiple ways to interpret things. So I love that. You know, take a portion— there's a book called the Talmud (source of Jewish religious law and theology), which is commentary on what's in the Torah (first five books of the Hebrew Bible). And the Torah is like, you know, how you live by the rules. And so there can be, I don't know, eight or twelve commentaries on the same thing. And, you know, there's just a sense of, “Let's debate, let's discuss.” I kind of wish people did more of that now. And, you know, not about religious things, but just about everyday things. So, my Jewish upbringing really was, I think, foundational in enabling me to see things from multiple perspectives and really embrace that multiple perspectives exist on things. Over the years, my, I guess connection to organized religion has waned. You know, I'm not interested in going to temple at this point, but I really do love the culture. I love the underlying love of learning. You know? That's really part of Judaism. And I feel really proud to be someone of Jewish heritage. 00:32:36.000 --> 00:33:09.000 Yeah, that makes sense. Because you mentioned the underlining love of learning and multiple perspectives, or approaches to that learning. And so with that, it makes sense that multiple people who are Jewish in your family then apply that through music. I want— interested— previously in our conversation and in music, you mentioned coding with music. Right. Right. Right. Right. 00:33:09.000 --> 00:33:09.066 Right. 00:33:09.066 --> 00:33:10.000 Right. Right. Right. Right. Right. And I don't know how else to jump to that— 00:33:10.000 --> 00:33:12.000 Yeah. 00:33:12.000 --> 00:33:14.000 So I'll just start there— 00:33:14.000 --> 00:35:10.000 So let me, I'll give you a little history on this cause yeah, you can find I've— people know about this story, so I will tell it. So, in 1985 in the world, there was a different world order. There was a Soviet Union, it had not broken up yet. And the United States. In the Soviet Union, there were a lot of people that wanted to leave, they wanted religious freedom, they wanted freedom of intellect, of thought, of culture. And the Soviet government was really coming down on people who wanted something other than what the Soviet, what the Soviet government wanted. So Jewish people were persecuted. Catholic people were persecuted ; Poets, artists, scientists, people who were thinking outside the box. There were some very famous scientists who were jailed. (Andrei) Sakharov (physicist and Novel Peace Prize laureate) is one of them, but— so it was a crazy time. There were a lot of human rights abuses going on. And if people wanted to leave the Soviet Union, specifically Jewish people, they could apply for a visa to leave, to immigrate. But in so doing, they would often lose their jobs, maybe get beaten up or their kids harassed or even put into jail as a disruptor. 00:35:10.000 --> 00:36:41.000 It also was the height of the Cold War. And it turns out, in hindsight it was a crazy time of real spies. Both in the US from Soviet Union, Soviet Union in— US people in the Soviet Union. And it was the heightened tensions of that time were phenomenal. But most people didn't know about the, those governmental heightened tensions. What we did know was one way to get information and to support Jewish people specifically— cause I was working with groups that supported Jewish, what were called Refuseniks, meaning that they had applied to leave and were refused— was to get tourist visas to go into the Soviet Union. Go visit Jewish refuseniks and bring them medicine or information about their field. If someone was an engineer, and now because they applied to leave, they might be an elevator operator. Bringing in like professional information that they couldn't get anymore. And taking out their stories, because there was a feeling at the time, and I think that's true today, is if people in the West (term often referring to nations in Western Europe, Northern America, and Australia) know about human rights abuses and the people, then they have some sort of opportunity to get out. Or for protection. 00:36:41.000 --> 00:37:19.000 Because if no one knows about you, it's easy for them, meaning a government— And I mean, what's going on today in our government is similar and very scary— but you could be disappeared. So having people know about you is really important. There was a reporter from Britain who worked for The Guardian (news)paper, who had gone into Soviet Union and somehow made his way to the state of Georgia. Georgia in the Soviet Union, okay? Not Georgia, here in the United States. 00:37:19.000 --> 00:37:20.000 Thank you for the clarity. 00:37:20.000 --> 00:41:09.000 And now it's a country, and found this group of amazing human rights activists. That included Jewish refuseniks, Catholic Refuseniks, dissidents, meaning people who were trying to change the government. Helsinki monitors. The Helsinki Accords were that everyone should be able to leave a country if they were being persecuted. So, there were all these people in Tbilisi, Georgia (capital city) who had gathered together. And the way they were trying to get their word out to the West was by playing music and holding concerts. And they called themselves The Phantom Orchestra. So once a couple of organizations in the West heard about this Phantom Orchestra, they thought, “Okay, let's see if we could find any musicians who would be,” in my words, “crazy enough to go in and meet with them.” Because going in, there was a certain risk that you could get harassed or, hardly anyone ever got arrested, but deported. And the reason to go in to meet them would be to bring them support, you know, just support people to people ; to take their stories out, to find out more about them. There was a group in Boston that was aligned with Amnesty International (an international non-governmental organization that supports human rights), which is a famous group that works on behalf of people who are, have been victims of human rights abuses. And the group in Boston was called Action for Soviet Jewry. So, people who worked on behalf of Jews, Jewish people in the Soviet Union who were refuseniks or had been jailed, this or that. They approached Hankus, who I mentioned earlier, and said, “We'd like to send in a small ensemble of musicians to go meet with these folks. Would you be game?” And Hankus right away was game. And then he thought, “Merryl probably would be really interested”. So he approached me and I thought, “Heck yeah, I'm in.” And then we needed a singer and someone who played like guitar and mandolin. The singer's name is Rosalie Gerut, and the guitarist is Jeff Warschauer. And we all played together in Boston. And long story short, we— the four of us agreed to go in, but it had to be on the sly. We couldn't tell anybody what we were doing because it, you couldn't go in on, especially on a tourist visa and go visit people. It had to be done in secret. Moreso you couldn't go in and have refusenik's names or addresses or phone numbers written down, because if upon arrival they were discovered you'd be deported right away. They would know that you weren't ordinary tourists. And so we were, we got visas, we got tourist visas, and of course we brought in instruments with us so we could play. Which is already a little bit of a, you know, anomaly cause tourists often don't come in with musical instruments, right. But we were a small ensemble and, we said, “Well, we always travel with our instruments cause we always rehearse.” So we had to develop a secret code so we could write down people's information, write down questions we needed to ask, be able to take out stories in code. And so I developed a secret code written in music notes. 00:41:09.000 --> 00:43:12.000 And what was really amazing was we arrived in Moscow (capital and largest city of the Soviet Union, now Russia), and maybe they had gotten some tip off that we were coming and wanted to meet people. Or maybe our instruments gave us away. But right at arrivals in Moscow, we all were searched thoroughly. I mean, just crazy. Opened up everything in our suitcases and went through my music ; page by page by page, but then handed it back. That was score one for our ability to fight the KGB (Committee for State Security of the Soviet Union that succeeded secret police) or be in competition with the KGB. Of course, then we ended up being interrogated. And that part was pretty scary. Ultimately, we made it from Moscow to Tbilisi. And by hook or by crook, we did end up meeting with the Phantom Orchestra and performing with them in an apartment, not in a (concert) hall. And orchestra really wasn't the right word. It was more like a ragtag group of musicians. And they told us their stories and we wrote them and we recoded it back in music so we could take it out with us. And these were stories of how people's lives were upended and how much like sadly what's going on right now in our country. People were taken off the street, locked up, put in jails just because of their activism for wanting to buck the system. And just asked to leave the country or for wanting to monitor human rights. 00:43:12.000 --> 00:45:34.000 So, I will say two things. The people we met were phenomenally courageous human beings. And two, playing music together was how I learned that even under the harshest of circumstances, one can find freedom, freedom in your mind. And that's freedom over anyone who is either jailing you or harassing you. You have that power to be free in your brain. No matter what happens. So, during the course of that trip, we were interrogated, harassed, at one point told we— the KGB told us they couldn't guarantee our safety. We told this to the people we were meeting who gave us advice and said, “Look, it might, you might end up getting arrested,” which ultimately we did. “Keep in mind, you are not the first to be arrested.” You know, “you are part of a whole group of people. Know that. Two, play music even if you're just singing together cause that will give you respite. Three, remember that because you're Americans, it's unlikely they will keep you for a very long time.” You know, “You'll be some kind of bargaining chip for something, but you'll get out.” And ultimately we were put under house arrest. The, probably the, well, by the time we were put under house arrest, we had become emboldened because the people we met were so strong and capable and very laser centered in what they knew they needed and wanted with regard to the rights of humanity. So we started talking back to KGB and we're crazily bold in hindsight. The only time that, well, there were a number of times that were scary. Interrogations were scary. 00:45:34.000 --> 00:45:37.000 I can imagine. 00:45:37.000 --> 00:47:53.000 Yeah. (laughter). Yeah. And at two times they put us, they separated Rosalie and I, put— I mean, separated Rosalie and I from Hankus and Jeff, put us in cars. Rosalie and I were in one car, Jeff and Hankus were in another car. There were KGB car in front of us, KGB car in back of us. We didn't have our passports. They took those away. I don't even think we had our luggage. I know we didn't have our luggage in at least one circumstance. Drove us for hours. At that point, I thought, “Oh God, they really are gonna lock us up, like in a bad prison.” Ultimately they didn't, they put us in a dormitory. But those tactics were meant to scare us. But I do remember having an epiphany at one point, especially in the very long car ride, thinking, “Okay, whatever happens, I can handle this. It's gonna be okay.” So end of story, we were deported. We ended up in Sweden and we ended up back in the United States. We worked with not only Jewish organizations, but with Catholic charities. We worked with our senator, who was Ted Kennedy (lawyer and Massachusetts Senator from 1962 to 2009) at the time. And we also worked on the Hill (Capitol Hill, home to Congress, the Supreme Court, and other federal institutions) in Washington, DC with many members of Congress and many members of the Senate. And ultimately, when (Ronald) Reagan (US President from 1981 to 1989) and (Mikhail) Gorbachev (Soviet Union leader from 1985 to 1991) had their summit, human rights was on the top of Ronald Reagan's list (Reykjavík Summit October 11th and 12th, 1986). And many of the people that we had met were actually named on lists that Reagan brought to Gorbachev. So ultimately, many of the people that we met with were freed and let, able to lead the Soviet Union. Some people disappeared into wherever, and we're not sure what happened to some people. But the people who really wanted to get out ended up being able to get out. So it was a real life changing experience, I can tell you that. 00:47:53.000 --> 00:48:17.000 Yeah. It's amazing to know that you were able to help other people get freed from that kind of persecution. I love what you were saying about freedom in the mind, and you learning that, and you having that epiphany in the car. I'm just curious more— I'm curious to hear more about that concept and your like— 00:48:17.000 --> 00:50:30.000 Yeah, so another like really good example of this, I don't, I didn't know it at the time, but I learned it afterwards. So, during the Civil Rights Movement here in the United States, it was very common when African American activists were being picked up and put in paddy wagons for their outspokenness and for their— look for their fight, for just human rights as people. Often when they were arrested, they would break out in song. And that is so powerful because it's taking power, it's taking space. That song, singing together, is saying, “You might have us, locked up, or you might have us in handcuffs, you might have us in paddy wagons, but we are still strong. And our music gives us that strength. And you can never take that away from us. You can lock us up, you can do whatever you want, but you can't take away: our sense of what is right, our power, and our work to achieve civil rights.” So I think music, music and sports, or chess, many of these things give people not only pleasure and entertainment but give you the tools to under harsh circumstances ; whether they're something that happens with your family that's just unfortunate or something that happens in school, or kids who get bullied. The arts can be that retreat to center yourself and empower yourself and give you confidence to be able to make it through things. 00:50:30.000 --> 00:51:02.000 Right. And it makes sense that then you apply that to your work here with ART=OPPORTUNITY and Center ARTES. Giving people—reassuring freedom in the mind, and your ability to create art is—you can use those tools elsewhere. I love hearing how people can apply creativity in the real world. So how do you help students? How do you remind students of that? 00:51:02.000 --> 00:52:52.000 You know, it's by doing. So all my classes and all of our professional development workshops, whether for students or teachers or administrators or staff, all of them are hands-on, where we give people things to do. So I'll give you a little example. One of my favorite things is— I'll give it not a music example, a drawing example. drawing from the inside out. Let's say you have, I'll give you a shell and I won't tell you where it is. Oh, I can make it a music example too. But I'll give you the shell example. I'll have my students draw a shell, like, but in a fun way, like either upside down or from the middle and draw out. And while they're drawing, I ask them two questions, “One, what do you notice and what do you wonder?” When they're drawing the shell, they notice, “Oh, it has different colors, it has stripes, it has ridges, it has a little hole in it, it's chipped. It's got white on the inside and gray on the outside, or some of it looks iridescent.” And then they're noticing all these things. And then I ask them, “What do you wonder?” Well, “Where did the shell come from? Why does it have colors? Like, how the heck does it— Why does this, shell have these colors and that shell has different colors, and how come they're ridges.” And, “Did something live in this shell? Did something eat the thing that was living in the shell. Was the shell always this size? How did it get to be this size?” So, this little tiny exercise sparks curiosity, and curiosity is the bottom line of learning. 00:52:52.000 --> 00:55:16.000 You know, if you're curious about something— and if kids in schools can become curious and have all these questions, your job as a teacher is to just then guide them to find out all the answers. In music, what I'll do, like I play my saxophone all the time when I do keynotes, and I'll do the same thing. I'll play a tune. It's usually a klezmer tune. I usually play a very simple klezmer tune where if I can get an accompanist on guitar or piano, it has only two chords. Very easy to play. And the piece actually sounds like this. (Goldberg vocalizes tune) Anyways, it keeps— it goes on. And I ask people to, you know, anyone from little kids to senior citizen, “What do you notice?” And then, “What do you wonder when you hear the music?” And what they notice, they notice, “Oh, it has a beat. Oh, I'm music— I'm moving.” They notice a, that it has sounds like maybe something— little kids will always say, “Oh, it sounds like something from Aladdin. Or maybe a snake charmer, or—” they notice so many things. And then when I ask 'em, “What do they wonder?” They're like, “How did you learn to play that tune? Where is it from? Does it have a name? What is it really about?” And in fact, the music has just, again, sparked so much curiosity within that little tiny kernel (central or essential part) of a five minute exercise of, “What do you notice, what do you wonder?” They've hit on, okay: culture, history, geography, how people learn to play. It’s just so, it's so rich. And so, yes, for me, engaging and getting people to understand about the power of the arts and learning is all about by engaging them in some kind of exercise. 00:55:16.000 --> 00:57:39.000 And then one of the really cool things is every exercise is just a kernel. So, if you go back to the shells, you can look at the kids, or teachers, what they notice and what they wonder, what they've written down. Ask them to circle five words and then create a poem out of it, and then create a two person poem out of it, or create a song, or you can always do more. You can always learn more from what has been sparked. Now the importance of that is: creativity is always gonna be the thing that moves us forward, right? So, knowing a lot of facts is good, and knowing history is really good. Cause we need the foundations and we can go to Google or whatever and find things out very quickly these days. Don't even have to look it up. But being creative, being imaginative, being reflective, seeing what other people do and appreciating it, those are the skills that arts can teach us that I find just so phenomenal. And the arts bring us together in ways where we see each other in different lights. If this group makes this poem or acts something out in this way, this group is like, “Oh, wow, I had never thought about that. Or I never knew that kid could act or could sing or, wow.” And so one of the byproducts of the arts is also this opportunity to embrace compassion and empathy. And, oh my God, if there's one thing in this world that we've got to have if we're gonna survive as a civilization, is empathy. And so, I get really worried when I hear some people in government or not government, poo-pooing the notion of empathy or compassion. 00:57:39.000 --> 00:59:27.000 And we've got to, got to place empathy, compassion, mindfulness as central to, in my opinion, to who we are as people and how we learn. And that’s why I really do love the arts. By the way, I also am a boxer. I've been boxing for years, and I love it. It's so much like music. Jab, jab, cross, uppercut, uppercut (motions as demonstration) is very much rhythmic. But one of the things if you watch a boxing match is it's not only like music in terms of the actual rhythm of the punches, but in a boxing match itself it's very much like jazz. It's all improvisation because you have to be so connected with your opponent that you are paying close attention. And if they do one thing, you do another thing. So it's playing off of each other, playing off of each other. And, the actual punching aside, at the end of a boxing match, almost always, you see the boxers embrace each other. That's because it's been such a intimate dance with each other, and they're very appreciative of each other. Before a fight, they're gonna be talking whatever, because that's what their mindset is. But when you're actually engaged in something like that in boxing, it really is a very close—you're so connected to that person that it's not surprising to me to see that at the end of matches, more often than not, folks embracing each other. 00:59:27.000 --> 01:00:22.000 Thank you for explaining that cause I've never been into the boxing, or whatever. So, the comparison of boxing— I've heard the dance (comparison), but like I still didn't understand. I'm—yes, the, but specifically the jab, jab punches, like as rhythmic, that really clicked in my brain. And as you were saying—or I was thinking this earlier, a lot of what I've learned in most of my favorite classes as a student, they've stuck from music that either a guest has come into my class and performed. Or just remembered that in connection to a lesson. Or it's a movie. So, can you talk more about STEAM and how you integrate art with other professions that maybe some people respect a little more, to be blunt? 01:00:22.000 --> 01:00:24.000 Oh, like, give me a profession. 01:00:24.000 --> 01:00:26.000 So— 01:00:26.000 --> 01:00:31.000 Oh, go ahead. Nevermind. I, well no, you give me a profession actually, and then I can tell you. 01:00:31.000 --> 01:00:42.000 Yeah. Cause my, in my brain, it's like, as a history major, I understand I'm not gonna be making as much money as like an engineer, let's say. So, engineering, I guess. 01:00:42.000 --> 01:03:31.000 Engineering. Great. Okay. Indeed, we actually did a little study over at ViaSat (communications company), which is a huge—has a lot of engineers. So, they’re high tech company, very into the internet. And if you've been on an airplane, it's pretty much ViaSat’s, whatever it is. Their systems that run the internet on airplanes. Okay, I had heard that Qualcomm (software and wireless technology company) and Boeing (aircraft manufacturer) and ViaSat were hiring people who had arts backgrounds because they really wanted engineers, especially people that worked there, who could: think outside the box, work well with each other, have the ability to reflect, and also be super disciplined, right? So, they were purposefully hiring people who had arts backgrounds, cause they figured people in the arts, especially in music, or any of the arts, can think outside the box. Musicians have to work well with each other, have to be able to—in a band you can't be just playing the trombone and the trumpet player playing something different. You have to work together in order to make a nice piece of music. So, we did a study and we found out that indeed most of the engineers at ViaSat had arts in their background. And then we went a step further and we asked, “Okay, how did the arts make a difference in what you're doing?” And some of the engineers said, “It helped me think about electrical kind of connections in ways that were out of the box.” So, “My music background gave me the ability to think in different ways and see things from different angles. It helped me work with others, especially people I didn't like. Because in a music band, I had to work with people I didn't like in order to make music, right? Helped me—" And so you can see those are just two examples of that. We actually have more written about that study on the art— It's, I think the Center ARTES (online) site. We have our research studies, or the ART=OPPORTUNITY. If you go into research, we have those studies. But let me give you a couple of other examples. 01:03:31.000 --> 01:04:52.000 Medical students at UCSD right here are required to take visual arts classes because the visual arts, learning how to see closely, helps them understand and how to diagnose things better. It gives them those skills of looking at things more deeply and from different angles. An ophthalmologist I met with just like within the last month, sent me a study where they had a first, like first year ophthalmology students, so people who studied the eyes, and they broke them into two groups. One group of students, about thirty of them, had six lessons in how to look at art. And the other group didn't have the lessons at all. And then they were tested on the things that they could see in the eye, because they're studying to be eye doctors, right? The students who had the art classes outperformed the students that were in the control group. Like crazy. In a significant manner. It shows you studying the arts can absolutely then transfer over to other areas. 01:04:52.000 --> 01:06:57.000 NYPD, New York Police Department, has their recruits watch theater. And one of the theater pieces that they have done is a piece by Janet (Leola Langhart) Cohen (American author and journalist), written as a fictional version of Emmett Till and Anne Frank (titled “Anne and Emmett”). Emmett Till was a young boy who was murdered (during the) Civil Rights era (in 1955), black young man. And Anne Frank was murdered in the—she died in (1945) a concentration camp during the Holocaust. And Janet Cohen wrote this amazing play, which is not depressing it actually is in some ways uplifting, of the two of them having a conversation with each other. And the reason why NYPD in the past has used this play is because they want their recruits to be empathetic to the people that they serve, and they really understand the power of theater as a way to teach about empathy. So that's another example. Also in New York, the public library has this really cool program for new citizens on teaching how to learn history. So this is a really cool thing. They do it all through famous paintings in American history. And what they found is because people are attaching what they're learning to this really cool visual, a famous painting, they remember the history lessons so much better and do so much better on the test, the citizenship tests. Those are just a couple of examples, in real life, how the arts make it a real difference in learning. 01:06:57.000 --> 01:07:24.000 Yeah. Thank you for sharing that. Just from a professor who actually implements some of these things here, and obviously beyond as you mentioned earlier, it's— I've always valued the, being immersed in arts and classes, so thank you for for doing that. I feel like it's probably your responsibility that I've gotten some of the classes I've gotten. 01:07:24.000 --> 01:07:24.956 Aw, thanks. 01:07:24.956 --> 01:07:46.000 Yeah, of course. (brief interruption in recording) Okay. So earlier you were mentioning music was how you got people's stories out. I was, I'm particularly want to ask about why was it so important to get people's stories out? Like what about their stories mattered? 01:07:46.000 --> 01:10:59.000 Yeah. So to get the stories out meant that people in the West could then use those stories as a way to highlight the human rights abuses that were going on. And by highlighting it, it was harder for the Soviets then to imprison or to disappear people, because if people in the west knew about you, you would have a much better possibility of actually getting a visa to leave. If people didn't know about you, it would be easy to, say, “Eh,” for the Soviets to do whatever they wanted. I, you know, at the time we're doing this, oral history is at, you know, a crazy point in American history with Trump being the president only for a couple months. And already there's been people who have disappeared or been taken off the street or out of classroom, a classroom. And so what we found, even in our time in history, keeping those people's names and what happened to them front and center means that there's less of a possibility of something horrible happening to them. In the case of a family from New York, it was a mom and three kids, and they were actually taken. I'm not sure if it was from their home or for, from school, but the school principal and the whole town, in this small town in New York, were so upset by this and so distraught. And these were folks who were in the process of having all of their paperwork correct. Had done nothing wrong. Well, the town spoke up in a way that was significant, and as of today, they're back in their homes. And so there is real power in making sure that others, or people in power are held to account. And that people, things don't happen to people without justification. Because when that happens, we really, as a people, are in a terrible, horrible place. Especially for the people who are taken and have done absolutely nothing wrong. So again, you've caught me at this, this moment in history where I see things that happened in the former Soviet Union or perhaps are happening in Russia today, happening here in the United States. It's just unconscionable. So, it makes what we did in my experiences, even more important as a story today. 01:10:59.000 --> 01:11:24.000 Absolutely. Do you think if you had spoken to yourself, as you were developing this code in which we talked about, would you have thought that Merryl would then be sitting in this room, in the state that this country is in? 01:11:24.000 --> 01:13:24.000 No. Never. And I think most people probably feel that way. My guess is even folks who supported Trump, or Republicans or whatever, I don't think anybody expected things to be as cuckoo, crazy, upside down, scary as they are in this particular moment. And I don't think, it makes me really wonder why, especially in the House of Representatives or the Senators, why it's taking so long for people to stand up. Especially when people's rights are jeopardized. We should be better than that. We should know better than that. Bullies should never win. If it takes even, you know, one person to one person or movements to really just crush things that shouldn't happen, then we have to rise up. I really feel that. And I also feel like in moments like this where people might feel so frightened or scared, maybe some people like what's going on, but I doubt it. It's also important not to get so caught up in everything that you can't find moments of joy. And that's where the arts also help us, or getting out of our heads. Or, for me, playing music and going to my boxing classes are moments where I'm not thinking about anything else. And boy, is that a self-resourcing tool. 01:13:24.000 --> 01:13:45.000 Right. Earlier you mentioned art as an escape, but then in the same breath, an escape from maybe awful times, but also in that escape you're learning tools or just learning different, gathering different skills that you can use elsewhere. 01:13:45.000 --> 01:13:47.000 Yeah, for sure. 01:13:47.000 --> 01:14:22.000 Yeah. well thank you again for sharing about music and how it can be applied to activism. I want to now talk about how you—sorry. Where that originates from. Earlier you were mentioning growing up and having activism in your family, or— 01:14:22.000 --> 01:17:23.000 Yeah. So, I think many people of my age who are Jewish, most likely their grandparents immigrated. So they came from very bad situations where they had to escape either the Holocaust or pogroms which were in Czarist Russia (Imperial Russia 1547 to 1917) or other countries where Jewish people were just— like in “Fiddler on the Roof,” come in and just destroy everything or it is just terrible. So when people came here, I think there was a sense of like, never again. And certainly after the Holocaust, “Never forget, never again” (a phrase that encourages people to denounce the Holocaust and other genocides) is something that's very important. But growing up, my parents were very attuned to that, a just society where people have opportunities. And so as a kid, my mom was very active in starting a chapter of the League of Women Voters in Massachusetts, which was, today, League of Women Voters is so important. It gives information to the public on different voting issues, and candidates. It’s a nonpartisan group. As a little kid, my mom would have me parade around our little town just outside of Boston. My dad put a, made a sandwich board and it said, “Follow me to register to vote.” So I remember those things. And then I grew up in the sixties. I was young in the sixties. I was born in 1959. During that time, we had the Vietnam War, and a lot of people were protesting against the Vietnam War. And my family, along with many, many other families in our little community joined up with the Unitarian Church (a sect of Christianity), who was very active in anti-Vietnam protests. And so that was part of my upbringing as well. And through Jewish groups, we also were always learning and figuring out issues of social justice. It was baked into my childhood, there's no question about it. That from a very early age, being someone who is active in society and was doing things to make a difference in a better world was part of, part of who I was. I, there was no escaping it, not that I would want to escape it— (Goldberg laughs) 01:17:23.000 --> 01:17:28.000 Right. Do you think it's ever too late to become— 01:17:28.000 --> 01:17:29.000 Never. 01:17:29.000 --> 01:17:30.000 Engaged? 01:17:30.000 --> 01:17:32.000 Never too late to become engaged. 01:17:32.000 --> 01:17:35.000 How does one start? 01:17:35.000 --> 01:18:08.000 I think by first just understanding that there are multiple sides to any picture. There are— it's really important to understand context and to learn and be curious, and always question things. So, especially now, just cause you see something on the internet doesn't mean it's true. As convincing as it may seem— 01:18:08.000 --> 01:18:09.000 With AI (artificial intelligence). 01:18:09.000 --> 01:18:11.000 And with AI, that— (overlapping dialogue) 01:18:11.000 --> 01:18:12.000 Oh, sorry, you were saying that-- 01:18:12.000 --> 01:20:40.000 Yeah, no, that's really, I mean— my daughter, who's twenty-six, uses AI all the time. And she's discerning. But yeah, you gotta really question things, you know? But it's really important to look at things from multiple lenses and to always keep a lens of fairness, of equity, of background. It's understanding that not everyone has had the same opportunity as other people, and that's no fault of their own. And I think one thing that's really lost in a lot of what's going on right now is again, a lack of caring. It matters that people are losing their jobs. It matters that someone who's doing research in pediatric cancer is able to continue doing that research. The lack of empathy in our society right now, or maybe not our society, but in our leaders, in the people who are in power, is shocking. And it is never too late for people to stand up. It's never too late to keep trying. It's never too late to vote people out. It's never too late to do something small or to do something big. What is a lesson that I've learned is that silence is being complicit. And so, we all have a role in our joint community of human beings to not be silent when we see something. I think the arts have given me more of that power. 01:20:40.000 --> 01:23:48.000 And of course, some of my experiences and my, the context of my background, some of the foundational things I learned as a kid give you, gave me— my mom went on to run for our local what was it, public authority, where you make decisions on like public housing and that kind of stuff. And I helped her campaign, and it was a really hard campaign because people used horrible anti-Semitic language, calling my mom a dirty Jew or this or that. Like out loud, right? And she ultimately lost her election. But then the governor, who was governor Michael Dukakis at the time, there was a opening on that same authority, and he appointed her. And I'll never forget, it's, even in that awful kind of context of what we experience, there was a upside. And there was some justice. But boy, all of that is a learning thing. It's people who are Jewish, people who are Muslim, people who are in minority groups aside from religions have to learn these lessons, sadly over and over. And yeah, it's not easy. On the other hand, there is a lot of power in understanding who you are and the camaraderie of others. In this particular moment, and this is again just saying, this is at this moment in happens with this interview, the weaponization of antisemitism or the cause of the Palestinian people is just horrible. And that's something that is, again, so important for people to understand the nuances. And not to use people against other people. I mean, human beings in Gaza who don't have food are not pawns of governments. They're human beings. People who are coming down on Jewish people, we are not pawns. There's good people, bad people, everything in between everywhere. We have to learn to work together and not to use people for other causes. I don't know. I'm a little bit on my high horse there, so (laughter). 01:23:48.000 --> 01:24:15.000 No, I agree and specifically with your, “We are not pawns.” We're human beings, and understanding humans with stories. So, thank you so much for sharing your story. I hope you're able to use this interview even just to share with your family. I'm sure they'd appreciate hearing all these stories to preserve them. 01:24:15.000 --> 01:24:25.000 Thanks. You know what, to bring it back around, I hadn't really thought about, but you're absolutely right. And what we did with, in the Soviet Union was bring out people's stories. 01:24:25.000 --> 01:24:29.000 Exactly. And just quickly, one last question. 01:24:29.000 --> 01:24:30.000 Yeah. 01:24:30.000 --> 01:24:43.000 The music and the code that you brought back, I'm assuming it was preserved, or their stories preserved, or like how does— because this interview will be preserved with Special Collections, so yeah, just curious. 01:24:43.000 --> 01:27:28.000 Yeah. So a couple of things. My, the code, we kept the code secret for almost thirty years. And it has come to light, and it came to light very serendipitously. I was at a dinner with someone I had never met, guy named Chuck Davis (runs the cybersecurity blog "Between the Hacks") and his wife, they were in cybersecurity. I had no idea about cybersecurity. He's telling me, “Oh, well cybersecurity, we do this, we keep this safe, blah, blah, blah.” And I said, “Well, it, this isn’t cybersecurity, but I've got a story.” And I told him the whole Soviet story, and he was like, “Oh my God.” And he immediately connected with people in cybersecurity. They have this ginormous conference once a year, and it's called RSA (RSA Security LLC, formed in 1982, is a computer and cybersecurity company that was named for co-founders Ron Rivest, Adi Shamir, and Leonard Adleman). And I don't remember what that stands for, but it's a cybersecurity conference. And I ended up being a keynote, and then I ended up becoming friends and doing a little work for the Cybersecurity and Infrastructure Security Agency for the United States. Because the head of the, it's called CISA, at the time, her name is Jen Easterly, she obviously left when the government changed, she recognized also the power of the arts. And when you look, when you think about cybersecurity, at a very little level, it is, if you can distill it down, it's all about stopping very creative bad guys from doing very bad things. Well, how do you stop or get ahead of bad guys or gals doing bad things? You have to be more creative. You have to work well with each other. You have to think outside the box. And again, the arts give you those skills. That's, I've become very active in that world. But my music and my story has been on display at the NSA, National Security Agency, in (Wahington) DC at a cryptological museum. That's a national museum. It's at— on display in LA (Los Angeles) currently at Wende Museum, which is a Cold War museum. W-E-N-D-E, which is a fabulous museum in LA. And actually, in summer 2026, there'll be a book coming out on my Soviet experience co-authored with Vince Houghton, who is the director of the National Cryptological Museum for the NSA. So, we are co-authoring a book that will be published by HarperCollins (one of the largest English language publishing companies). So, yeah, pretty cool stuff. 01:27:28.000 --> 01:27:34.000 That's super exciting. Is it specifically based on your experience going to Moscow? Or— 01:27:34.000 --> 01:27:36.000 Yep. The whole Phantom Orchestra story. 01:27:36.000 --> 01:27:37.000 Okay. Right. 01:27:37.000 --> 01:27:59.000 And it includes background of what was going on at the time, which was how dangerous it actually was over there, because of the whole real spies. I mean, we were like little tiny spies, but not government seekers, nothing. But the real spies. It was the height of dangerous activity. 01:27:59.000 --> 01:28:12.000 Right. I consider you a spy, or like at least a story smuggler. Or something like that (Goldberg laughs and affirms) Because you were definitely—An espionage artist or something. 01:28:12.000 --> 01:28:14.000 Yeah. 01:28:14.000 --> 01:28:21.000 Yeah. Well, again, thank you so much for sharing your story. Yes, thank you. 01:28:21.000 --> 01:28:22.000 Well, thanks for having me. (overlapping dialogue) 01:28:22.000 --> 01:28:22.068 Of course. 01:28:22.068 --> 01:28:22.908 That was really great. 01:28:22.908 --> 01:28:23.908 Yeah, thanks. NOTE TRANSCRIPTION END ]]> In copyright video Property rights reside with the university. 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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=GoldbergMerryl_WilliamsAaron_2025-04-09_access.xml GoldbergMerryl_WilliamsAaron_2025-04-09_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 Goldberg, Merryl. Interview, April 9, 2025 Description An account of the resource Dr. Merryl Goldberg is a musician, author, and professor in the School of Arts at California State University San Marcos. She is the director of Center ARTES, which encourages artistic education for every student in California curriculum. In addition to being a founding member of the Klezmer Conservatory Band, Goldberg has toured internationally as a professional saxophonist. In combination to her musical skills, she devised a secret code using sheet music that helped smuggle stories out of the Soviet Union. Identifier An unambiguous reference to the resource within a given context SC027-078 Subject The topic of the resource California State University San Marcos. Center ARTES California State University San Marcos. Music California State University San Marcos. 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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 Christine Frazier Interviewee The person(s) being interviewed Lucy HG Solomon 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=HGSolomonLucy_FrazierChristine_2025-04-17.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 6.0 HG Solomon, Lucy. Interview April 17, 2025 SC027-079 57:03:00 SC027 California State University San Marcos University Library Special Collections oral history collection CSUSM This interview was conducted in partnership with the CSUSM History Department, and made possible with generous funding from the Ellie John Foundation. csusm California State University San Marcos -- Faculty ; California State University San Marcos. School of Arts ; California State University San Marcos. Biology ; California State University San Marcos. Cognate Collective ; Physarum polycephalum ; Artificial intelligence ; Art and artificial intelligence ; Interdisciplinary approach in education ; Border Art Collective ; Oileán Ruaidh (Ireland) ; Mars Rover Project ; San Marcos (Calif.) ; San Marcos (Calif.) ; Environmentalism in art ; California State University San Marcos. Data and Transdisciplinary Art Laboratory Lucy HG Solomon Christine Frazier sound HGSolomonLucy_FrazierChristine_2025-04-17.wav 0 https://archivesoralhistories.csusm.edu/files/original/4e72dfbca93bb6ce80c3ebed9f23b333.mp4 Other video English 1 Introduction Christine Frazier, a graduate student at CSUSM interviews Lucy HG Solomon about her work as an artist and a professor. CSUSM ; Lucy HG Solomon ; art 0 ["[\"\"]"] 33 League of Imaginary Scientists, NASA, and the Mars Rover Project on Oileán Ruaidh Lucy HG Solomon discusses her work with the League of Imaginary Scientists, NASA and the Mars Rover Project on the Irish Island, Oileán Ruaidh. She discusses how Oileán Ruaidh resembled Mars with its red soil, and the significance of such work. She created a reverse NASA study where she examined the future of the island and asked the same questions that the rovers were asking on Mars. They were asking questions such as: Is Earth going to look like Mars in the future? League of Imaginary Scientists ; NASA ; Mars Rover ; Mars ; Oileán Ruaidh ; Lucy HG Solomon 0 [""] 389 Planet Mentorship Project and Juliana Goodlaw-Morris, Sustainability Manager at CSUSM Lucy HG Solomon discusses the Planet Mentorship Project which she worked on with Juliana Goodlaw-Morris, the Sustainability Manager at CSUSM. She discusses thinking about how students relate to the planet. It is an interdisciplinary project which pairs mentorship, art making, and community building together. Ariel Stevenson ; Peace Corps ; Juliana Goodlaw-Morris ; Planet Mentorship Project ; data visualization 0 ["[\"[\\\"[\\\\\\\"\\\\\\\"]\\\"]\"]"] 836 Student involvement in Data Stacks at the Kellogg Library Professor HG Solomon discusses motivating students, and how it's really rewarding to have students have their own research and creative work acknowledged through a grant. Students have contributed to the art exhibition Data Stacks, which is an exhibition space in Kellogg Library Kellogg Library ; Data Stacks ; CSUSM library ; grants ; art exhibitions 0 [""] 897 Cesar Baio at the University of Campinas in Brazil Professor HG Solomon discusses her work with Cesar Baio at the University of Campinas in Brazil. She earned a Fulbright Scholarship to go to Campinas in Brazil in 2018. They also began the art collective titled Cesar and Lois. Her interdisciplinary work focuses on art and science while integrating technology. Cesar Baio ; University of Campinas ; Brazil ; Fulbright ; Artificial Intelligence ; Cesar and Lois ; art collective 0 ["[\"[\\\"\\\"]\"]"] 981 Lumen Prize for Artificial Intelligence Professor HG Solomon discusses how she won the Lumen Prize in her art exhibition that to made a statement about what technology serves. &#13 ; She discusses questioning the trajectory of technology, and reflecting on AI usage. &#13 ; AI ; artificial intellegence ; Lumen Prize ; technology use 0 ["[\"[\\\"\\\"]\"]"] 1167 Nature as a blueprint for technology HG Solomon discuses her work questioning what would happen if nature were the blueprint for technology. She worked with Dr. Betsy Read in the Biology Department at CSUSM. Biology ; Betsy Read ; CSUSM ; AI ; artificial intellegence ; nature 0 ["[\"[\\\"[\\\\\\\"\\\\\\\"]\\\"]\"]"] 1195 Using the yellow slime mold, Physarum polycephalum as a tool to explore AI development and logic. Professor HG Solomon discusses what kinds of logic that governs AI development, while exploring the logic of Physarum polycephalum, a yellow slime mold. She integrates the logic of Physarum polycephalum into city development models. Palo Alto ; Physarum polycephalum ; AI ; Artificial intelligence ; yellow slime mold ; CSUSM 0 [""] 1356 Data Lab, which is the Data and Transdisciplinary Art Laboratory Professor HG Solomon describes the Data Lab, which is the Data and Transdisciplinary Art Laboratory that has four students work on art projects that bridge art and science. The Data Lab partnered with Dr. Betsy Read in the Biology Department at CSUSM. Data Lab ; Data and Transdisciplinary Art Laboratory ; Dr. Betsy Read ; Biology Department at CSUSM 0 [""] 1550 Professor Sandra Doller- CSUSM Professor Professor Sandra Doller collaborated with Professor HG Solomon on the text that was tweeted from the Physarum polycephalum project. Professor Sandra Doller ; Physarum polycephalum 0 [""] 1628 Plant biologist Dr. Joanne Chory- Salk institute Plant biologist Dr. Joanne Chory investigated a type of plant hormone related to plant growth at the Salk Institute. She hybridized Arabidopsis in order to make agricultural crops like tobacco. Professor HG Solomon contemplates the importance of one day in the life of a plant, and this leads her into discusses the nature of time. Salk Institute ; Dr. Joanne Chory ; Plant biologist ; plant hormone ; time 0 [""] 1908 The passage of time Professor HG Solomon contemplates the passage of time after reading the book The Passion According to G.H. by Clarice Lispector. She shows the viewer models of Earth's timeline from the Big Bang and contemplates how we view time as a human. time ; Clarice Lispector ; The Passion According to G.H. ; Big Bang 0 [""] 2602 Oulanka Research Station Professor HG Solomon discusses how she was commissioned by the Oulanka Research Station in Finland. She explored how to use these data sets that are collecting data about temperature, individual species and soil responses to climate change and how can this data be incorporate into an AI program. Oulanka Research Station ; Finland ; AI 0 ["[\"\"]"] 2936 Mentorship at CSUSM Professor HG Solomon discusses mentorship at CSUSM. David Avalos was her mentor in the arts. He helped her understand the impact of the art she was creating. She emphasizes the importance of collaboration in the arts as a means to grow and learn. She discusses the Cognate Collective, a collective involving Misael Diaz's and Amy Sanchez at CSUSM. She discusses the importance of the Border Art Collective. Cognate Collective ; David Avalos ; mentorship ; Border Art Collective ; collaboration 0 ["[\"[\\\"\\\"]\"]"] 3347 Closing The interview concludes. 0 [""] oral history Oral history interview of Lucy HG Solomon, April 17, 2025. Lucy HG Solomon is a professor in the Art Department at California State University, San Marcos. In this interview, she discusses professional collaboration and her interdisciplinary art projects, along with how she uses interactive media to help people understand complex scientific subjects. She reveals the importance of understanding the implications of scientific innovations for students. NOTE TRANSCRIPTION BEGIN 00:00:01.135 --> 00:00:24.015 Hello, this is Christine Frazier and today I'm interviewing Professor Lucy HG Solomon, for the California State University San Marcos University Library Oral History Program. Today is April 17th, 2025. This interview is taking place at the CSUSM campus. Professor HG Solomon, thank you for interviewing with me today. 00:00:24.015 --> 00:00:25.855 Thank you for having me. 00:00:25.855 --> 00:00:33.585 Could you tell us a little bit about how you came to teach at California State San Marcos and about your career? 00:00:33.585 --> 00:06:22.754 Yes, for sure. I would love to share a little bit about my creative journey. I was part of an art collective called the League of Imaginary Scientists, and that was from 2006 until--really for about 15 years. So around the pandemic, we shifted, but this was an art collective created with collaborators in Los Angeles and had a very playful approach to incorporating scientific themes into interactive artworks. And we had some acclaim. We had the great opportunity of working with NASA to strangely do a study on Ireland--in Ireland, on an island that was in a narrative way, a sister or a twin to Mars. And the island is called Oileán Ruaidh. It means the Red Island in Gaelic. And so this was during the first push to get really the public excited about the Mars Rovers. And we did a reverse future, or a reverse NASA study where we examined the future of this island and asked the same questions that the rovers were asking on Mars. The rovers were asking questions like: was Mars anything like Earth four million years ago? And we were asking, is the earth going to look like Mars in the future? And so we took the same kinds of samples that the rovers were taking and asked the same kinds of questions. I say that as a preamble because it is that kind of work, this community based, environmentally-oriented, interdisciplinary work that drove me to come to Cal State San Marcos. The founding of CSUSM--what is notable because the size and the nature of the faculty, the size of the university, the nature of the faculty, led the campus to be stridently interdisciplinary. That kind of thinking across disciplines allowed me to work here. And I say, allowed me to work here because I had applied for other positions, and really I had to transform myself to become the graphic design teacher or the media arts teacher or an art professor. And I did work at other institutions. And here I could be unapologetically an interdisciplinary artist. So that's what brought me to Cal State San Marcos. And I'm surrounded by colleagues who work in this hybrid way, and sometimes their work is quite fascinating and really drew me to wanna be here. An example is my colleague, Professor Judit Hersko, who like me, really bridges the world of art and science. When I came here, she had--maybe not recently--but had gone to Antarctica as part of an NSF grant. There was another colleague who is now retired, Deborah Small, who is notable because of her work that happened very organically with tribal communities, where she found that she had a very important--really a critical and perhaps threatened plant on her property in Rainbow where she lives. And tribal members ended up coming to her property as a meet-gathering place to develop crafts based around this plant. They ended up collaborating on a book where she photographed native species. And that became a resource, really for that group. And I have that ethnobotany photo group, photo book somewhere in my library here. But I came to Cal State San Marcos totally excited about the faculty here. Really historically important faculty as well, like David Avalos, who has a background working on border art issues with the Border Art Collective and is a prominent Chicano artist who has recently retired, but is quite really a cool guy. In fact, I have some things of his, I have his hot chili pepper that came from somewhere, and there's a book over there that Trader, Survivor, Icon that has his work in it. Thank you for passing that. Yeah. So this is, this features David Avalos's work. This is an important piece that he made that has also exhibited in the Escondido Center for the Arts. So there was this rigor of artistic creation that was evident in the colleagues who were here and a total encouragement to think and work outside of traditional artistic boundaries. 00:06:22.754 --> 00:06:29.305 That sounds wonderful. Could you explain your work on the Planet Mentorship Project? 00:06:29.305 --> 00:13:31.981 Yes, definitely. So as a faculty member at Cal State San Marcos, we balance a research and creative activities trajectory where we get to make art and write about the things that we care about. And, we do--of course, we're professors, we teach, and we also think about how we contribute to the campus community and the community at large. So one of the ways that I have found a way to be involved in the global community and to engage students in thinking about how they relate to the planet is a project that was conceived across different areas of the university. The arts: that's me. And then Juliana Goodlaw-Morris is, she is a former Peace Corps volunteer who really has worked across her professional career thinking about the use of resources. And she heads our sustainability efforts on campus. So she has become a close collaborator when I think about the impact of students' education and also their art on the environment and how to connect those more closely. Then the third person who started this project, and I'll talk about the project in a second, but it's Ariel Stevenson, and she is somebody who is thinking about inclusive excellence. That's her role on campus. And she brought to Juliana and me discussions around inclusive sustainability, how to engage the wider, the broader student body in environmental issues, environmental issues that really touch students in their homes, in their, uh, communities. And yet maybe they haven't studied environmental issues or they haven't developed the tools to really grapple with how they might become involved in the environmental issues across the planet. So we started this program. We started a program called the Planet Mentorship Project, and I am a professor in the arts. My specialty is data visualization. And when I started teaching data visualization, it was not that commonly understood. Now it's so obvious. I think actually COVID really made people alert to graphing in dynamic ways because they wanted to understand complex data sets quickly, and the literacy around data visualization across the world suddenly exploded. I work with students to create data visualizations around their lived experiences with daunting environmental issues and the data sets that are related to those. So in the Planet Mentorship Project, we pair mentorship, art making, and community building. And it's--we have some fun together. I'll show you a couple projects too or I'll talk about a couple projects. This is one student, Aidelen Montoya, who she made a data visualization that looks at the future of sea rises across the globe, but specifically relevant to the Philippines. And as a Filipinx student, she also examined her own ties to the Philippines and started to use beading, which is a traditional Filipino practice, and decided that she would bead these future maps. So this map of 2050 notably has much of the Philippines underwater, and this was an entry point for her to connect more with the place where her mother immigrated from, as well as explore environmental issues. So that's really the goal. Another, another work by Aidelen, I just have a couple of hers here--she looked at redlining in San Diego and made this dynamic embroidered map that really makes an inverse of the redlined areas and invited students who visited the exhibition at the Data Stacks on campus to look at where they're from and to see was this one of the areas that was excluded to someone who looks like me, or in this case, not me, but a student of color and their family. So that project has existed for about--we're in our third year and we are continuing it looking each year for a new cohort of students whom we hope to engage in arts in a dynamic way, and at the same time celebrate their own developing interests in nurturing the planet and examining the very critical issues around environmental injustice and the nuances of how that might have impacted their own family life. Some students live adjacent to factories and only in their critical inquiry really understand the embedded structural challenges that have developed, that have caused hardship and health issues within their families. So it's great. I mean, that's not great. That's problematic, but it is really rewarding to have students get excited about environmental causes which have traditionally not been causes that communities of color have been able to take over. There are often--environmental studies has been an area of study that has been dominated by white students and white scholars. And so you see this intersectional approach also shifting. Who gets to be an environmentalist? Everyone is an environmentalist. We're all affected by pollution. 00:13:31.981 --> 00:13:45.865 For professors or educators that would like to have students do these types of projects, what are some tips or issues that you think they should know about? 00:13:45.865 --> 00:13:50.034 And by? So by types of projects, you mean co-curricular, extracurricular? 00:13:50.034 --> 00:13:56.000 Yeah. Kind of interdisciplinary, getting students to critically examine their own environment and creating, you know-- 00:13:56.000 --> 00:14:57.394 This project, the Planet Mentorship Project is a real commitment, and one thing that we do is we pay students. We have a--it's a grant, it's a scholarship-based project where students--and any student can participate--all students on campus are welcome. We usually have the amount of student applicants whom we accept. So it's kind of worked out perfectly. I don't wanna say that the only way to get students involved is to pay them, but it's really rewarding to have students have their own research and creative work acknowledged through a grant. And it may be the first time that they feel that they're acknowledged as an artist and a scholar. At the end of the program, we have a panel, the students discuss their work. We have an art exhibition at the Data Stacks, which is an exhibition space in Kellogg Library. 00:14:57.394 --> 00:15:11.544 Okay. Very cool. And I know, moving on a little bit, that you've also worked with Joanne Chory at the Salk Institute. Could you explain your work there for us? 00:15:11.544 --> 00:22:32.704 Yes, yes. So around the time that my, that the Art Collective, the League of Imaginary Scientists started to stop doing the kind of crazy art installations we were making around science, like the one that I described of the Inverse Mars Study. I started working with a Brazilian media artist and scholar, Cesar Baio, who is based at Uni Camp, a university in Brazil. It's the state university of Campinas. And we, we started to collaborate sometimes in person. I had a Fulbright to go to Campinas in Brazil as well as a few other places, but I spent a significant amount of time in 2022 there. We began working together in 2018, and we worked also between these disciplines of art and science while integrating technology. So our first artwork actually garnered us a pretty cool prize, the Lumen Prize in Artificial Intelligence. And this is a prize for the arts, for digital art. But this particular sub award, this award was for excellence in critically examining artificial intelligence. And that is what we started to do. We started to make artworks that use scientific principles often through collaborating in labs and with research scientists to make a statement about what technology serves. What the purpose is, how it intersects with society and nature. And that sounds all pretty crazy and complex, and I'll try to say it in a couple different ways. So we also make art that is often living. So we'll make a living sculpture rather than seeing just a piece of wood, it might be a wooden structure that incorporates living plants. And from those plants we receive live signals. Those signals become part of the art project. Our--so Cesar Baio and myself, we have the collective's name is Cesar and Lois, and one of our goals is to question the trajectory of technology, including artificial intelligence. And one example of that is thinking critically about the basis of technology, the basis of AI as a neurocentric or human rewards-based system. So a lot of--most AI systems, all programs, all AIs require data sets. And most of those databases come from--these are training databases and they come from human language models. They also--and those aspire to replicate human logic. Other rewards based training models, reinforce behavior that is very also human. Humans, when we get food, we feel rewarded. When we do certain things, we are also motivated by this internal reward. Hopefully that's not our only motivation. AIs are currently being developed in these ways. So Cesar and I started looking in it from an artist's perspective. So we're not AI specialists, but we incorporate artificial intelligence programming into our sculptures. We started thinking, what if nature were the blueprint for technology? And we started looking first at very simple systems, microbiological systems. We used one organism that we really got turned onto by a biology professor here at CSUSM, Dr. Betsy Read. She gave us a sample of slime mold, Physarum polycephalum. That is a really cool, fast growing yellow organism. It started a whole fashion craze for me where I only wore yellow for a long time 'cause I fell in love with this organism. And I worked with teams of students here at Cal State San Marcos, and we made art installations where Physarum polycephalum would make decisions and we would base our own computer system on that organism. And the big question was, you know, what kind of logic does this organism have? The organism is kind of interesting. It's not unlike some other kinds of networking organisms like, like fungi, although it's not a fungi. It was misclassified as fungi for a long time by scientists and then unclassified. But Physarum polycephalum or slime mold, which you can see out in the world in gardens. It's a networking organism that shares its resources across all of the nodes of its network. And as artists, we went into labs, we had artistic residencies and labs in different countries and different places. And we were able to grow and study this organism and ask, well, what if our own technologies shared resources the way that Physarum polycephalum does this? Um, this kind of wooden structure behind me was a basis for growing Physarum polycephalum. And this is actually a dried, you can't see it anymore 'cause it's all dried up. But that is where we groove the organism across a map of Palo Alto to show would Palo Alto and East Palo Alto--kind of the wealthiest and the poorest neighborhoods in California and maybe even the whole country. We were curious would Physarum polycephalum  organize those cities the same way that humans do? And what we found in our experiments is that Physarum polycephalum will redistribute wealth across its whole network. So we started using, in a way, the microorganism as a tool for data visualization and recalibrating our understanding of how could we logically change how we think about resource distribution, how societies are formulated. 00:22:32.704 --> 00:22:36.144 And what was the student response to discovering these things? 00:22:36.144 --> 00:23:50.000 We had students who participated, so Kodi Gerritsen was a student of mine at the time. She came to Stanford University with Cesar and me, and we presented this project together. There were three other students who worked on that project. And I started what's called the Data Lab, which is the Data and Transdisciplinary Art Laboratory. And each semester I have about four students who work on art projects that bridge art and science. This is kind of unusual in the arts, but I was inspired and encouraged by my scientist colleagues. And this goes back to CSUSM being a model for interdisciplinary exploration. When Betsy Reed gave me that sample of Physarum polycephalum, she also said, come into the biology lab and experiment and try to figure out how to grow this in an artistic context. This is so fun. And she also allowed--that's actually very expensive. That's a huge resource. I was able to use that lab bench. And the bio tech at the time really helped me, helped keep alive the organism. 00:23:50.000 --> 00:23:51.000 True. 00:23:51.000 --> 00:25:11.000 And it was so cool. So, and we did things. We asked questions that maybe the scientists hadn't been asking, like, how do I grow this on a map? How do I grow this on the surface of a book? We started to grow Physarum polycephalum over pages of a book to question in, in many cases, we use Descartes--books about that, questions about humanities, really what Descartes would term as man's control over nature. So we looked at these traditional tenets of Western civilization and what are considered the kind of great models of thinking and Western thought, and started to challenge those with layers of logic on top of those. So we had a computer system that we set up that took photographs of a book as the organism grew across it. And as the organism grew across the book, then the text started to change. So first it would say, only man is the king and queen of nature, only men. We used this, a quote from Cicero, only man can reverse the flow of rivers. And as--that's a paraphrase-- 00:25:11.000 --> 00:25:12.000 Yeah. 00:25:12.000 --> 00:26:24.000 --and as the organism grew across, it would say something very unintelligible. But what was really cool, actually, we had the computer system tweet out the--back when Twitter was a thing instead of, before it evolved--the organism would tweet updated text from the book, devolving this text. And at that time when, when we did this, this was in 2019, we worked with another professor in literature here on campus, Professor Sandra Doller and Professor Doller, she brought her literature students in her critical analysis team, and they workshopped the text that the organism has--had published within Twitter. And they really looked at it as a poem or a body of language. It was really fun. And we filmed that and we have a video of those students' analysis of the living microorganisms. So that's cool. That is a very long background-- 00:26:24.000 --> 00:26:25.000 Yeah. 00:26:25.000 --> 00:28:26.000 --to say that Cesar and Lois, uh, Cesar Biao and I, we, we were working with art and science, and when you asked about our work with the Salk Institute, we had had this body of work already. And so we had been--I guess, tried--we had had some chops proven within this arena of questioning this barrier between art and science that has been erected gradually over years, but maybe is being dismantled quite often at CSUSM And we were invited to and offered a commission to create a work with a biologist, a plant biologist--a plant microbiologist, Dr. Joanne Chory at the Salk Institute. Dr. Joanne Chory is known for her great scientific breakthrough, which now I think was maybe two decades ago, which was the discovery of a kind of plant hormone. It's not really a hormone, but it's called alchine. Am I saying that right, now? I won't say what it is, a secret thing. Yeah. And she discovered this, something like a hormone that plants release, and specifically the Arabidopsis plant, which is kind of known as a common weed, but in biology labs, it's used quite often to study and--to study hybrids, to create hybrids very quickly. They're, they're great lab rats for plant microbiologists. She, she stu--her discovery of this plant hormone was so cool, because what happens, I think it's, is it oxen? Uh, I'll, I'll find out and get back to you. 00:28:26.000 --> 00:28:27.000 Yeah. 00:28:27.000 --> 00:33:02.000 Her discovery of this thing, this chemical that gets released, occurs when we didn't know that much about how plant cycles are triggered. And what happens is that the Arabidopsis plant, it's very first exposure, it's first day of light, is so important. And if it gets sunlight, then it grows in a certain way. And if it's in the shade, it grows in a different way for the rest of its life. So if it's in sunlight, it doesn't need to compete with a lot of other plants. So it will not grow long roots, but if it is in the shade, it will grow longer roots. And what that means for other plants and for that particular plant, is that it retains more carbon. Because it's embedding more of its metabolic results in the earth and putting that carbon down. And so she was hybridizing Arabidopsis in order to make vast agricultural crops like tobacco have longer roots and help kind of shift this climate change. What stuck with Cesar and me in her study were the themes of, of course the globe and climate, but also time. How cool is it that one day in a plant's life is so important? In some ways that's true with humans. Of course, what happens to us as babies has an impact. But imagine if it was like whatever happened in that twenty four hours of your life, the very first day is a blueprint for forever. So we started to think about timescales and what is time for Arabidopsis? What is time for microbiological organisms for Physarum polycephalum? For a tree that lives for a thousand years? Like the sequoias? What are these different scales of time? And how can we think about time differently as humans? And if we did, what would it do for our decision making? Like if we could think across a thousand-year span? And then we started to think about, I was reading--this was during the pandemic when we had this assignment, so of course we were thinking about time. And even the project got interrupted for a year because everything was shut down, including the Salk Institute for a period of time, or at least to artists. So we were thinking about time, we were having time slowed down and sped up in the strange way that the pandemic infected our lives. And we were also thinking about the deep planetary time. There's an author, a Brazilian author, Clarice Lispector, who had, during the pandemic especially, become quite popular in the US 'cause she was newly translated, even though she's a classically known, and really thought of as a modernist artist and writer--not artist, but literature contributor in Brazil, Clarice Lispector, amazing challenging author, but really interesting. And I started reading her during the pandemic, her work. And she has one book called The Passion According to G.H. That book is really experimental. And in it, she has some framing of a woman's experience as really dipping into her own framing of prehistoric time. And how she, at some point, the sculptor who is a main character in this book, has an existential moment where she crushes a cockroach and she doesn't--her own feelings of self evolve and she cannot really distinguish herself from the cockroach. And so she's talking about, you know, what is our, my own prehistoric memory? Do I have any memory with this? Do I, what do I share with this cockroach? And so we were also thinking about that. Like, what is time according to the planet? 00:33:02.000 --> 00:33:03.000 Yeah. 00:33:03.000 --> 00:33:29.000 Prehistoric time? Are the bacteria that we evolved from, do we have, what kind of memories do we have associated with that? Do we have that? How long can our thinking be? And we were thinking about technology because technology is fast, and if we know anything about what, how we use AI in technology, it's usually to cut a corner to get something immediately. 00:33:29.000 --> 00:33:30.356 Yeah. 00:33:30.356 --> 00:34:11.045 And one of the worst culprits of this is Amazon. So, I like to use Amazon as an example, because of its famous same day delivery. When it, when the system, the AI system is shooting the data through its code to decide who gets to have same day delivery, what is considered are profits and also convenience. What is not considered is the long questions, the long logic. The long sense of time, like what is the impact on the planet? 00:34:11.045 --> 00:34:12.000 Yeah. 00:34:12.000 --> 00:34:35.000 Or on people and populations and culture and communities, when we start to economize our daily interactions and that gets spurred on by these technological tools. And we think of them as tools, but we don't always question the values that they're suddenly implanting. So that's what we started thinking about with Joanne Chory. 00:34:35.000 --> 00:34:36.000 Yes. 00:34:36.000 --> 00:37:15.000 With Dr. Chory. Not necessarily with her--with her, we really focused on Arabidopsis and the plant, and we started growing it ourselves. And during the pandemic, I worked with the Data Lab, and we grew and recorded the, the growth of Arabidopsis. We also started collecting plants all over Escondido, where I lived mostly around the specific property where I was living, which was very natural. And, along with the help of my daughter, who was six at the time, we collected many specimens and dried them and used those as part of the artwork. So I have, I have behind me one of the models that we made for thinking about time. So this circle that you see is the history of Earth starting with the Big Bang. And that became one of the models for allochronic cycles, which was a series of clocks that we made. I'll say clocks, but they're not quite clocks, but they were--there are, it's a series of discs that we designed and one was the cosmos. We thought the longest clock was the cosmos' time and for of the cosmos we embedded all of those specimens into holes, into little discs around the clock, around the disc. And then we had an earth cycle, and we had an Arabidopsis cycle, of course. And we had also a Covid cycle that went very quickly because the virus replicates. And for each of these cycles, we really studied all of these different ways of thinking about time, including viral time, and how fast growing and evolving viruses are. Which viruses, apart from infecting individuals and species are really cool, how they can replicate. So thinking about that kind of time, against the backdrop of cosmic time, those are huge leaps. So we really had fun during that whole year thinking about time. And then we made this model of clocks that I'll share an image of that, that is actually behind you we have some of the discs. I could pull one over. 00:37:15.000 --> 00:37:16.000 Sure. 00:37:16.000 --> 00:37:19.000 Okay. I'll try not to knock anything over. 00:37:19.000 --> 00:37:21.000 Yeah. 00:37:21.000 --> 00:37:39.000 Okay. You should have had this ready to go. I'll get the cosmos one. Okay. Let's see this up. Okay. I'll just show this one. 00:37:39.000 --> 00:37:42.125 Yeah. 00:37:42.125 --> 00:38:42.000 There's several discs, but I'll just show this cosmos one, because with the cosmos one, you can really see when it rotates that it has these powdered specimens inside of them. And they start--it's kind of cool, I think, how it like moves. And, so each one of these lights up and is powered, but it's also controlled by an AI. So it's controlled by a program that we wrote that takes into account, it's monitoring all of these different discs. So imagine the cosmos: it's spinning, but you barely notice it. Covid is spinning and it's, it's moving quite rapidly. This all exhibited at the La Jolla Historical Society. And then the following year, actually during the same exhibition, was it the same exhibition? It was, we made another version of it because it toured China and it— 00:38:42.000 --> 00:38:43.000 Oh, wow. 00:38:43.000 --> 00:40:32.000 --it was cool because at the time we had two Chinese students who were in instrumental to the development of the project on the Data Lab, Ji Young, and that's her first name, and also, Lee who's Ziwei Lee, and he goes by Lee and Ji Young is now, she's a PhD student at the University of Dallas, at the University of Texas in Dallas. And she also got her master's at USC during the pandemic. So this project was really formative for students and the students, especially those two students because of their background in, I think, you know, design coming from China, but also design that integrates planets in some ways. Ji Young had done some work across designing with different kinds of calendars for one of my, one of the class projects. Anyway, they really informed the project. Kodi Gerrittsen also worked on the project, and she now runs the Makerspace on campus. So she, she was, Kodi was instrumental in developing the Data Stacks as well. And so no, all three of the them were, because the Data Stacks opened the year after the pandemic, we, it was ready to open in March of the pandemic year, and then we sus--it was up, but the official opening happened a year later, almost, I think. 00:40:32.000 --> 00:40:57.000 Yeah. And, as you work on these projects, I think it's evident that you're comfortable and you have a lot of experience working with AI. As the university kind of transitions to using more AI, are there any insights or things that we need to think about as we kind of go into this new age? 00:40:57.000 --> 00:42:07.000 Definitely, yes. Thanks for asking that question. So that project, allochronic cycles, allochronic is a word that means when geological epochs are out of sync or when something's out of sync with its geological epoch. And we started to think that, wow, allochronic, that's what we humans are, we're out of sync with our geology and the Earth. And so is AI. AI is making advanced decisions that is having an impact on the planet. So one of the things that the AIL and allochronic cycles did is there were all of these spinning discs, and the AI represented as a screen. So we always have a visual representation of this program that is graphically moving across the screen. So you have--and in this case, the AI is a replica of the cycles. So you can see these discs spinning, but at the same time, what it's doing is it's looking at the current carbon emissions on the planet, which you can get in real time. So if the AI is collecting that for the day and each day projects out-- 00:42:07.000 --> 00:42:07.887 Wow. 00:42:07.887 --> 00:42:14.973 --when the Earth will no longer be habitable if the current carbon emissions are maintained. 00:42:14.973 --> 00:42:15.858 Yeah. 00:42:15.858 --> 00:42:28.678 And so then each day of the clock is the future of--is the day of the clock is like the next hundred to three hundred years. 00:42:28.678 --> 00:42:29.560 Yeah. 00:42:29.560 --> 00:44:02.000 Every day is the Earth's future. And at a certain point in the day, everything stops. And that's when the AI shuts down the clock and says, you know, at this point, the allochronic has happened. Like nothing is in sync. The carbon emissions have made life on Earth no longer possible. As we know it, life on earth as we know it. So that was kind of a challenging--a challenge to AI as well. Even though AI is given this task, it's a predictive task, the question is, really can we make a technology that does take into account the needs of the planet? Our next big project, well, we've had a quite a few projects since then, but we had a commission in the northern forest of Finland. And this was just this past year, we went to the Boreal Forest at the border between Finland and Russia and the North. And we were embedded at a research station, the Oulanka Research Station. And working with scientists who are so dedicated. And I always think of scientists as dedicated. Anyone who is doing research, longitudinal research is doing the same thing for thirty years. That takes so much focus. And most of these scientists, they're coming back--they were for many, many decades coming back to the cold, to the permafrost. 00:44:02.000 --> 00:44:04.000 Yeah. 00:44:04.000 --> 00:44:54.000 Looking, looking--the Boreal Forest actually wasn't permafrost, but in the winter months, looking at their sensors and getting their readings. Now this research station is year long, and they have longitudinal studies and they upkeep these data sets. So one of our goals was to think about how can we use these data sets that are asking questions about temperature and individual species and soil responses to climate change? How can we incorporate that into an AI? And we started to get our own signals. We had started doing this when we worked with a mushroom colony. We, we started getting signals from fungi for another project where we attempted communication with fungi, and that exhibited in Brazil. 00:44:54.000 --> 00:44:55.044 Yeah. 00:44:55.044 --> 00:46:09.715 And this project was creating, using the forest itself, the whole--imagine if the boreal forest, the network of forest were the model for the AI. Instead of a human neural network being the model for computer machine, computer processing or machine thinking, what if it's the forest? And the question for that project was really, does a forest make good decisions? Does it make better decisions than humans? Can humans make decisions like a forest? So I, I think for me, my role, as an artist is what many of the artists do here in this department. We look at an issue, we examine it critically, and then we offer other avenues for society. And it's--the artwork is meant as a question mark. It's meant as fodder for thinking and hopefully will propel new directions. 00:46:09.715 --> 00:46:37.744 It's very compelling. It's kind of, looking at AI, I think in a very unique way, a new perspective. I think many in education and elsewhere, it's just like a simple tool that people use and I think a few people even know, like the impact of AI, you know, on the environment. So this is really, really cool. As an educator, how have you used AI in your art classes? 00:46:37.744 --> 00:47:58.000 That's a great question. I have had individual students who use AI to generate projects. And part of my own requirement is that they contextualize and discuss what that means, what is the, the use of the tool. I am looking at and trying to develop a new curricular focus on AI and data visualization, where along with Cesar Baio and his wife in Brazil--is an AI specialist--named Livia Rubeck. And I am hoping to develop a curricular module with them that examines data sets and methods for mitigating bias in AI by eliminating bias in data sets. So it's a, that is Livia's expertise is examining and identifying bias in AI. Examples of that could be simply that, a whole gender is discluded. 00:47:58.000 --> 00:47:59.000 Yeah. 00:47:59.000 --> 00:48:29.994 So then the results and our understanding of the AI or the decisions aren't going to be as accurate and certainly won't be representative. So I'm curious, I'm not sure how that will play out in the classroom, but that is something I'm currently embarking on, and that I expect will be a year-long study with ideally implementation in the spring. 00:48:29.994 --> 00:48:31.304 Okay. 00:48:31.304 --> 00:48:34.000 So check back. 00:48:34.000 --> 00:48:35.585 Definitely. 00:48:35.585 --> 00:48:39.684 In a hundred years. I'll give you the next--no. 00:48:39.684 --> 00:48:57.000 Yeah. And considering that you are, working in the Art Department, are there any faculty that you'd like to review as being, you know, formative in your journey or impacting your work? 00:48:57.000 --> 00:49:14.000 Definitely. I think there are--there is the, my particular colleague, David Avalos, who was a resistant mentor of mine. I dragged him into taking on that role-- 00:49:14.000 --> 00:49:14.485 That is funny. 00:49:14.485 --> 00:49:57.000 --and then he became an obstinate mentor, a willing mentor. So he's somebody who really--like I mentioned at the very beginning of this interview, David Avalos is a Chicano artist, very important in the history of border art in Southern California, who has brought--married critical thinking, teaching, and art making within his practice. As a colleague, he really, you know, he knows how to ask the hard questions. And that's sometimes what we have to do. 00:49:57.000 --> 00:50:02.433 Yeah. 00:50:02.433 --> 00:52:19.684 With one another, we have to ask, how is what you're making--is what you are making, doing what you wanted to do in the world? And how do you adjust or work harder even? And so I have enjoyed my conversations with him as a model for thinking about my art practice. He has worked in an art collective and did so very thoughtfully with the Border Art Collective. That experience has been really important to how he thinks about the arts. And it has validated many of us in the department in our own work that is collaborative. Oftentimes when you go to different areas of the arts, perhaps the single master artist is celebrated. And we are, many of us in this department say, I'm thinking about the Cognate Collective, which is Misael Diaz's Collective. Professor Misael Diaz with, lecturer Amy Sanchez, who's also on campus. They create work together and sometimes they teach together. And that kind of collaborative making and thinking is pretty formative. It can generate something bigger than the individual's vision. And so David has supported that. I would also say that colleagues in the--and I should say too, that, Misael as a new colleague during the pandemic--I think just before the pandemic he joined our department--has also carried on that tradition of working within a collective, in a really exciting way. 00:52:19.684 --> 00:52:37.164 So thinking just in practice, how do you like forge relationships with other departments? Like how do you network as a faculty. If other people you know, on campus wanted to create an interdisciplinary project? 00:52:37.164 --> 00:53:14.000 I think it sometimes it's about asking a question that's interesting across disciplines. So you Judit Hersko has done so. She started working with--she's an art professor here who worked with she physics professors. And the physics professors, I always think of them as the other artists because they're asking these big questions that maybe are unanswerable and maybe it's the quest that becomes very engaging. As opposed to always having the practical answer. 00:53:14.000 --> 00:53:18.545 Yep. 00:53:18.545 --> 00:53:50.000 But I have found that the scientists across campus are very open to collaboration, and that's so cool. We have some new scientists who are in the microbiology and biological sciences, like Dr. Carlos Luna Lopez and Dr. Erika Díaz-Almeyda, among many others who are just kind of intrepid explorers. And so they're looking at the world-- 00:53:50.000 --> 00:53:52.125 Yeah. 00:53:52.125 --> 00:54:16.000 --through their own interdisciplinary lens already. So to tap into similar questions, to ask questions together from different angles, then just those initial discussions of questioning builds a framework for questioning together, and ideally bringing in students and having something bigger happen because you have input and expertise from different areas. 00:54:16.000 --> 00:54:24.994 Okay. Well, thank you for letting me interview you today. Is there anything else you'd like to share? 00:54:24.994 --> 00:56:15.000 Yeah. Yes, I would say that the--that trajectory of art and science, there are other avenues that happen and it's, there aren't only--there isn't only one method for collaborating. And I think another, so Judit Hersko has done that. Kristine Diekman, who also retired, she did that. I mentioned that Deborah Small was a collaborator across botany and indigenous practices and photography. So we--I think there's all of these different ways of thinking and working together. And that--I think if I had one, just to tie this whole long statement back to our very, your very first question about what brought me to CSUSM and that I had recalled, it was really the interdisciplinarity of the school. That is what persists. That ability to work across disciplines. I really hope, I think it's been the hope of all faculty who work here because it allows for a lot of freedom. When you are not, I wanna--maybe shackled is too strong a word--but siloed also another strong word, but when you don't have those restrictions, there are many more possibilities. So I really hope that our students feel that we have the--and that the community feels that. We have a lot of majors that are designed for cross-disciplinary explorations. So we have--the new Data Science major takes an art class-- 00:56:15.000 --> 00:56:16.000 Oh wow. 00:56:16.000 --> 00:56:28.000 --the environmental studies, the environmental studies students, those majors can take several different art classes that focus on art and science. The liberal studies students who are going to be the future educators-- 00:56:28.000 --> 00:56:29.000 Yeah. 00:56:29.000 --> 00:56:41.000 --do get a grounding in the arts, which is so important for K-12 teaching. So I just, I'm excited to be in a place where exploration is key. 00:56:41.000 --> 00:56:53.775 Very cool. Well, it was wonderful talking to you today. I appreciate our time together and thank you for contributing to the oral history project. 00:56:53.775 --> 00:57:02.000 Thank you. I hope it's an all right contribution. Thanks for having me. 00:57:02.000 --> 00:57:03.000 Yeah. Definitely. NOTE TRANSCRIPTION END ]]> In copyright video Property rights reside with the university. 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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=HGSolomonLucy_FrazierChristine_2025-04-17.xml HGSolomonLucy_FrazierChristine_2025-04-17.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 HG Solomon, Lucy. Interview April 17, 2025. Description An account of the resource Oral history interview of Lucy HG Solomon, April 17, 2025. Lucy HG Solomon is a professor in the Department of Art, Media, and Design at California State University, San Marcos. In this interview, she discusses her collaborations with the League of Imaginary Scientists and with Cesar Baio as Cesar & Lois, along with how she works across art and science to talk about intersections in climate, AI, and society. She reveals the importance of cross-disciplinary exploration for students. Identifier An unambiguous reference to the resource within a given context SC027-079 Subject The topic of the resource Art and artificial intelligence Art and science Border Art Collective California State University San Marcos -- Faculty California State University San Marcos. Biology California State University San Marcos. Cognate Collective California State University San Marcos. Data and Transdisciplinary Art Laboratory California State University San Marcos. School of Arts Environmentalism in art Interdisciplinary approach in education Mars Rover Project Physarum polycephalum Date A point or period of time associated with an event in the lifecycle of the resource 2025-04-17 Format The file format, physical medium, or dimensions of the resource video Creator An entity primarily responsible for making the resource Lucy HG Solomon Contributor An entity responsible for making contributions to the resource Christine Frazier Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oileán Ruaidh (Ireland) San Marcos (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">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. Lucy HG Solomon License A legal document giving official permission to do something with the resource. <a href="https://creativecommons.org/licenses/by-nc/4.0/">https://creativecommons.org/licenses/by-nc/4.0/</a> Art and artists CSUSM history History Department internship Women's experience 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 Sierra Jenkins Interviewee The person(s) being interviewed Tiffaney Boyd 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=BoydTiffaney_JenkinsSierra_2021-04-15.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 6.0 Boyd, Tiffaney. Interview, April 15th, 2021. SC027-11 00:00:00 SC027 California State University San Marcos University Library oral history collection CSUSM Instructionally Related Activities funding csusm Tiffaney Boyd Sierra Jenkins moving image BoydTiffaney_JenkinsSierra_2021-04-15.mp4 0 https://archivesoralhistories.csusm.edu/files/original/abdeb6b5993217c41d7d8f3dc1554cff.mp4 Other video 0 Interview Introduction 0 39 Childhood Boyd discusses being born and raised in California's Inland Empire including her education. Moreno Valley ; Inland Empire ; economic divestment ; education 0 167 Learning about Black history and the Black experience in childhood and adolescence Boyd reflects on a lack of knowledge of Black history until college. Learning about Blackness related to how Black people are treated in the United States. Black history ; Dr. Martin Luther King, Jr. ; Hemet ; police harrassment 0 293 Developing an understanding of Blackness Boyd speaks about the racial and ethnic diversity of her high school and her shock at the small population of Black students at California State University San Marcos. Blackness for her is about pride and the knowledge of the struggles that Black people have experienced. racial diversity ; infrastructure ; Black pride ; struggle ; sociology ; criminology ; inequality ; systemic racism 0 546 Personal impact of Black activism and social justice movements Boyd discusses her awareness of Black activism especially with Trayvon Martin's death. She believes Black people are trying and succeeding but it is much harder for them to do so. She also talks about the Natural Hair Show on campus. protest ; natural hair movement ; Trayvon Martin 0 827 Role in the creation of the Black Student Center Boyd talks about her roles in student government that allowed her to be involved in initial discussions in the development of the Black Student Center. Racism at universities across the nation impacted her concern for resources available for Black students at California State University San Marcos. At a campus open forum with the President, students brought up several issues impacting Black students including the need for a Black Student Center. Latinx Center ; racism ; U-Hour ; open forum 0 1161 Previous efforts to establish the BSC and initial opposition Boyd discusses initial lack of support of the idea of a Black Student Center by Associated Students, Incorporated (ASI) staff. She was met with a lot of resistance by a traditionally white, male ASI elected positions. There were several Black students who were willing to be vocal about their experiences and lack of support. food pantry ; Associated Students, Incorporated ; student success ; women of color 0 1509 Student governance meeting and discussion / vote on the resolution for the creation of the Black Student Center Boyd talks about her work in getting the resolution for the creation of the Black Student Center passed. There were challenges to this proposal including a student leader who claimed that slavery did not exist. Ultimately, his comment helped to propel a positive vote forward. public comment ; resolution ; vote ; slavery ; celebration 0 1809 Leaders on the Black Student Center project, their contributions, and unsung heroes Boyd speaks to the work that came next after the resolution for the Black Student Center passed. A task force was appointed to study the issue and propose details about the Center. Other diverse student groups stood aside Black students to support the development of the Center. task force ; Jamaéla Johnso ; Louis Adamsel ; Dilcie Perez ; Fredi Avalos ; Kai Guzman ; Sharon Elise 0 2028 The Black Student Center Grand Opening Boyd discusses her graduation and what went on after that time. The Black Student Center opened in the University Student Union. It was good for her to come back to the opening of the Center and reflect on the work she started. diversity office ; graduation ; student union ; advocacy ; coalition building 0 2363 Early focus of the BSC’s initiatives, programming, events Boyd speaks to the early plans for the Black Student Center to have programs focusing on Black women and amenities needed by Black students. Black women ; women of color ; safe haven ; cultural competence 0 2496 Early events and programs Boyd says she has not been able to reap the benefits of the Black Student Center since she graduated soon after the planning stages. 0 2562 Personal impact of the Black Student Center on Boyd Boyd reflects on how her experience with the Black Student Center was formative for her career in policy and government affairs. Boyd was a legislative aide for Shirley Weber, who was a key proponent of establishing ethnic studies in California schools. Shirley Weber ; ethnic studies ; legislation ; advocacy ; policy work ; change 0 Oral history Tiffaney Boyd is a CSUSM alumna and former president of Associated Students, Incorporated (ASI). She was a driving force in the creation of the Black Student Center (BSC), Cougar Pantry, and Sigma Gamma Rho. In this interview, Boyd Tiffaney details the process in which she and her fellow ASI cohorts proposed the idea of the BSC. She also discusses the politics that were involved in the process and the major contributors helping to bring the BSC to life. NOTE TRANSCRIPTION BEGIN 00:00:00.000 --> 00:01:00.000 Today is Thursday, April 15th, 2021, at 3:04 PM. I am Sierra Jenkins, student at CSU (California State University) San Marcos, and today I'm interviewing Tiffany Boyd for the Black Student Center Oral History Project, a collaboration of the CSUSM Black Student Center and CSUSM University Library, Special Collections. Tiffany, thank you for being here with me today. TIFFANEY BOYD: Thank you. JENKINS: All right, so I'm going to just jump right in with the questions. And the first one I have for you is, start out with where you were born and where did you grow up? BOYD: Sure. I was born in Moreno Valley, California. And I grew up in San Jacinto, well Hemet/San Jacinto area, which is Inland Empire, California. I don't know if you wanted me to go more, but I grew up there. JENKINS: Yeah. How was it growing up in that area? BOYD: Sure. So, 00:01:00.000 --> 00:02:00.000 so that area is kind of economically, uninvested in or divested in, right. I grew up in some apartment complexes there, and you know, a lot of crime, a lot of poverty to say the least, surrounds, and it was within Hemet California just because it is not close to big business or anything. It's 30 minutes out to the freeway. My high school was next to a dairy farm. And so the education system, I went to a high school that was brand new. We were the first freshmen, first graduating class out there and you could tell that. I didn't have to write essays in high school at all. I had a 00:02:00.000 --> 00:03:00.000 substitute teacher for three years. It was just, substitute teacher after year after year for my English class, in which I didn't have to write and really the students were able to kind of run the show for three years because the same teacher was assigned, but she was out. And so I think just going to that high school realized how much education was not, you know, like factored or very like highly focused on at my school. JENKINS: Oh, wow. That’s, That’s crazy. But that kind of goes into my next question of, what were you taught in childhood and adolescence about Black history and the Black experience, whether it be through education or life, family? BOYD: Sure. You know, I think within my family, it was always emphasized to go to school, to go to college eventually. But as far as Black history specifically, 00:03:00.000 --> 00:04:00.000 it wasn't much, taught in my school. It wasn't until much later into college and electives that I was really able to learn about Black history above and beyond MLK day or some type of form of Black History Month, but not really getting into the, I guess, the depths of our history and all of the fighters that were, you know, had to fight against oppression and, applied against the systems that continue to not invest in Black economics and Black justice. And so I think growing up with my parents, and in Hemet that is, was originally a retirement city for older folks, older white folks, and was a city that Black people weren't welcomed in and my dad was harassed by the police in Hemet, right, got like 21 tickets in one year, from just like 00:04:00.000 --> 00:05:00.000 walking, driving, biking, no matter what, just like: what are you doing here, never seen you before in this area? And so I think, watching my dad and his interaction with the criminal justice system younger kind of taught me, I think, a lot about Black history in some ways, or like the historic ways that in which Black people are treated in this country. And so, we're seeing a lot of that today as far as folks being harassed doing normal things as Black people, but still not being seen as a whole person or someone worth the dignity and right to live. JENKINS: How did you come to your own understanding of Blackness? BOYD: I don't know. I don't even know what that means. I mean, I don't even know. I think for me coming to college, I went to a high school that had, 00:05:00.000 --> 00:06:00.000 you know, Black and Brown and it was a very diverse high school. Not as far as diverse teachers, but the students were diverse. Coming to San Marcos where we were less than 3% of the population at the campus was something that was new for me. And it did throw me a little bit off that there wasn't, you could be the only Black person in campus or in your class often. I don't think I had one Black professor during my time at San Marcos and so that was also kind of just different, and made hyper aware of my, that I was Black, that I'm different. And I think that realizing that we didn't have a like organization like sororities fraternities at the time, we didn't have like Black focused clubs. There was a BSU (Black Student Union), 00:06:00.000 --> 00:07:00.000 but at that time it wasn't active. And so there was a very desired need just to be with people of likeness that kind of understood the Black experience, whatever that kind of means. But for me, Blackness just means pride or an understanding that there are struggles that we go through or that we've been through that other ethnicities and races haven't necessarily had that struggle. JENKINS: Okay. And, you mentioned that you came, like you learned more about your, about Black history and the Black experience in college was that through classes and I guess since you didn't use to have like the BSU and Black sororities, did it come through the Black Student Center later? BOYD: So I didn't come through the Black Student Center later because we didn't, I didn't get to benefit from the Black Student Center at all. I think through sociology classes 00:07:00.000 --> 00:08:00.000 and through criminology courses and communications courses. One course which is kind of almost the opposite, but yet it still points to it is The Communication of Whiteness, is a class taught by Jim Mamoon that kind of just put into perspective. I think a lot of times we do focus on the experience of Black people and how we've gotten, come to be, but it's like, how do we continue to perpetuate whiteness and how that affects the power structures that we face today? And so I think being able to talk about inequality and race in my sociology classes really put into perspective of how everything isn't necessarily so, I guess happenstance, but that systems are perpetuated and created and policies are perpetuated and created that allow the experience that I have in which I'm going to a school 00:08:00.000 --> 00:09:00.000 that is underfunded or that, I wasn't, you know, had access to AP courses or anything that it's perpetuated, that structural racism kind of works in that way. And so I think that that's how I was able to form more of a strong identity that, you know, we don't have a pipeline program at our, on our campus. That we’re not recognized as Black students, that our struggles are different than a traditional student or how higher education was originally formed. And so I think that, in that I wanted to create a space where, and dialogue and room for us to kind of talk about the experience of being at San Marcos and not necessarily being seen. JENKINS: That's awesome. That kind of goes back what you're talking about, with like what's going on today and like that kind of thing. So my next question is how has Black social justice and activism such as the Civil Rights 00:09:00.000 --> 00:10:00.000 movement, feminism, the natural hair movement and Black Lives Matter affected you? BOYD: Yeah, I would say it was affecting me a lot. So the first, the first iteration of some way, like I was already kind of aware, but I think it was like a appointment, like exclamation mark when Trayvon Martin died or was a murdered, assassin, killed. And I was in a sociology class and we were talking about Hurricane Katrina and just how that, how there wasn't help from the federal government to this area. And then of course, we're like studying this. And then at the same time, Trayvon Martin is killed through, with Skittles in his hand. And so that year, I want to say it was either, I want to say 2013 or 2014, we went and I had my parents come to a protest march in LA. 00:10:00.000 --> 00:11:00.000 And I think that in that you kind of just continue to be aware. And then you hear about Freddy (Gray) and you hear about Eric Garner and all of these folks. And so I think that that has really been something that has stayed with me. We did during our time, and you'll hear from other students about the natural hair show that we had at our campus. And, and you realize that folks are either afraid or ashamed of their hair texture as it is. And so I think that awareness of like what Black Lives Matter and what civil rights did and how they've pushed forward an agenda to say: hey, we are just as human, we’re as dignified as anybody else, and we deserve those same rights and the same ability to flourish and have jobs. And you just see the historical ways in which, again and again, Black people are trying and are succeeding. 00:11:00.000 --> 00:12:00.000 But they are, it's much harder for us to do so. JENKINS: Can you tell me about more about the natural hair show that you mentioned? I've actually never heard of, haven't heard of that yet. BOYD: Yeah. So, on our campus as, so when I was a freshman on the campus we didn't have, our BSU (Black Student Union) was not strong. We didn't have a core group of folks that were involved. We didn't have faculty that were invested either. And so a few students started that mantel my year and by the third year, BSU, like my third year of college, we had put on a natural hair show in which, when we first began as well we didn't have a (university) student union, which now we do have a student union in which people are able to do gather and be a center hub of the campus. And so that first year that it opened, 00:12:00.000 --> 00:13:00.000 we had this big hair show, Black natural hair show in which students volunteered to model their hair as it is, afros and curls and braids, and was just a celebration, had folks who were hairstylists and had their own businesses come and promote their businesses. And then had students able to walk the catwalk in a way, and then have some uplifting powering music and just a way to come together and celebrate to say, this is our hair texture and this is something to be celebrated that everybody is different, and beautiful in and of their own right. JENKINS: That sounds amazing. Did you guys only have it that year? Is it something that's reoccurred since then? BOYD: Yeah, so it's reoccurred since then, each year. I'm not quite sure, I'm about a few years removed. But I do know that 00:13:00.000 --> 00:14:00.000 Akilah Green, who was the, she had recently that time had, did the big chop. And she was impetus, or she was the go starter for this event. And I know that there's been a few times where she's been called back to participate in the natural hair show that she began. So I want to say that it's at least like the sixth year, if it's still continuing either virtually or not, I'm pretty sure that there have been students that kind of continued it on. But yeah, it's been like an annual thing and it's really a beautiful event. JENKINS: That's so cool. I'm going to definitely check that out. What is your relationship to the BSC (Black Student Center)? Why did you get involved? BOYD: Sure. So, my, in my senior year, my fifth year, I was present... Well, I guess it to go back, in 2014, 00:14:00.000 --> 00:15:00.000 I want to say, I was vice president in the... Actually, sorry, I'll go back even more. I was a representative. I was like a rep, a rep for the College of Humanities, Arts, Behavioral, and Social Sciences (in Associated Students Incorporated, student government). And that year they were talking about the creation of a Latino Latina center (Latin /x Center) at our campus, and we were able to vote, and it was a big thing. We've had, only had the Cross-Cultural Center and we had the Women's Center (now Gender Equity Center) at the campus, and the Latinos, or Latinx population wanted a center. And so it was a big, big conversation. And in the end it had, you know, triumphed and we were, it had passed for the creation of Latino Latina center. You fast forward two years later, and I was a president at the time (of Associated Students Incorporated and there was a huge 00:15:00.000 --> 00:16:00.000 demonstration. There had been, there's always, or I won't say that there's always, but campuses continue to negotiate diversity and inclusion at their campuses is an ongoing theme across campuses. Not only in California, but across the nation. And at that time, Missouri, which they call a Mizzou University (University of Missouri at Columbia) where it was going through something where racism had occurred on campus toward Black students, but athletes had spoke out about the injustice that was faced on that campus and the president was unresponsive. And so the students had went on protest at Missouri, the student athletes, which is a huge, big deal because at that campus, they had football and that's a big revenue, that the campus was losing by them not performing or not, you know, doing the game. 00:16:00.000 --> 00:17:00.000 And so you see a lot of other things were happening at that time. And I don't quite remember all of the activities, but something had just happened I want to say at San Jose State University, something had happened at a different university. And the way in which the university treats Black students, welcomes Black students, and invests in Black students was like up in question, across all campuses. And so, as you know, as the student body president at the time, I also was concerned about Black students on our campus and what resources, or lack of thereof, resources for black students was available. At our campus, we do have what's called U Hour, which, from 12 to one (p.m.) on Tuesdays and Thursdays, students for the most part don't have classes. There's not classes resuming at that time. And so it allows for campus life to, for events or for clubs to meet you at that U Hour, University Hour. 00:17:00.000 --> 00:18:00.000 And so Black, so for BSU (Black Student Union) on Thursdays, of every other Thursday, I want to say, BSU was able to like gather and meet. And if you're able, if you're on campus on a Thursday and on a, and don't have classes and you're able to participate in BSU. But if you didn't, if you either were a commuter student, which a lot of students are, and maybe your classes are Monday and Wednesdays, or if you had a job that you had to go to, or something you're unable to really participate in the BSU because it's like only this time on the hour. So, and for the most part, you don't even see these Black students, you're not (sneezes) excuse me, running into them on campus because we're so spread out. And so when one day, like we were, the university, the campus university was having a, what is it called? An open forum, a diversity open forum 00:18:00.000 --> 00:19:00.000 about just the campus itself. It wasn't really even a diversity forum. It was just an open forum of the president (Karen Haynes) talking about the state of the campus and some initiatives that were going forward and students had rose up that day and said, hey, what about Black students? What are you doing about Black students on our campus? We're feeling isolated. We aren't having retention rates. We don't have professors and are feeling unsupported. And so when the campus president heard about it, she said, please address a letter to me, I, this is the first time that I'm hearing about this issue. And so that's kind of where I got involved, as the student government lens is that I also had put forth a resolution in support of a Black Student Center, or a resource center to be a hub where Black students can come, no matter the time or the date of, of the hour. Right. But that there would be somebody dedicated 00:19:00.000 --> 00:20:00.000 to the inclusion of Black students where you can get resources of paper or have dialogues that are hyper specific and culturally competent around this area or this issue. JENKINS: What was the initial response when you put that proposal in? BOYD: Sure. It was, it was complicated, I guess (laughs) you could say. So, student government at San Marcos is kind of its own institution, its own little bubble. Right. And I had been involved since a representative so by the time my, I was elected for president, it was my third year being involved in student government and the faculty who are, or not faculty, but the staff who are ever-present for us, and students of course come in 00:20:00.000 --> 00:21:00.000 and wash out. They weren't very supportive of me or my executive board. So we were the first, all-women of color executive board. There's three executives, there's the president, the vice president of student affairs and the vice president of operations, that are all elected and get to sit on the executive committee. And so prior to even this effort, which didn't start until October of the year, and you are elected in, I want to say like April or March of that year, so 2015 March, April is when I'm elected into the presidency. You fast forward to August. And we're trying to talk about what initiatives we have for the year. And I was already thinking, although I didn’t express it, that I 00:21:00.000 --> 00:22:00.000 wanted to look into the issue of a Black Student Center. And besides that was like a food pantry. And I wanted to look into social media. It's weird that social media is, you know, everywhere. It's like normal, but at the time we didn't have social media presence as, as the student government. And so I wanted to establish us, get a Snapchat, get us an Instagram at the time. And so, we're talking about social media, we're talking about events, we're talking about how can student government be more accessible and visible to the students? Because a lot of times we are a great resource and yet students either aren't taking advantage of the resource or don't really know or understand. And so figuring out ways to do that and be connected to the university more. And we were told that we're difficult women, that we should, that, you know, he wished as the executive director that he had, the SAE board back. And SAE stands for 00:22:00.000 --> 00:23:00.000 Sigma Alpha Epsilon. And they are a like on our campus at least historically white fraternity of males, and that is the brand of student government. At the time was that mostly it's like fraternity guys who get their own friends to vote for them. And that they weren't inclusive of the campus, they weren't representative of the campus. And you know, ASI kind of just did their own thing over there. So I was trying to bridge that gap and was met with a lot of resistance, from the beginning. And so when the Black Student Center came around and was another thing that was seen as unwelcome, it's all I can say. It's like not understood why we need an additional center when we have the Cross-Cultural Center. Two years ago we just had the Latino center. This is kind of just, you know, doing too much. There's not that many of you, why do you need a whole center, right? 00:23:00.000 --> 00:24:00.000 The argument for the Latino Latin /x Center was that: we're half the population of this campus, or like a significant amount. We’re a Hispanic Serving Institution, at least deemed that through federal government, through the federal side and so it's like we should be serving our students. And so on the opposite side, it's like, we're a small population, but it's necessary in order for the retention and rate of student success for this to be here. And so I would just say that that's kind of how it was. The Black Student Union at the time had some great Black students who were vocal, who were willing to put their story on the line about the isolation that they feel, about the microaggressions that are experienced, and the lack of support, but they weren't organized in a way to understand how, 00:24:00.000 --> 00:25:00.000 how to speak with the president, how to talk to the vice president, the vice, the Dean of Students, Student Affairs. And so I think that I was able to bridge that understanding of working with the administration to forward our goals, because there are, there were faculty who were supportive of this, that this initiative and idea, and were helping to craft the resolution language and trying to whip up the votes for other students to also buy-in. As the, as a woman of color and executive board, executive board of color, it was great to have that camaraderie within our executive board, but of course the board is much larger than just us (officers) and it gets much more diverse than folks of color. So we knew that it was an uphill battle because there were, I don't remember at the time how many representatives, but of course you got to get, you know, half plus 00:25:00.000 --> 00:26:00.000 one. JENKINS: So it sounds like there was a lot of pushback. So how was it when they approved the Black Student Center? What was that like? BOYD: Sure. So it was, it was a huge meeting. So the first, so basically the students, you know, spoke out. The president (Karen Haynes) said that she would look into the issue. But I believe that there was a caveat about going through student government or what does the student voice have to be, say, since we represent. So then I was like: my baton to start, my work. So I started my work as well. Fast forward to February of 2016. The executive director (of Associated Students Incorporated) that I had mentioned before is out on leave. He's no longer working for the student government. We have a new person who just started in February, who is a retired annuitant from San Diego State University, and we're at this huge meeting. 00:26:00.000 --> 00:27:00.000 If you know anything about student government, we don't have a lot of people at our meetings. People are not interested. (laughs) And our meetings, we have them on Fridays, afternoon and our campus is a commuter campus and nobody's on campus on Friday. On that day we moved our meeting from our small room that we had into a much larger room in the USU in the (University) Student Union to accommodate for the amount of folks. Public comment. Was a lot of public comment was happening. There was concerns about some of the language that was in the resolution, the resolution language, and there was process questions about the Student Advocacy Committee and their recommendation to the board. It was like, just a lot of, just a lot. And so you have students that are speaking out to say, we want this, this item to pass and there was other, you know, environmental stuff. And I think even the food pantry (Cougar Pantry) was like that day as well. So just like a lot of 00:27:00.000 --> 00:28:00.000 agenda items. And so during that time, we had a student who represented the College of Business and Administration, and he was kind of adamantly against this Black Student Center. And so during the open discussion around the bill in which people can make amendments to the language of the resolution if they want or anything, he was basically saying that slavery didn't exist. So, slavery was a part of the resolution for good or for bad. It started at, and any resolution kind of goes big and it goes narrow down to where, whereas this is, for these reasons this. And so he was like, slavery doesn’t exist, that the industrial revolution was the reason why we are a great country 00:28:00.000 --> 00:29:00.000 that we are. And so, you know, it of course is a touchy subject to say the least. And so students were upset and outraged that he made the comment and all of this stuff. But in the end, I think that that comment actually helped propel more than back up for students who were still on the fence, of student government representatives that were on the fence. We didn't know if we had enough votes for the resolution at the time, but I wanted to at least put the issue up. There had been a lot of turmoil within the ASI (Associated Students Incorporated) and just with the students. And so I just wanted to say, okay, it's on the floor, let's have a full discussion about what you'd like to see what you want, than for us to continue to have these like sidebar conversations. And so we went up for a vote and in the end, it passed. I think 00:29:00.000 --> 00:30:00.000 that student, that represented (College of) Business was the only student who voted against the bill, or the resolution. And so, I mean, it was celebratory, right? It's exciting because, we didn't know what was going to happen and to, to get so far, that initiative had started basically in October when they spoke out to the president. And so to have that, to have that in February, which is a kind of quick deadline, but like not that quick, was great. And it was because students, and myself, and other people were prepared to know how to do our job, with or without a staff helping us to craft language or go through the order. JENKINS: That's amazing. It sounds like you put a lot of work into doing this. So we talked about that. So you were definitely a leader on this project. Was there anybody 00:30:00.000 --> 00:31:00.000 else who you saw as like a great contributor to the Black Student Center and including any unsung heroes that we may not know about? BOYD: Sure. So, you know, after, after the resolution was passed that, you know, it doesn't stop there, right. There has to be a flushing out of what, what is the Center going to do? We have established that there's a problem, we've established that we're willing as student voice to put our, our stamp of approval to say that, deem this statewide, or a campus-wide problem. And then so there was a lot, there was then, the president then appointed a task force to study the issue and to come up with a proposal of what the student, what the Black resource name would be, where it would be hosted, what services would it 00:31:00.000 --> 00:32:00.000 have, and all of that good stuff. And so, as ASI (Associated Students Incorporated), I was able to be the representative there. And then as part of the BSU (Black Student Union), Jamaéla Johnson, who was actually the Vice President of Student Affairs (in ASI) at the time, but was also a really big BSU - I don't know what her office title was in the BSU. But she was a part of BSU. One thing that for me, I wasn't able to be like as an active member. And I think because of the work that I had, aside from campus that Thursday hour was constantly taken away from me or used in some way. But I always tried to stay in contact with whoever the president was and try to do whatever, you know, cross collaborations. I was president of like some other orgs and so tried to like just align efforts, but I wasn't like super involved. So 00:32:00.000 --> 00:33:00.000 as BSU representative, Jamaéla Johnson was there and we were able to really speak at the table with the administrators of Student Affairs and, I forget everybody who was at the table, but everybody who the president had assigned to this task force to really discuss it. Louis Adamsel, which was, he was really integral and helpful during this process. Brandy Williams was one of the students. Danii Thornton and, I forget her sister's name (Darneisha Thornton). They both started with a D but the Thorton twins were really helpful in getting the initiative and the voice out, and Dilcie Perez who at the time was the Dean of Students was really helpful, too. And there was a lot of faculty who were, Sharon Elise 00:33:00.000 --> 00:34:00.000 was great. Freddy Avalos, another professor that was great during it. Karen Guzman (now Kai Guzman). The Latino students who, MEChA is the organization that had passed the Latino center resolution. And they came in support and stood alongside Black students as, as we were advancing the idea of a Black Student Center, they were there as well to help, advocate and support and say that this is just as important. JENKINS: I love that it was such a community effort. That's really amazing for the Center. What, were you at the BSC’s grand opening? BOYD: Yes, I Was there. So – JENKINS: Tell me about it. BOYD: So what? JENKINS: Tell me about it. BOYD: Oh yeah, sure. So 00:34:00.000 --> 00:35:00.000 during that issue, so I think that, you know, Mizzou and everything that their president had been fired from the campus, he had actually left their campus, and this was the same time, allowed the president (Karen Haynes) to be like more listening to students. You don't want to be the president who's not listening to students when you're seeing the consequences of that in firing on other campuses, right? And then in February during the same time that, you know, we're pushing in advancing and it's Black History Month, our diversity officer was also let go. Nobody knew why our diversity officer was let go in February but they were also let go. And so that helped kind of propel as well, this angst around diversity. Other students were kind of upset that our diversity officer’s gone one day and he was a really good champion for these issues, right. We're talking about, 00:35:00.000 --> 00:36:00.000 you know institutionalizing some of it. And of course he's only one man. So yes, having a center with somebody else for programming or anything as well, it was important. And so I also just wanted to give that context, just to say that was also like part of the storm that helped create the Center, the birth of the Center. And so the diversity office was also like an unsung hero within that, that also kept students sane and helpful. But so that was that year and we graduated many other students who were a part of it ; Jamaéla Johnson, myself had both graduated and moved on in our lives. But excitingly enough, there was space in the (University Student) Union that they were able to retrofit. When we left, we talked about what resources we thought would be important for the (Black) Student Center, and where we identified some places. But it wasn't anything set in stone in that the president (Karen Haynes) got to identify and 00:36:00.000 --> 00:37:00.000 have the last word on that. And so, fast forward a year and the food pantry (Cougar Pantry) that I had already, that had passed uncontroversially. Which was good, but was controversial before, and this had passed. And so when we got invited back to campus to say that it's actually opening, that there's been identified place in the (University Student) Union, it was, it was much exciting. I was in, I want to say that I had already relocated to Sacramento by this time, which is Northern California. And so I flew back down, and they were just nice enough to give, I guess, space for myself, Akilah Green, who was the diversity and inclusion, I want to say, student representative on the student government. And she had been doing a lot of BSU (Black Student Union) work as well. And Jamaéla Johnson, 00:37:00.000 --> 00:38:00.000 all three of us were able to come back to campus to see the grand opening, to speak a little bit about our experience and our joy that, you know, to see it to come to life. And it was great because, again, the (University Student) Union was fairly new as we were exiting campus and so to see just how much campus life had grown and how much the Union had became a hub for students to converse. And to know that the Black Student Center was a part of that life, that it wasn't in a corner back by Markstein (Hall), which is where our meetings used to be, but that it was at the corner hub with all of the other centers there, was great to see that there was an identified place, that there was Black faces, like in the same room, and that there was artwork that was reflective and that there was a whole programming and director 00:38:00.000 --> 00:39:00.000 at the time. And to see it kind of come 360 was great because you always want to hopefully leave something better than what you found it, leave some type of legacy. And I really did feel that if we weren't in the position, if it was some other folks in student government, then I think that they might not have passed the resolution, or it would have been something that was dragged on and maybe unfinished. And I think that the effectiveness of coalition building, of advocacy, of people having different levels of involvement, from either protesting down or from having allies at the Dean of Students, really made it really effective, as well as a national climate that's saying: hey, like, we have to keep paying attention to this, that we can't just let it be some one-off thing, but that, this is something that has been historical since when students weren't even Black students, weren't allowed to be on campuses. Since we built our own Black campuses, right? To see this happen and 00:39:00.000 --> 00:40:00.000 acknowledged was a really great moment for I think everybody— JENKINS: You've mentioned a lot about like, the work you guys put in to see the Center come to life. Can you tell me more about the early focus of BSCs initiatives, programming events and like the focus of the Center itself? BOYD: Sure. So for us, we thought it was important that there was programming specifically for like uplifting and focusing on Black students and dialogue, Black women. We had like a Gender Equity Center, but a lot of times women of color can fall through the cracks of women’s initiatives. And so it was really important that there was programming, that there was printing so that students are able to print for free at the campus center, that there would be like a refrigerator 00:40:00.000 --> 00:41:00.000 for students to have their have meals refrigerated there, and be a place where people can frequently just come and like, hang out so that if you're in between classes that you can learn or meet other students of Black descent, hopefully, and of course anybody is welcome to come in and learn something. But I think that that was most important that the significance of having both resources there, but also just having a communal space in which folks know that it is a safe place to be where hopefully the microaggressions or the frustrations of campus that you might go through could be a place where, like a safe haven for you to kind of come touch base and then be able to flourish within the campus later. And I think that that was like a part of the focus ; have some concrete resources, have one person that's dedicated to programming there, and 00:41:00.000 --> 00:42:00.000 having culturally competent program and then have just like the physical space of saying like, this is a Black Student Center for you built by you, hopefully hiring students, as well, to shape it, form it, was what we had expected and hoped. JENKINS: In your opinion, have they succeeded and, what has been your favorite event that they've had or program? BOYD: Yeah. You know, it's unfortunate cause I don't really get to reap the benefits or the fruits of the labor. And I know from a distance about what's happening maybe on campus or what's happening with the Black Student Center. But I haven't been super involved since I kind of just like planted the seed. 00:42:00.000 --> 00:43:00.000 And so I don't know what events that they have done that were really successful or really impactful in the years that I left. JENKINS: I'm sorry to hear that. (laughs) This question, I guess you would be able to answer: what has been the impact of the BSU (BSC, Black Student Center) or, you know, petitioning for the BSU on your, on you personally? BOYD: Can you repeat the question? JENKINS: What has been the impact of the BSU (BSC) since you haven't been able to like experience it? What has been the impact of being like a leader, a leading advocate for the BSU (BSC) on you personally? BOYD: Yeah, I mean, I think it's formative of my whole trajectory of what I do now, to be honest. I currently, well, I guess what I was just doing, but it kind of falls into, I just got a new job. But I'm doing policy and government affairs 00:43:00.000 --> 00:44:00.000 right now, but I've been doing, I was a legislative aide for four years. And it was during San Marcos at a luncheon, a diversity and inclusion luncheon that Assembly Member Shirley Weber, who represents the 79th district in San Diego, came to our campus to speak around diversity, around change, around all things diversity. And so she spoke there and she talked about her legislation that she was working on. And I said: I want to work for her one day, right? And it's because she advances. She's a Africana Studies Professor, we didn't have Ethnic Studies on our campus at the time. We only had, they were starting a minor, an Ethnic Studies minor. And it was a dabble of if you took, you know, this sociology class or if you took this communications class and you could like kind of work it into being an Ethnic Studies minor. 00:44:00.000 --> 00:45:00.000 And just working towards issues that matter on our campus and saying, you know what? We don't have this, we should have this, we need this. It's something that could have improved the way that I had experienced the campus. It was great because I now apply that to the policies in which I advanced, and the legislature. And I ended up working for Assembly Member Weber, during my time. And so we were able to via my inexperience, it's almost like what I don't have or what I don't see is what I want to advocate for the most ; and so this past year in 2020, we established a graduation requirement, and a requirement for all CSU (California State University) campuses to have ethnic studies on their campus and to have a graduation requirement for all CSU students to at least take one 00:45:00.000 --> 00:46:00.000 ethnic studies course before they graduate. Within the four historically, recognized ethnic studies demographics, which is Native American, Chicano, Latino, Asian, API, and then an Africana or African studies. And so that's a, it's a huge, it was three years. It wasn't just like one and done, but it was impactful for my story, right. So because I advocated for the Black Student Center and all of these things and was a part of seeing how coalition building advocacy, how having folks in power works is it's, I apply that every day to like legislation as I'm trying to either advocate for ethnic studies or advocate for exonerated folks to have access to housing or, pregnant and, pregnant and parenting pupils in K through 12 and their access to education and not being pushed out. I'm asking folks: hey, like, please, it's unfortunate, but 00:46:00.000 --> 00:47:00.000 please tell your story to help paint a picture for folks so that they can understand what it is on the ground level. And then we're talking with legislators who have the ability and finance and budget to also say like, you know what we need to invest in this, this costs this much, but this is why this is so important. And so I think that has been super impactful to how I look at policy change, how I look at change in general, and the experiences that I'm having. It's like, it's not so again, so happenstance, right? It's like people aren't in the room where people, we haven't had the right people or the right time and the national climate to take action. We, in Sacramento, a student – person – had, Stefan Clark was shot, right. In Sacramento that same year that I'm out here my first year. And he, his cell phone is mistaken as a gun. 00:47:00.000 --> 00:48:00.000 That year is when we like, ran a use of force bill, right. To say that officers should shoot when it's necessary, not when they're just scared. And it's the same kind of process of getting folks on the ground, getting folks here and there, and putting in positions and then raising it, on a national level, to have that dialogue and the outrage and stuff. And then we can start ushering in more change. And it's unfortunate that that's kind of, it takes so much from so many different angles, but that's almost how it always is in order to best change. And it's just like, are you willing to continue to raise the issue again and again? JENKINS: Your work is very inspiring. It's so amazing that you also got to work with somebody you like, nope, I'm going to work with her. Like, that's really amazing. BOYD: Absolutely. JENKINS: 00:48:00.000 --> 00:00:00.000 So that's actually all I have for you because the rest of the questions are mainly like if you were at the BSC, experiencing it, that kind of thing. But my last question is, are there any questions that I should have asked that I have not? BOYD d: You know, I don't think so. I can't think of any question that you didn't or that I didn't touch upon it. I would just, yeah, I don't think so. JENKINS: Okay. So, thank you so much for participating and the Black Student Center Oral History Project. I, we all appreciate it so much and we, thanks. Thanks for being here. I'm gonna’ stop recording now. BOYD: Okay. NOTE TRANSCRIPTION END ]]> 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 ; &#13 ; 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.&#13 ; &#13 ; Please see the related “Preferred Citation note” for language on citing materials from this collection.&#13 ; 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. 0 https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=BoydTiffaney_JenkinsSierra_2021-04-15.xml BoydTiffaney_JenkinsSierra_2021-04-15.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 Boyd, Tiffaney. Interview April 15th, 2021. Description An account of the resource Tiffaney Boyd is a CSUSM alumna and former president of Associated Students, Incorporated (ASI). She was a driving force in the creation of the Black Student Center (BSC), Cougar Pantry, and Sigma Gamma Rho. In this interview, Boyd Tiffaney details the process in which she and her fellow ASI cohorts proposed the idea of the BSC. She also discusses the politics that were involved in the process and the major contributors helping to bring the BSC to life. Identifier An unambiguous reference to the resource within a given context SC027-11 Date A point or period of time associated with an event in the lifecycle of the resource 2021-04-15 Format The file format, physical medium, or dimensions of the resource video Creator An entity primarily responsible for making the resource Tiffaney Boyd Contributor An entity responsible for making contributions to the resource Sierra Jenkins Subject The topic of the resource California State University San Marcos. Black Student Center California State University San Marcos. Associated Students Incorporated California State University San Marcos -- Students Activism, Student Black experience in America Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant San Marcos (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" target="_blank" rel="noopener">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. Tiffaney Boyd Is Part Of A related resource in which the described resource is physically or logically included. Black Student Center Oral History Project Black experience Black Student Center Oral History Project CSUSM history Women's experience 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 Jason Beyer, Interviewee The person(s) being interviewed Elmer Royce Williams 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=WilliamsElmer_BeyerJason_2024-11-08_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. Veteran;Korean War;Naval aviator;Dogfight 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 6.0 Williams, Elmer Royce. Interview November 8th, 2024 SC027-074 00:00:00 SC027 California State University San Marcos University Library oral history collection CSUSM csusm Veteran ; Korean War ; Naval aviator ; Dogfight Elmer Royce Williams Jason Beyer, Marilyn Huerta, Adel Bautista Moving image WilliamsElmer_BeyerJason_2024-11-08_access.mp4 0 https://archivesoralhistories.csusm.edu/files/original/d6799d074d31395fe8b6205edd027f3f.mp4 Other video English 0 Interview Introduction 0 50 Military Background Williams lists his years of service, branches of service, the highest rank he attained, and the wars he participated in. Navy ; Army ; Navy Captain ; World War II ; Korean War ; Vietnam War 0 76 Childhood Williams describes growing up in rural South Dakota, where he lived on a farm and worked in a grocery store. Wilmar, South Dakota ; rural ; farm ; grocery store ; World War I 0 136 Military Enlistment Williams describes his decision to enlist in the Army. He was always fond of aviation, and the military provided the best training. enlistment ; Army ; aviation 0 221 Military Training Williams reflects on his military training. Includes his worst experience, his first assignment after basic training, his views on instructors, his switch from the Army to the Navy, and his promotions. training ; bootcamp ; promotion ; instructor ; Army ; Navy 0 600 Adaptation to Military Lifestyle Williams describes the highs and lows of adapting to military service and mentions the wartime conflicts he was part of. World War II ; Korean War ; Vietnam War ; family ; military lifestyle ; stateside service ; wartime service 0 751 The Korean War and the Dogfight Williams tells his remarkable story about surviving a solo dogfight against seven Soviet pilots during the Korean War. Includes contextual details about the Korean War as well as descriptions of the political aftermath. Williams describes how some historians have written about the event. dogfight ; Korean War ; Soviet Union ; combat ; Washington ; Eisenhower ; Admiral Briscoe ; history 0 2141 Keeping Military Secrets Williams describes how difficult it was to keep his experiences secret in order to preserve national security. He recalls seeing reports on military events that he knew to be inaccurate or untrue. secrets ; military ; history ; censorship ; lies 0 2180 Interactions With Local Cultures During Wartime Service Although most of his service was in aircraft, Williams describes a war-torn Seoul. Shares stories of how Korean political and military leaders continue to honor him with awards for his service. Korea ; Medal of Honor ; Seoul ; Eisenhower ; culture 0 2282 Comradery and Recreation During Service Williams describes the strong bonds he built with members of his squadron. He also describes recreational activities, including volleyball and reading. comradery ; friendship ; squadron ; recreation ; volleyball ; reading ; religion ; prayer 0 2458 Injury, End of Service, and Return Home Williams experienced a plane crash in San Diego. He recalls how he dealt with the injuries that would eventually lead him to retire from the navy. retirement ; injury ; plane crash ; hospital ; San Diego ; surgery 0 2774 Return to Civilian Life After leaving the service, Williams gets his master’s degree and works in business. He describes his experience with the GI Bill, working in law, joining veterans' organizations, and keeping friendships. college ; business ; GI Bill ; law ; veterans’ organizations ; friendship 0 2949 Life Lessons from Military Service Williams describes life lessons he gained from military service. His recent nomination for the Medal of Honor has kept him busy with speaking engagements. He is also the president of a local congregation. He encourages people to stay positive, find community, and treat their civic responsibilities seriously. Medal of Honor ; life lessons ; reflections ; congregation ; president ; community ; civic responsibilities 0 3126 Involvement in North County San Diego Community Williams describes his involvement in the North County San Diego community, particularly in the city of Escondido. He also describes some of his day-to-activities with his family. Escondido, California ; community ; family ; Ikebana ; shooting ; home building 0 3271 Reflections on the Experiences of Veterans Williams wishes more people understood that veterans are kind people who serve their nation and are an important productive part of their community. He says military service taught him that life is a team sport. He recommends having a family and says family has been important to him. veterans ; family ; nation ; military service ; community 0 Oral history Elmer Royce Williams is a retired United States naval aviator, nationally lauded for his solo dogfight against seven Soviet pilots during the Korean War. Since his time in service, he has been increasingly recognized for his achievements. He was awarded the Navy Cross in 2023 and has been nominated for the Medal of Honor. In his 2024 interview, Williams described that transformative moment in his life and how it affected the Korean War. He also discussed his childhood, military enlistment, and military training. Approaching 100 years old at the time, Williams reflected on how religion, family, community, civilian work, and veterans' organizations shaped his life after service. NOTE TRANSCRIPTION BEGIN 00:00:00.000 --> 00:00:50.774 My name is Jason Beyer, and I'm a graduate of California State University San Marcos. Today I will be interviewing Elmer Royce Williams. Today's date is Friday, November 8, 2024. The general location where this interview is being conducted is at the Williams residence in Escondido, California. My relationship to the interviewee is that we are both military veterans. The names of the people attending this interview include Marilyn Huerta ; camera operator, Adel Bautista ; Jason Beyer, the interviewer ; Elmer Royce Williams, the interviewee. And the purpose of this interview is to conduct an oral history. Please state your full name. 00:00:50.774 --> 00:00:53.435 Elmer Royce Williams. 00:00:53.435 --> 00:00:56.045 What branch of service you were in? 00:00:56.045 --> 00:01:04.474 I started in the Army for a couple years, then I went into the Navy. I served 37 years. 00:01:04.474 --> 00:01:07.204 What was the highest rank that you attained? 00:01:07.204 --> 00:01:10.394 Navy Captain O-6. 00:01:10.394 --> 00:01:13.185 What war or conflicts were you a part of? 00:01:13.185 --> 00:01:16.545 World War II, Korea, and Vietnam. 00:01:16.545 --> 00:01:23.265 That's the easiest part of this interview. Now it's time for the questions. Where were you born? 00:01:23.265 --> 00:01:29.075 Wilmot, South Dakota in 1925. 00:01:29.075 --> 00:01:33.385 Does your family have any past affiliations with the military? 00:01:33.385 --> 00:01:45.745 My father was in World War I. My brother was in the same wars that I was. He retired as a Marine Colonel. 00:01:45.745 --> 00:01:50.504 Did you hold any jobs before entering the military? 00:01:50.504 --> 00:02:00.715 Yes, uh, I was in a rural area and I worked on farms. My father was a grocer, and I worked in the store. 00:02:00.715 --> 00:02:06.734 What was it like for you working in the store and growing up on a farm? 00:02:06.734 --> 00:02:16.645 Well, I think it was the standard of the day. And, it suited me. 00:02:16.645 --> 00:02:21.995 When and why did you choose to join the military? 00:02:21.995 --> 00:02:53.555 My first airplane ride was when I was four years old. I was enthused and my dreams—well, this brought me toward aviation. And, in those days, the best organized, publicized aviation was military. And I sort of switched my dreams in that direction. 00:02:53.555 --> 00:02:56.254 Did you—were you drafted or did you enlist? 00:02:56.254 --> 00:03:01.324 I enlisted when I was 16. 00:03:01.324 --> 00:03:05.925 And which branch did you enter, and why did you choose that branch? 00:03:05.925 --> 00:03:42.064 Army. And primarily it was National Guard that was nationalized. I had two cousins in it. They deployed to North Africa. My two cousins were killed. I didn't go because of my age, I think. So I continued to serve and I trained and spent time in Camp Ripley in Little Falls, Minnesota. 00:03:42.064 --> 00:03:50.224 The earlier days of service. For your earlier days of service, what type of training or school did you have? 00:03:50.224 --> 00:04:15.034 Primarily infantry training. Rifle range, cross country marches. And I was trained as a drill instructor, which came in handy for the unit I was attached to. 00:04:15.034 --> 00:04:27.824 What was your most vivid memory? Both best and worst parts of your time in training or in school. 00:04:27.824 --> 00:05:09.653 Well, I'll say interesting. We had a cross country toward dusk and it took us through some of the lakes and ponds in Minnesota and swarmed with mosquitoes. In that it was night, we had to orient our maps with a flashlight but not be seen. So I took my poncho, put it over my head, and studied the map. Trapped about 30 some mosquitoes when I did that. And that was unpleasant. 00:05:09.653 --> 00:05:12.425 So that was probably—I would say—your worst part of the training. 00:05:12.425 --> 00:05:16.584 Yeah, that was (laughs). 00:05:16.584 --> 00:05:21.694 What was your first assignment after basic training? 00:05:21.694 --> 00:05:54.653 The unit that was located at Ortonville, Minnesota. It's, uh, at the south tip of Big Stone Lake, which is 36 miles long and is a prominent part of the western border of Minnesota. It comes straight up from Iowa, and it hits Big Stone Lake and makes a jog. 00:05:54.653 --> 00:06:00.144 Do you recall your instructors while you were in school? 00:06:00.144 --> 00:06:08.795 Not by name. I'm not good at remembering names. But yes, I recall my training. 00:06:08.795 --> 00:06:11.605 Were they good instructors in your opinion? 00:06:11.605 --> 00:07:12.264 I thought so. Problem we had was we were on the rifle range with ammunition from World War I stored in Panama, which is moist and not good conditions. So we were advised that if we had a problem and it didn't fire—hang fire, we called it—to not open the breach but call the sergeant instructor. I had one that was poor performance. Pull the trigger and it fired, but the bullet landed in the grass about 10 feet in front of me. But down the line on the rifle range was a man that didn't follow instructions. And as he opened the breach, it fired and he lost an eye. 00:07:12.264 --> 00:07:25.795 Did you qualify for equipment such as vehicles, aircraft, radio, weapons? And if yes, what was the training like with that equipment? 00:07:25.795 --> 00:07:43.154 Well, definitely airplane. When I switched over to the Navy, I was in the aviation cadet program. And if I completed it completely, I would be on my way flying fighter aircraft off aircraft carriers. 00:07:43.154 --> 00:07:50.754 What was the switch like for you, and how did it make you feel switching from the Army over into the Navy? 00:07:50.754 --> 00:08:09.345 It's what I wanted. I wanted to be a carrier pilot, and this offered an avenue, and I was happy about it. 00:08:09.345 --> 00:08:17.024 Did you receive any promotions, and could you tell me about them during your time in the Navy? 00:08:17.024 --> 00:09:03.595 Yes, in the Navy I had sort of a head start going through bootcamp and was a company commander. And that followed me through aviation cadet training, as well. Because I was a corporal in the Army, I had training at, uh—gave me kind of a head start—And then in a long career I got commissioned, and I moved up the ladder in normal sequencing to an O-6 position. 00:09:03.595 --> 00:09:16.315 What would you say was the biggest difference between your enlisted promotions and your officer promotions? 00:09:16.315 --> 00:10:00.965 As an officer it was more wide-ranging at where instead of being a specialist, except for flying, was broad and personnel management. But records and maintenance training—many avenues and responsibility at a higher level—to where, eventually, as command of a ship it is a rather interesting and wide-range responsibility. 00:10:00.965 --> 00:10:08.865 What was the hardest part of the military lifestyle for you to adapt to? 00:10:08.865 --> 00:10:11.835 Being away from my wife and family. 00:10:11.835 --> 00:10:14.335 Why do you think that was? 00:10:14.335 --> 00:10:52.565 'Cause over long periods of time, it left my wife managing three sons. All different ages, different schools. I can't imagine how she was able to maintain the driving schedule. And when I retired she said, "Okay, now you do the income tax." So she had a wide range of responsibility. And unfortunately, I would love to have been partnering in it, but I was gone so much of the time. 00:10:52.565 --> 00:10:59.125 What was the easiest part of the military lifestyle for you to adapt to? 00:10:59.125 --> 00:11:25.325 Friendships. Harmony. You're part of a team. You get to know and like one another. Trust. Lean on. Depend. And, um—I think all aspects of military are—you're working with teamwork. 00:11:25.325 --> 00:11:37.924 What were your interactions like with people you encountered during your stateside service? 00:11:37.924 --> 00:12:08.384 Well, it was a variety of things. Often schools—even if you were just with a unit—it is mostly training in the fighter business. We would train over in the desert to fire rockets and bombs and guns and hit the target. Coordinate with the rest of the team. Prepare for combat. 00:12:08.384 --> 00:12:14.294 During your wartime service, what wartime conflicts were you a part of. 00:12:14.294 --> 00:12:31.294 World War II—I didn't actually get shot at by enemy—uh, Korea, Vietnam. I was rather heavily involved in those wars. 00:12:31.294 --> 00:12:36.365 Where and when did you serve in the Korean conflict? 00:12:36.365 --> 00:13:11.705 1952-53 on an aircraft carrier normally operating at the 38th parallel in support of ground forces and destruction of enemy logistics, trains, trucks, ox carts. But of course, air support for our fighters on the ground. Except for one novel incident that I got involved in. 00:13:11.705 --> 00:13:14.995 Do you care discussing that incident? 00:13:14.995 --> 00:29:24.605 Sure. Admiral (Joseph) Jocko Clark was Task Force 77, which was on site on the USS Missouri and was running the naval operations. That was basically the eastern half of Korea, both north and south. And the distance between targets—some of it was very important manufacturing and storage, and logistics is the heart of wars. So our job was to stifle, destroy their capability. And we couldn't get to all the targets because of distance. So Admiral Clark formed a task force of three carriers and probably twenty-some other ships, destroyers, including his battleship. And we moved north off the city of Ch'ŏngjin, which is about a hundred miles south of the Soviet Union and Vladivostok. And we operated there and could then reach all the other targets that we normally wanted to but couldn't. And, uh, I was on the first mission in the morning and we hit targets in a city called Hoeryong. It is right on the Yalu River, which is the border between the Soviet Union and North Korea. These operations stirred up the Soviets. We didn't go to their territory, which is having such—military operation that close to them got them very excited, and they launched lots of airplanes and the radio chatter became heavy and everything, you know, they were very concerned. Well, upon completion of that, I went back and landed on the aircraft carrier, and I was told to get lunch and get ready, and I was going to go off on the next combat air patrol. When the first flight, the weather was good and we were operating pretty much in clear air. In the meanwhile, a blizzard moved in and the bottom of the clouds were around 500 feet and the tops were at 12,000 feet. So we briefed. I got lunch. Briefed. We launched. And we rendezvoused four aircraft below the clouds, and then climbed two for an assignment above the clouds. And while in and on our way, our combat information center notified us that there were inbound bogies, meaning unidentified aircraft. They could be friendly or enemy. We didn't know. Well, as we popped on top of the clouds, I could see, coming from the north, seven contrails in formation headed right at us. I didn't particularly diagnose who they might be, but they were coming from the Soviet Union direction. Well, as they, uh, were getting near us, the leader of the flight had a warning light that his—well, engine warning problem came on and he was directed to take his wingman and return. We would stay over at the task force. So that left me and my wingman to handle the rest of the mission. So, they said to proceed and intercept. So I charged my guns and made everything ready for war and led the two of us climbing in their directions. Well, as they came over, they reversed and headed back from whence they came and out-distanced me. So when we got to 26,000 feet, they were probably 50 miles north of us and—extreme altitude, 50 some thousand feet, I'm sure—but making contrails, so they were easily sighted. But they split into two groups and turned away from each other and started diving out of that altitude. And when they left the contrail level, it was just plain sight to the airplanes. And I no longer could see them and reported that to the ship. And they had also lost sight in that it was a smaller target and they didn't hold 'em on the radar anymore. So I was directed to reverse course and set up a barricade between the last sighting of the aircraft—which I had identified as MiGs (Mikoyan and Gurevic), which meant enemy—and to patrol between the last sighting and the task force. Well, in that turn, four of them came in sort of head-on—ten o'clock position, all firing—and I knew the game was on. So as they passed, I made a hard turn and ended up on the tail of their last guy. And after a short burst, he fell out of formation and started going down, and my wingman left me and followed that aircraft on down. And so he was out of the fight. And I'm alone with the other three airplanes that dove in the other direction—now joining the group. So I am one against six. So they climbed sharply above me to a rate I couldn't maintain, but I was pointed at them and trailing, and they turned around and came back at me as I'm the target. And I was intending to encounter the guy that just lost his wingman, but I lost him in the sun, and I saw the other two already lined up coming at me. So I switched my aim and aimed at the lead aircraft who was already shooting with larger caliber guns and probably having capability to shoot in an encounter at a greater range. Well, when I sighted on them, I was in range and I fired a short burst. And he stopped, fired, and turned away. And I had later on learned enough information that I have surmised that he was probably hit. The other guy, his wingman, now was coming directly at me and shooting, and I turned and sighted on him. And when I was set ready with him, my target, I fired a burst and he quit firing. But he didn't maneuver. He just kept coming and went directly under my airplane. And I was hosing him all the way. So he was definitely going down. Probably killed. So they had now passed me, but the other three planes came in from the other direction and now they were all split into individuals and taking their turns attacking me. Well, my attention at that point was primarily my six o'clock tail position where they were taking turns on me. And I was their target, and my job was to spoil their aim and survive the attack. And as a good pilot, they often made the run, and then they pulled up abruptly to get back in position to make another run, um, at a rate that I couldn't follow. But there was another guy right behind him, so I was pretty much full-time defensive. Occasionally they made a mistake. One of them flew in front of me and I got on and I hit him close in, and pieces of the airplane were coming off, and I had to maneuver to avoid hitting him. Well, it went on like that for thirty-five minutes. Longer than any other such mission I ever heard of—ever. And they had kept up, and I occasionally had the opportunity to have the sights on 'em and shoot. I at one point was on the tail of one, and he was burning, smoking and going down—slowing. And I was going to give an extra burst, but I was out of ammunition. And I looked around and that's the first time I straightened out that much and didn't pay attention behind me and (he was) on me—right on my tail. So I maneuvered hard, and he kept firing, and he hit me with a 37 millimeter, which is an anti-aircraft size ammunition. And it went into the wing butt on the starboard side of my airplane and exploded in the accessory section of the engine, right mid-airplane and shrapnel everywhere. And it severed the cable connecting to the rudder. So I no longer had that control. And it destroyed all the electrical and—not all of it—but all of the hydraulics. So I had a hydraulic controlled N1s (low speed spools). So I had very little control of that, mainly elevator. But luckily out-maneuvering left me pointed directly at where the task force was, so I didn't have to do a lot of turning to head toward that blizzard and the clouds at 12,000 feet. And this guy settled right on my tail, and 300 feet or so—ideal range to shoot me down—and he was just firing away with all of his guns. But I was using my elevator and I would jam it forward then pull it back. And I'm doing this sort of thing. (Williams gestures up and down). So I'm seeing the bullets go under me, then over me. And this just kept out until I got into the clouds. Heavy clouds that he lost sight of me. I lost sight of him. And since I was damaged and the airplane wasn't flying right—was auto rigged—I did a little testing to see what my survival rate might be. And I was too far away from the task force to eject. I had planned on ejecting, but there wouldn't have been anybody there to rescue me. And that was winter time, the conditions of the water and all. And even with the immersion suit that I was wearing flying, I wouldn't lasted more than maybe 18 minutes. So I stuck with the airplane and kept on track to get to the task force, hoping that I could do something to get rescued there. I didn't believe I'd be able to get landed aboard an aircraft carrier in these conditions, and the conditions of the weather and all. But I got undone and was coming in, under the clouds. So I'm visible to them, and unfortunately they were general quarters. And for all the ships there, that means guns free if they have an unidentified target, hasn't been labeled friendly, they're cleared to shoot. Well, the coordination had broken down between air control and the gunnery liaison people. So they shot at me. And my commanding officer had just taken off to be my relief, to go up and be on the air patrol. And saw what was happening and called them off. Said, he's friendly, and they stopped firing. So I started coordinating with the landing signal officer on the Oriskany, the carrier I was flying from and making plans for what's next. And it looked like I might be able to at least approach the carrier, which means there would probably be rescue forces all over the place. And I still was just barely hopeful I would land on the ship. Well, they were loaded with all the ships aft, the tail end, on a straight deck carrier. So they had to all be moved to the front part of the flight deck to provide space for me to land. That took a while. And I used that time to position myself as best as I could to be where I should be when I got the signal to land. And I tested the airplane at that time, and I found out that it wouldn't fly below 200 miles an hour, 170 knots. So I informed him of that. And they talked to the commanding officer of the carrier and he said, "Bring him in. Any speed he wants." Strong winds from the storm and the ship could do 30 knots. So not a problem speedwise, but alignment was another thing. So when I got the signal to land, I was lined up with the ship into the wind for landing, but I couldn't line up going down the deck to make a landing. I would've come across the deck, which is just a short distance, and I'd (have) gone over into the ocean. At least I would be near rescue forces if I lived through the crash. So I was coming in, doing the best I could, and the captain of the ship saw my plight and, being an aviator, he knew the problem—the only time I ever heard of it. But he turned the ship and lined it up with me, and I landed to catch the number three wire, which is perfect. So I'm back aboard with a whole lot of holes in an airplane, but I'm safe. 00:29:24.605 --> 00:29:31.724 So what happened once you landed and had to—did you hear from Washington or— 00:29:31.724 --> 00:35:41.905 Yes, I went to the ready room. The ship was at general quarters. All the pilots that weren't flying were in the ready room, they're stationed in those conditions. And as I came in—I was surprised—they were all smiling, beaming, and no one's saying anything. And my next job is to be debriefed by the intelligence officer. So I asked him, "What's going on here?" And he says, "I had them all pledge that they wouldn't say anything until I got through debriefing. So we went to the debrief area, and he didn't start talking. I said, "What's going on?" He said, "We are waiting for the flight leader." Well, the flight leader was already over the ship and had nothing to do with this combat. But he waited for him, and when he came in with the last one to land, they'd eaten up a fair amount of time. And on the squat box or radio communication between other units of the ship, the intelligence center is calling in Mac, our intelligence officer, "Get in here, Washington's on the line and they want answers. Right now!" We didn't know anything because the intelligence center would send things on our little—sort of TV—saying that I was engaged and so forth. So they knew that. And they knew I was hit. But not the rest of the story. I didn't know! Actually my attention was that hitting somebody and then diverting it immediately to my next problem. So when the whole flight got back, he started with the flight leader to debrief. And then his wingman, which had a little to say—important. And then to me. And I got a little into it of what little I knew. And he just broke it right up. They just kept—"Mac, get in here, get in here." And so he had to make a report, and he made it up, and it wasn't true. And that became Navy history. They don't wanna' know the truth. All—moving on. It's our last line on the combat line, and we're going into Yokosuka for repairs, replenishment—R&R (rest and recuperation)—and I was ordered to report to Admiral Briscoe, the Senior Navy Admiral in the Pacific—Western Pacific. And when I—oh, on the way down there I saw an aviation boatswain's mate. They're the people that handled the aircraft on the carrier. And I told him who I was and I'd been the pilot and I'd like to take a last look at the airplane before going ashore. He said, "I'm sorry, sir, but we pushed it over the side." And so what I heard was that they robbed it of usable parts, and so forth, and got rid of it. Turns out later, that might not be true. But that's what I was told. So I met with Admiral Briscoe—and I knew his aides and stuff—and they brought me to the door. He said, "The Admiral's waiting." And sure enough I did. He closed the door and he said, "Now, what you're about to hear, you could never tell anybody ever." And that sealed it as far as straightening the record—I just couldn't talk about it. But I learned that we had a new capability called NSA (National Security Agency), and a lot of people say no such agency. They were very closed mouth and don't share information except probably with the President and a few others. But they were on the line on a cruiser right off the coast of Vladivostok, where the base from which these MiGs came. And they wanted that young man to know that he got at least three. Okay, but I can't tell anybody. So I didn't for fifty some years. But in the meantime, Soviet Union broke up, and the Russians out of Moscow came up with a story in 1992 talking about this mission, and they put the names of four that were shot down that day. And then a naval historian came up with a book about something "on the Yalu," covering the big engagement during the Korean War, which was mainly the Air Force half, which was on a daily routine of trying to shoot with another down. But it covered this incident. And of the seven, only one returned. And that's not well known, but that's what the history book says. And where was I going with this? Well, concluded my debrief with Admiral Briscoe and went back to the ship, and in short order learned that President Eisenhower had pledged that if elected, he would go to Korea and see firsthand how things are and what he ought to do about it. And then he learned about this and he says, I want to see Royce Williams. And so as he came over, I was set up to meet him. 00:35:41.905 --> 00:35:47.505 Was it hard for you to maintain that secrecy for so many years? 00:35:47.505 --> 00:36:20.000 It was initially 'cause I just saw a bunch of lies and they put it out as though I said—or Rolands, the wingman, or Middleton, the wingman of the flight leader—all having been in the area, but they gave them credit for things they never did and they never personally admitted that they did it until they got used to it. It sounded so darn good that they played along and abused history. 00:36:20.000 --> 00:36:31.043 What were your interactions like with local cultures and the people you encountered during either your deployment in Korea or in Vietnam? 00:36:31.043 --> 00:38:02.315 Albeit in an aircraft carrier, I didn't have a lot of opportunity to see others. I was amazed and interested in the visit with President Eisenhower and his staffs and all in Seoul. It was such a battered city. They had two bridges crossing—the river goes through the middle of town—and they were both in the water. I went back and visited after that. They got 22 bridges almost per block crossing the river. And it's just beautiful. What an amazing change in the geography. But I do wanna' say that the Koreans—I can't believe this—have told me they think I saved their nation. And they have been acting like that. And their president came over here, and I met with him, and they presented me with their Medal of Honor. And I've just been inundated with visits from them—bringing presents, and invited me to the consul in Los Angeles, and the consul general's become a friend. I visited their ships. And it's been amazing. 00:38:02.315 --> 00:38:12.704 What kind of friendships and comradery did you form while serving in Korea or in Vietnam, and with whom? 00:38:12.704 --> 00:38:53.014 With the personnel on the ships I was on, primarily your own squadron. You have a ready room, which is the enclosure with seats and briefing materials and whatnot, where you ready yourself for flight. And actually, otherwise, it's sort of a central for that squadron, and people spend a fair amount of time there. Sometimes in the evening you have a movie and so that's kinda' home base outside of your quarters. 00:38:53.014 --> 00:38:58.304 What did you do for recreation when you were off duty? 00:38:58.304 --> 00:39:21.605 Volleyball, running, maybe a little sunbathing—very little. Some reading, some studies, some—you have other assignments besides flying, So you have to pay attention to that as well. 00:39:21.605 --> 00:39:29.824 Do you recall any particularly humorous or unusual events while on shift? 00:39:29.824 --> 00:40:34.364 Found to be a bunch of them (laughs). Well it's—our pilots get shot down, and if they're rescued, they eventually go by way of another ship and then used breeches buoy, which is a sort of a seat that you get on and have wires connecting two ships and you spin and you can send this little trolley thing with the chair back and forth to send supplies or people. And in a big storm, while they're doing that, the ships come together. Sometimes that close without engaging one another (Williams extends arms in front of himself). But that makes that line instead of taught go down like this (lowers arms). The people often get dipped in the ocean and then come snap it back out of it (raises arms). It's kind of an interesting drill. 00:40:34.364 --> 00:40:38.085 Was there something that you did for good luck? 00:40:38.085 --> 00:40:58.085 No, pray! I am religious and I give credit—I should not have survived that incident, but I did—and I did it with other outside help. God was with me. 00:40:58.085 --> 00:41:06.925 Do you recall the day your service ended? Where were you when your service ended? 00:41:06.925 --> 00:43:59.045 In San Diego, I had had a plane crash where I broke 11 vertebrae. I continued to serve and fly, but the medical department made exceptions in my case to where I was authorized certain medications that I should not have been taking and flying. And as time went on and I would indicate need for more help, they would increase it. And I got to a point of a ridiculous amount. And then the flight surgeon, when I came back from our first tour in Vietnam, talked to his friend who was the leader of the medical department at Pensacola, Florida. And they were so surprised they ordered me to go back to Pensacola for an evaluation. Well, during that they said everything is doable. For instance, thyroid normalcy is around two grains. They had me on five and a half grains a day. And they said, no, it's normal. Just stop taking it. Well, there were results. My hair's falling out, I'm just weary. I'm flying day and night off the carrier. And the results of that study was studied in Washington at the Bureau of Navy Medicine and Surgery. They said, this can't be. So, they got the Bureau of Personnel to give me new orders that you authorize for flight in combat, at sea, down at the actual command—at the actual controls. Why is the wing commander, for heaven's sake? I said, How do I run a wing in combat not flying? So I sent myself to the school for the rear seat—the naval flight officer, we call 'em now—now we have their old set of wings and so forth. At that time, it was so early in the game that we were using the wings that were also used for enlisted flight crew. But as time went on, I was a primary player in getting that law changed that didn't allow NFOs (Naval Flight Officers) to have command. So for officers, NFOs, they'd probably quit at lieutenant commander. There's just no further promotion for 'em. Well, we got that law changed and now we have four-star admirals as NFOs. 00:43:59.045 --> 00:44:02.965 Did you return home when your service ended— 00:44:02.965 --> 00:44:03.000 Oh, ah! 00:44:03.000 --> 00:44:04.000 —Sorry, go ahead. 00:44:04.000 --> 00:46:14.405 So where was I? My physical problems were starting to make life tougher. I started dragging the leg and they sent me to the hospital here in San Diego and operated on me. And I came out, and they put me on temporary retirement until I got healthy. Then I got recalled in 1980. This was—I went in early, second month in '42 and then went out in the first of January in '80. So there was a little gap from when I came out of the hospital until I was cleared for active duty again. And meanwhile, I'd had a ship and a whole lot of very important jobs. I had two-star job on Admiral McCabe staff, who was the first Inspector General, CINCPAC (Commander in Chief Pacific Fleet). I was Chief of Staff COMFAIRWESTPAC (Commander, Fleet Air Western Pacific). A whole lot of pretty important stuff. But I came on back and was on COMATG PAC staff (Afloat Training Group Pacific) when I went to the hospital and they operated on me, set me aside, I came back, and I got ordered as commodore with amphibious task force for training. So I took a group of 20 some ships to Hawaii and that sort of thing. And I came back and retired in 1980, built this house, and grew 200 rose bushes. Spent an awful lot of time below the hill (laughs). 00:46:14.405 --> 00:46:22.324 How did you readjust to civilian life? Did you work, or did you go back to school, or— 00:46:22.324 --> 00:46:52.505 I got a master's degree in college. And I worked for a company as vice president of a startup group. And I saw that they had problems, and I excused myself, and said if they straightened out their operation, I'd be pleased to come back. But in the meantime, they went to jail and I did not. 00:46:52.505 --> 00:46:56.824 Did the GI Bill affect you after you completed your service? 00:46:56.824 --> 00:46:57.293 The what? 00:46:57.293 --> 00:47:02.445 The Montgomery GI Bill or the GI Bill for education? 00:47:02.445 --> 00:47:02.652 —Yes— 00:47:02.652 --> 00:47:03.474 Did you use that? 00:47:03.474 --> 00:47:04.755 —Yes, I used that. 00:47:04.755 --> 00:47:06.000 What are your thoughts on it? 00:47:06.000 --> 00:47:57.065 Excellent. Yeah, it helped me feel fulfilled. I didn't actually use the ability—I also, once I completed the business part of it, I went into law and I was working down near San Ysidro and leaving here at about five-thirty in the morning and getting back at ten and spending all day Saturday in my office reading and my wife bringing me coffee. And just—I said, Why am I doing this? And I had no good reason. So I didn't continue in the law business. 00:47:57.065 --> 00:48:01.954 Did you join any veterans organizations? 00:48:01.954 --> 00:48:03.025 What type? 00:48:03.025 --> 00:48:05.164 Veterans. Military veterans— 00:48:05.164 --> 00:48:20.224 Oh, yes. Oh goodness, yes. All of them. Yeah. Legion (The American Legion), VFW (The Veterans of Foreign Wars of the U.S), the DAV (Disabled American Veterans), and a lot of local groups. Mostly aviation oriented. But I have something almost every day. 00:48:20.224 --> 00:48:27.394 Did you continue any friendships after the service and for how long? 00:48:27.394 --> 00:49:09.545 Well, I was taken out of the circle of friends. When I moved out here, I formed a lot of friendships, became engrossed in the Homeowner's Association. Golfing. But as far as contact, when I learned to play the email bit, I stayed in contact with some of my military friends. But most have died, and I just now get spam (smiles). 00:49:09.545 --> 00:49:20.864 These are reflections. So, how has your service impacted your life, your community, your faith, and your family? 00:49:20.864 --> 00:50:56.394 Wow, you covered it all (laughs). Immensely! Especially since an admiral that I had served with the four different times, at a reunion came to me and said, "Hey, Royce, there's more to your story than you've told, isn't there?" I said, Yes, sir. And he says, "Well, do you know that it's no longer classified and you could talk about it?" Well, new world. What am I gonna do with this? Nobody knows enough to even ask me to say anything. So I told my wife and she said, "Oh, Royce!" (laughs). But eventually the word got out, and I'm nominated for the Medal of Honor. And that has spread the word. I'm busy with speaking, visiting engagements. You know, it's impacted it very heavily. As far as the church goes, I've been president of the congregation—active in there until I got so old that I don't do that anymore. I've been busy, yeah. I've been involved—when I engage in something, I pretty well go in wholeheartedly and try to find a slot where they can use me. 00:50:56.394 --> 00:51:06.114 What are some life lessons you've learned from military service? 00:51:06.114 --> 00:51:27.954 Outlook. Keep positive. Try to be happy. Don't get mad—you don't have any enemies. Never did. People wanted to kill me, but that was the government's business. Same here in my part. 00:51:27.954 --> 00:51:36.585 What message would you like to leave for future generations who will view and hear this interview? 00:51:36.585 --> 00:52:06.934 To take their responsibilities in citizenship seriously. And if you can find a way to contribute—and there are lots of ways you can—do something for your country. When you do that, you're doing something for everybody and especially yourself. 00:52:06.934 --> 00:52:17.514 How did you become associated with the city of Escondido in this north San Diego County community? 00:52:17.514 --> 00:54:31.735 1965, I was a waiting commander. My headquarters at Miramar Naval Air Station. And I lived in south Escondido and had church membership in the community. I had three sons that were all at home at that time before they went in the Navy and whatnot. And a lovely wife who was involved in Ikebana Japanese floral arranging. And was very good at it, as you can see her hand right here at home. And a good cook. And I had some guns and enjoyed shooting. So if I wasn't required on the job on a Saturday, we would often—she'd make a picnic lunch and we'd take some of our guns and look for a place to shoot. And I found hidden metals before there were any homes out here. Just a dirt road coming up. And I loved it so much. It's just—it's beauty. So, later on in 1972, I was on Admiral McCabe's staff in Hawaii, and I already had far more than the 30 years of service, and I knew I would be required to leave any day soon and had no place to retire. So wife and I came back—space available—and borrowed my dad's car and came up to Escondido—he lived in San Diego at that time. And headed straight up here once I got my instructions right. And there were only two houses but underground facilities, roads, and beautiful place. And so I bought some property here, which I built on later. And, so from the very beginning, they've had my fingerprint up here. 00:54:31.735 --> 00:54:45.355 Thank you for taking the time to share your recollections of military service. Is there anything you've always wanted to share about your service or veteran experience that you never have? 00:54:45.355 --> 00:55:00.445 No, I've had plenty of opportunity to talk to groups, and I don't withhold anything that I think is of value, so it's pretty well out there. 00:55:00.445 --> 00:55:07.045 What do you wish more people knew about veterans? 00:55:07.045 --> 00:55:37.474 That the very highest percentage of them are genuine, loving Americans that felt they wanted to do something for the sake of everybody in the nation. And that once they get committed there, it's the lifetime and they're an important productive part of community. 00:55:37.474 --> 00:55:52.155 In your unveiling of the journey, what are the lessons learned from your military experience? 00:55:52.155 --> 00:56:23.144 Try and be somewhat organized but realize that there isn't much you're going to accomplish on your own. It's a team sport. Get to know other people. Some you'll find have a lot of guidance, maybe some provide opportunity. You're not gonna' do it by yourself. Have a family if you're so oriented. That's an important part of my life. 00:56:23.144 --> 00:56:24.635 Thank you, Captain Williams. 00:56:24.635 --> 00:56:25.635 You're welcome. NOTE TRANSCRIPTION END ]]> https://rightsstatements.org/page/InC/1.0/?language=en video Property rights reside with the university. Copyrights are retained by the &#13 ; creators of the records and their heirs. 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=WilliamsElmer_BeyerJason_2024-11-08_access.xml WilliamsElmer_BeyerJason_2024-11-08_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 Williams, Elmer Royce. Interview November 8th, 2024 Description An account of the resource Elmer Royce Williams is a retired United States naval aviator, nationally lauded for his solo dogfight against seven Soviet pilots during the Korean War. Since his time in service, he has been increasingly recognized for his achievements. He was awarded the Navy Cross in 2023 and has been nominated for the Medal of Honor. In his 2024 interview, Williams described that transformative moment in his life and how it affected the Korean War. He also discussed his childhood, military enlistment, and military training. Approaching 100 years old at the time, Williams reflected on how religion, family, community, civilian work, and veterans' organizations shaped his life after service. Identifier An unambiguous reference to the resource within a given context SC027-074 Date A point or period of time associated with an event in the lifecycle of the resource 2024-11-08 Format The file format, physical medium, or dimensions of the resource video Creator An entity primarily responsible for making the resource Elmer Royce Williams Contributor An entity responsible for making contributions to the resource Jason Beyer Marilyn Huerta Adel Bautista Subject The topic of the resource Korean War, 1950-1953 United States -- Armed Forces -- Veterans Air pilots, Military -- United States. Navy United States. Navy Air combat Vietnamese Conflict, 1961-1975 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Wilmot (S.D.) Korea Vietnam San Marcos (Calif.) Africa, North Little Falls (Minn.) Ortonville (Minn.) Panama Soviet Union Escondido (Calif.) Hawaii San Diego (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">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. Elmer Royce Williams License A legal document giving official permission to do something with the resource. <a href="https://creativecommons.org/licenses/by-nc/4.0/">https://creativecommons.org/licenses/by-nc/4.0/</a> Community history San Diego Veterans History Initiative Veteran experience 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 Robert Sheehan Interviewee The person(s) being interviewed David Taitingfong 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=TaitingfongDavid_SheehanRobert_access_2024-08-30.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 6.0 Taitingfong, David. Interview August 30th, 2024. SC027-083 00:00:00 SC027 California State University San Marcos University Library Special Collections oral history collection CSUSM csusm Guam ; San Diego (Calif.) ; Chamorro language ; Decolonization ; Colonization ; Language revival David Taitingfong Robert Sheehan audio file TaitingfongDavid_SheehanRobert_access_2024-08-30.wav 0 https://archivesoralhistories.csusm.edu/files/original/7dcf86c4fe6bc8b429316d83d49b9a41.mp4 Other video This interview is conducted in English and Chamorro 0 Introduction Dabit (David) Taitingfong sits down to discuss Chamorro, indigenous Guamanian, culture, heritage, and language. Chamorro ; language ; culture Guam ; Chamorro 0 23 Early Childhood and Growing up in San Diego David talks about where he was born and his early connection to the Chamorro community and culture. 0 183 Visiting Guam for the First Time David discusses how his first visit to Guam and his ancestral village, Yona, impacted his cultural and language learning process. 0 592 Colonial Occupation of Guam David talks about the history of colonialism on Guam and how that has affected the culture and the Chamorro language. 0 1481 Fluency vs. Literacy in Chamorro David talks about the two orthographies in the Chamorro language and how some Chamorro elders are only fluent in Chamorro and lack any education in Chamorro literacy. 0 2007 Chamorro Social Media David discusses how he created his Instagram page which is dedicated to teaching Chamorro language and culture. 0 2515 How the Chamorro Language Creates Connections within the Chamorro Community David talks about how his language learning process has reignited his family's and friend's interest in speaking Chamorro and learning more. 0 Oral history David Taitingfong is a member of the Chamorro community and involved with the group Prugraman Sinipok, which teaches a two week Chamorro language immersion program. David describes his involvement with Prugraman Sinipok and how his interest in sharing the Chamorro lanugage and culture has shaped his life. NOTE TRANSCRIPTION BEGIN 00:00:00.000 --> 00:00:10.000 So today is Friday, August 30th, 2024. My name is Robert Sheehan and I'm here with David Taitingfong for an oral history interview with Cal State San Marcos. How are you doing today, David? 00:00:10.000 --> 00:00:11.999 I'm good. How are you? 00:00:11.999 --> 00:00:23.000 I'm doing well, thank you. Thanks for being here with me today and dealing with our technical difficulties. Um, if it's all right, I'd like to start with your childhood, um, and your family. Could you tell me a little bit about where you grew up and how you grew up? 00:00:23.000 --> 00:01:24.000 Yeah, so I was born and raised in Southern San Diego. Um, my parents, we lived in Otay Mesa, which is real close to the border, about two or three exits away from the border. But because my parents had to work, we actually used my dad's mom's address as like, this is where we'll go to school. That way after school, I can go to my grandma's house. And so my childhood mostly was waking up, getting up, getting dropped off in a completely different neighborhood, like 30 minutes away. But that meant I got to be with my cousins because we all kind of went to the same, we all went to the same elementary school then like one or two middle schools, and then we branched out from high school. But, um, me and my brother, we did that growing up. Um, so that was more in Southeast San Diego. The, it was in the, the Jamacha neighborhood, which is near Skyline, which is, I mean, overall just, yeah, Southeast San Diego. And so that's where, that's where like most of my childhood was, honestly. 00:01:24.000 --> 00:01:32.000 Okay. And other than your nuclear family, did you have any sort of connection with the Chamorro community, uh, outside of your family? 00:01:32.000 --> 00:02:24.000 Yes, very much so. So my grandma, my dad's mom, um, in the neighborhood she lived in right next door was her cousin, and across the street was her cousin. And then down the street was my mom's sister. And then around the corner was like my mom's aunt. And so it was just, it felt like I grew up around the community a lot. And then also the thing I remember a lot is in Southeast San Diego, in the Lincoln area, there's a club, The Sons and Daughters of Guam's Club. I think it used to be, I don't know if it used to be called the San Diego Guam Club, but either way, the initials work out the SD Guam Club. And every year they host like little fiestas for the patron saint of each village on Guam. And the saint where my mom's mom was from. 00:02:24.000 --> 00:03:01.000 That fiesta always happened around my birthday. And so that's where I, I would say I got most of the interaction with the Chamorro community at large was going to the fiesta, going to the fiesta, which was for the village of Yona, the village of Yona and Guam's. They call it the south. It's like the middle south, but it's where I would say I feel most mostly attached to. 'Cause it's the fiesta we always went to, and it's my mom's side. And like traditionally culturally, Chamorros' are matrilineal. And so for me it's like, I feel like I've always gravitated towards my mom's side at least later on. For sure. 00:03:01.000 --> 00:03:04.000 And have you ever visited, is it Zonia? Yona? 00:03:04.000 --> 00:04:03.000 Yeah. Um, yeah, so I , I went to Guam two years ago, maybe for the first time in my life. I was supposed to go there for a language immersion program. I wasn't able to make it in time. I got there the day it ended and then I was like, you know what? My cousin was in it, let me just spend time with her. And then I got COVID and we all did actually. So I spent my entire trip with like five people, the same five people. But I was able to go to the village of Yona. I have a cousin who still lives there. I was like, I don't know if I should visit you because I got COVID. She's like, oh, I had it two weeks ago. You're fine. Like, come here. I have gifts for you . So I was able to visit, uh, I don't know exactly which parts within the village, my mom's side is from, but my cousin from my mom's side, she was there. So she showed me a little bit of her land and I was like, okay, this is cool. I, I'm, I actually going back next year. 00:04:03.000 --> 00:04:10.000 Oh, very nice! It seems like a good way to connect back with family and cultural roots and stuff like that. Can you describe the village? 00:04:10.000 --> 00:04:59.000 Uh, you know, not entirely, because again, like when I had went, it was kind of like, I don't know if I should, my cousin was like, just come on through. But where she lived most of the houses, it was like a house, and then I would say a good chunk of land around each house. Because even when she invited me, she's like, you come over and see the ranch. And I was like, what does that mean? You know? And sure enough, we go there. It's like she has a house and I mean, I'm not even good with geography, but she definitely had enough land that I could probably do like, maybe it was like two basketball courts side by side. And she's like, yeah, this is like, we grow stuff and catch pigs here sometimes 'cause they try and eat all her stuff. 00:04:59.000 --> 00:05:34.000 But it's, yeah. And I want to say actually where she lives too used to be a lot of military housing. So it kind of has a feel like that where it looks modern American, but the military have since moved out of that specific area. I don't know if that's how it was, but that's how it felt like to me. Like I pulled up and I was like, okay, like a lot of these houses look like they were like, what's the -- cookie cutter? You know? Um, 'cause you go to other parts of Guam and it's not like that, like houses kind of tend to look different. 00:05:34.000 --> 00:05:37.000 And there's a big military presence on, on Guam, correct? 00:05:37.000 --> 00:05:52.000 Yeah. Yeah. Biggest I think would be [US] Air Force and Navy and I know they're building, or no, they've already built a Marine Corps base there, which I mean a department of the Navy. 00:05:52.000 --> 00:05:58.000 How do local Guamanians and Chamorros feel about the United States military on Guam? 00:05:58.000 --> 00:06:48.000 It's a, it's a mixed bag, I would say. Because after World War II, everyone was split. I know on my dad's side, they were more grateful. So there was, there's a story of a man, I believe his name was, Robert? Robert Tweed? Well, I just know his last name's Tweed. And he was one of, he was an American, service member who was hiding from the Japanese. And a lot of families helped him. My dad's mom, her family was one of the people who had helped him, like, helped him hide until more reinforcements came and stuff. And so I know on my dad's side of the family, they're very much grateful for that. I never really got much war stories from my mom's side. I don't know how they feel about that. 00:06:48.000 --> 00:07:26.000 But I would say where I'm at in my life now, most of my peers, most of the people I associate with are against it for sure. In the sense of like, at least against it in the sense of if you want to use our stuff, at least ask. 'cause that's currently not the relationship, right? It's pretty much anything at the federal level kind of just kind of just goes, GovGuam [Government of Guam] does a lot of stuff, but if the military's like, Hey, we want to do this. I think one of the requirements that they have to do is just like, conduct studies, but they conduct the study. So it's like, it's kind of kinda weird. 00:07:26.000 --> 00:07:27.000 Who's watching the watchers kinda thing? 00:07:27.000 --> 00:07:29.000 Yeah. . 00:07:29.000 --> 00:07:35.000 Okay. Can I rewind a little bit back to high school? What high school did you go to? 00:07:35.000 --> 00:07:41.491 I went to Morris High School, also in Southeast, skyline area. 00:07:41.491 --> 00:07:45.000 Okay. And was there a large contingent of Chamorro kids who went to your high school? 00:07:45.000 --> 00:08:47.000 Uh, I wouldn't say it was large. There's definitely, we all knew each other. I would say that for sure. And there was enough of us, because again, the Guam Club is literally down the street from Lincoln. Lincoln, while I was in high school, had closed for renovations. And so all the kids who could have went there had to go to other schools. A lot of 'em went to Morris. And I did meet a lot of Chamorros that way. And then because again, of the big military presence on Guam and the other island, on the other northern islands, kids tend to find their way, either through their -- mostly, I mean, if I was in high school -- through their parents. Right. And so most of the people I met, they're like, oh yeah, like my parent, my family just moved out here 'cause they're stationed here, you know? And so not a lot. Well enough for sure. It was nice. Like, you see somebody, you see, in their papers or in class, they're doing roll call. You hear the last name. You're like, that's, that's a chamorro last name. 00:08:47.000 --> 00:08:51.000 Okay. Can you gimme some examples of what a Chamorro last name would be or how you can tell? 00:08:51.000 --> 00:09:50.000 Yeah. So like, my last name is, um, we would pronounce it Taitingfong. And so we have a lot of last names with T-A-I, it's a prefix that means like, without, and there's like a lot of history there, but if you heard someone Taitingfong, Taitano, Taimagung, Taisagui and then like on my mom's side, there's Acadino, and then there's some Spanish ones that are mixed in. But there's like, you, you could, if, so like my mom, her middle, um, her name was Mediola Acadino, and a Mendiola is not technically Chamorro, but if, if you say your name's Mendiola, and I look at you and I'm like you look Chamorro. Um, so there's some Spanish ones, but then yeah, like the Chamorro ones, [Chamorro surnames] there's like Q-U-I was another popular one, like a prefix where I was like, oh, that might be Chamorro. Because that's how the Spanish wrote it. But in our language, it would be like a K-E. 00:09:50.000 --> 00:10:09.000 And just like the US military, Spain has a long history in that area as well. And with language it seems to have bled through a little bit. Yeah. Uh, can you talk a little bit about how that heritage or history happened and how it affected language? 00:10:09.000 --> 00:11:08.000 Yeah. I want to say, I mean, 'cause Spain has, Spain had a presence in the Marianas for a long time, since like the 1500s. But from what I've read, it was primarily through commerce. They didn't have intentions of colonizing the islands. They were just like, we want a port here. We want to stop. 'Cause they were going from Mexico to the Philippines straight. But if they needed to stop, eventually at some point they're like, oh, here's Guam and here's the other islands, the Northerner Islands and stuff. But I wanna say Guam was the main port. It was the biggest island. And in terms of how that language spread, I mean, again, through commerce and stuff, and then through eventual colonization, primarily through a religious means, the language bled through. And one thing that I think is interesting though is that the Chamorros kind of took their words that they liked and they don't, sometimes they don't mean the same thing. 00:11:08.000 --> 00:11:51.000 And then we also treat them as if they are Chamorro words, if that makes sense. Like, we affix them as if they're our own words. And one, one of my friends told me, he's like, the true tale of if we have fully adopted a word is if we afix it however we want, there's some words where we don't, we still -- there's certain phrases I think that stay through. Like, um, if someone says sabe dios, like, we took the word dios for God and say Yu'os, but we also don't say sabe. So like in that context of the phrase sabe dios, it's like, well, we kept that otherwise though. Yeah. We just took words and we're like, we're gonna say it how we say it. Hey, fix it how we affix it. 00:11:51.000 --> 00:11:56.000 Very interesting! I like you kind of flip it around and say, no, this is our word now. 00:11:56.000 --> 00:11:57.000 Yeah, yeah. 00:11:57.000 --> 00:11:58.000 Are you said that happens quite a bit in the Chamorro language. 00:11:58.000 --> 00:12:00.000 Yeah. 00:12:00.000 --> 00:12:06.000 And did you start speaking Chamorro at home when you were little or later on? 00:12:06.000 --> 00:13:35.000 Later on. Much later. When the pandemic started, my teacher at the time, Dr. Michael Lujan Bevacqua, he was doing a weekend class on Guam at a coffee shop, maybe like at max 10 people. When the Pandemic started, coffee shops closed, he was like, oh, I should just do it online. And a few months before he had actually like, kind of trial ran it with another group, a group that was based outta the east coast of the United States. And he did like a, I forgot how long it was, but he did a few classes online and was like, oh, this is a feasible way to instruct and so -- excuse me --. And so he was like, okay, I'll open it up to the public at large, you know, Saturday Guam time, Friday in the States. And that's when I, that's when I like really found a good schedule because the first time, technically when I learned online with him was when he did that trial run. And it, quite interestingly, I was on my honeymoon and I was like, Hey, can I do this? And she's like, if you're okay with the time difference, like, sure. You know, and so I was up at like 2:00 AM in Barcelona, in a class for an hour, you know? Um, but that's when it started for me. So I really only started 2020. At the beginning of 2020 00:13:35.000 --> 00:13:37.998 Okay. Do you consider yourself fluent? 00:13:37.998 --> 00:14:05.000 I would say pretty, I would say, I could definitely hold a conversation with most speakers. Um, like the real, real fluent elders. Sometimes they speak really fast or if they're, if they're chewing pugua, which is a bit, um, beetle net, which is just something like we, we chew out on the islands sometimes, like the words can get jumbled. I can't catch it. Um, but I would say I'm pretty fluent now. 00:14:05.000 --> 00:14:12.486 How popular is Chamorro on Guam? Do people still speak it as a primary language? 00:14:12.486 --> 00:15:02.000 Not right now. There's definitely a cultural shift to get there, especially recently, just within the past, I think month, there is a school that's been running for I think 17 ish years. The Chief Hurao Academy, they do [an] immersion program for children. And I know sometimes they try and do it for adults as well. They just got charter status. And so I want to say it's gonna grow to become even more. But definitely on Guam, it's been in a decline. It's been in decline since World War II. And then I can't speak much for the northern islands for Rota or Saipan. I know folks still speak it. Um, and I want to say though, it is still mostly a at home thing. 'cause even when I went there, I was like really excited to flex my tongue. And I was like, okay. 00:15:02.000 --> 00:15:39.000 And then I'd go into a coffee shop, you know, I'm just like, hafa adai and they're like, hafa adai. And then like, that's it, you know? Or the first, actually the first time I was, I had a full conversation was I went to a cemetery to look for family, like family graves and stuff. And I saw this lady and I heard her speaking Chamorro to another coworker. So I walk up and I, I talk, I'm talking to her in Chamorro. And it's funny 'cause she's like snacking on something and she's like, oh, nen, how are you? And nen is short for neni, which is just like, it means baby, but, you know, and a term of endearment, oh nen, how can I help you? And I was just like, oh. 00:15:39.000 --> 00:16:28.000 [Speaking Chamorro] Which is like, oh, I'm sorry, like, if you don't mind, can you help me? And she like wiped her mouth and put her food away. And she was like, whoa. You know? She was kind of like -- and I think it's because I looked younger than somebody who she would assume can speak Chamorro. And I also, I think she could tell I wasn't from the island, you know, the way I was dressed and my accent wasn't good, or like, as typical sounding. And so she started talking back to me and she gave me instructions. And I was just like, okay [speaking Chamorro]. And then, yeah. But I could tell she was like, what is going on? Which was when I realized like, okay, out here, it's still, it's still blossoming, it's still, seeds are still being planted and it's definitely not as much. 00:16:28.000 --> 00:16:38.000 Why do you think that the Chamorro language was in a decline and it's needed this revitalization? 00:16:38.000 --> 00:17:26.000 So post World War II, effectively it was made -- I don't know the correct, like legal terms -- I wanna say it was made law made mandate. I don't know what legal term they used, but effectively they were saying, you can't speak Chamorro in public. You can't speak Chamorro at schools. And then at schools, if you were speaking Chamorro, you were like fined financially or physically punished. And because of that, when, you know, you go home and that word gets to your family, they're like, okay, well learn English then. Like, well, maybe we'll speak Chamorro more to you at home. Like, I know my grandparents spoke Chamorro to each other, and I know my parents grew up hearing the language, but because of that, it, it just bled out into all of the villages. 00:17:26.000 --> 00:18:22.000 They're like, don't speak this language, it's your language, but don't speak it. And in public, in schools, you know, save it for the home. And because of that, the language -- maybe if it's only being spoken at home, you go out in public -- it's you, you go out in public and now post World War II, life is different, right? There's so many other things happening now. There's industries that are coming to fruition because of post-war. And, now it's like, well, if I can't speak Chamorro, I can't even create new terms for this. So it's like, I can't communicate, oh, we all speak English though, so, or we're all trying to learn English. So it was, I think it was definitely one of those things, 00:18:22.000 --> 00:18:26.000 And that's horrible. First off, ut that, that kind of historical trauma, does it still have its kind of finger around moral culture? 00:18:26.000 --> 00:19:15.000 I would say yes. Um, and I actually didn't feel that way until recently. I tend to be on the optimistic side, I tend to feel very optimistic about the future of the language and the future of many things. Because, on my mom's side, I have one native speaker left. I might have -- my mom understands, I know her, one of her other sisters understands. I actually haven't talked with my uncles in a while. Should probably do that -- I don't know if they understand, but I know a lot of, like my mom's generation, they understand but they don't speak it. And so my mom's eldest sister, um, when I started learning, my mom was like, Hey, by the way, Dabit is learning the language, Dabit is what, like David in Chamorro, like Dabit's learning Chamorro, you should talk with them. 00:19:15.000 --> 00:19:50.000 And at first my aunt was like, for real, you know? And I think she even said something to me like, really fast. And I was like, Ooh, I didn't catch that. So she said, it began slower. And I was like, okay, I have someone I can at least try to talk with. And when I finally sat and had a conversation with her, she did open up to me. And we actually had a good long cry, which just like it was, we were at a party and then we just kind of sat off to the side talking about our own thing. And she told me something that like her sisters didn't even know, you know? So when I asked my mom later -- like in the moment, I was already crying 'cause it was sad -- And then later I was like, Hey mom, how come you didn't tell me this? 00:19:50.000 --> 00:20:34.000 And she's like, I have no idea what you're talking about. And I was like, wow. Um, and then I found that to be the case with a lot of the elders, at least who I was talking to in my circles. And, you know, I would go to certain events and I would try and find someone who looks like they'll talk to me or maybe someone I already know and I'm like, oh, I can speak Chamorro now, let me try this. And some of 'em were receptive. Um, but I guess it would depend on where you're at. Because recently I had some family file from the east coast and my dad, it's on my dad's side, and he's like, Hey, your uncle speaks Chamorro, you should talk to him. And when I would try to talk Chamorro to him, he would acknowledge me, but respond in English, you know? 00:20:34.000 --> 00:21:24.000 And after a few sentences, he was like, why are you trying to learn the language? It's dead, you know? And I was like, whoa. Like, it was the first time I had an elder say that. So I was like, oh shoot. And so there's definitely, there's definitely people like that. There's definitely people out there and Chamorro's out there who were like, there's no point. Even though they have the, the knowledge and to share. It's the, I would say the trauma is still there. And then there's also the, um -- my, my mom's sister, the fluent speaker, one reason she was hesitant to converse with me -- primarily the way I asked her, I was like, can you teach me stuff? And the first thing she said was, I can't read the language. And I don't know, like the grammar, you know? And so I was like, okay, let me rephrase this. 00:21:24.000 --> 00:22:01.000 Can we just talk in Chamorro? You know, because like, I didn't care, right? Like your my [aunt], your mom, my grandma wasn't a teacher. Her mom wasn't [a teacher], her mom wasn't. Right. Like these official titles I think sometimes can prevent the elders from wanting to pass down the generation. 'cause they're like, oh, I don't know if it's right. You know? But it's like, but if this is the language you speak with all your peers, like it's technically right, right? Like we have grammar based rules, but at the same time, you know, language has changed, languages fluctuate. 00:22:01.000 --> 00:22:10.000 Especially with the influx of all the new technology post World War II, we were talking about. How have the Chamorro people in the Chamorro language incorporated those new terms into language? 00:22:10.000 --> 00:23:05.000 I would say there's like three routes that I can think of off the top of my head. The first route is kind of a common sense approach. Like do we just, do we try to make a word for it or do we just call it what it's, right. So like the word bus, they just say bus. For truck, they just say truck for a machete, they just say machete, right? So like there's that where it's like, just take the word and say it in our tone. There's another approach which is like to take -- oh, and actually in that regard too -- it's like, take the English word or take the Spanish word or whatever and just kind of funnel it into the language. I would say the second approach is trying to create the word or change the word using our own words. 00:23:05.000 --> 00:24:37.000 So I would say one example is, -- excuse me again -- Um, the word escuela, we use it for school, but with a lot of my peers, we also have interest in like reclaiming the language, so to speak. And so when possible it's like, can we recreate this word? And so instead of saying escuela, um, I have friends, actually, I think this is a more accepted term now is fa'na'gue yanggen. And the word [speaking Chamorro] means to learn by doing. And then one of my favorite things about the language, we have a circum-fix. Something that encompasses a word. So it's fan and an if it ends in a consonant or fan and yan if it ends in a vowel. And so [speaking Chamorro] means like a place of learning. So there's like, there's that approach. Um, and then the third approach would be, if it's just too complicated, just spell it how it's, so one example is the app WhatsApp, right? Like, Chamorro's love WhatsApp. And if you have to literally write it, if there's like legal text or something, again, you might see escuela, [speaking Chamorro] and blah blah blah. But they'll put a single quote and just write WhatsApp single quote. And that's kind of how they take, that's kind of how we take the approach to the language. It's like what's actually being said? What can we create so that it's said? And then if not -- like no one's gonna translate X-ray. We're just gonna write X-ray. Just leave it alone. 00:24:37.000 --> 00:24:55.000 That's really interesting. I like that. You'd mentioned, um, kind of the grammatical structure of the language and also writing. You said your aunt was not fluent in a written way, but she was in an oral way. Are you fluent in Chamorro writing? 00:24:55.000 --> 00:26:05.000 Yes. And I would actually say maybe more so than some of my peers because in the current moment there are two official orthographies, orthography being the, like the written rules about how we portray the language. And so there's the Guam orthography and the NMI orthography, the Northern Marianas Island orthography. Um, the Guam orthography is a one word, one spelling approach. And the NMI orthography is a one sound, one symbol. And this comes in, I think they both have strengths, they both have weaknesses. Um, but I know both and right now, because, I mean Guam's the bigger island and, I would say they have more resources. I think more people know the Guam orthography than they do the NMI orthography. And so for me, I started with the Guam orthography and I was getting confused at some points. But once I started teaching I realized I liked the NMI orthography more for helping people pronunciate things. 00:26:05.000 --> 00:27:00.000 Because when you read something written in the NMI, it's written how it sounds, which is useful for reading. Um, I would say for new people it's confusing. Because like the word tiningo', which means like knowledge tiningo' that last syllable was like, ooh. Um, but when you start to afix it and change it, like if I wanted to say my knowledge, I would say tiningo'-hu right? And so that difference in sound when you read it, it's like, okay, yeah. But now if you're trying to learn the word, you don't know which one to look up really. Guam doesn't have that problem one word, one spelling, no matter how you say it. Which I think has created interesting variations in speakers already. Like I have friends who only know the Guam orthography and they pronounce words the way they see 'em. And I would say that's due to a lack of speakers around them. 00:27:00.000 --> 00:27:33.000 But again, like that's probably just what's gonna happen. There's gonna be like a dialect of folks who learned by reading. Not a problem. But it's just like, it's something I've started to pick up on through my, through listening. Whereas like with the NMI orthography too. If I give somebody something in the NMI orthography, they think they're looking up like three or four words, you know? I'm like, oh no, this is the same word. It's just they spell it based on how it sounds and so that it can get confusing there. Uh, but yeah, to answer your question, I would say I'm pretty good with it. , 00:27:33.000 --> 00:27:45.000 It sounds like it! Your pretty knowledgeable about both just sets of orthographies. Is Chamorro a gendered language? Like Spanish is where there's a masculine and a feminine 00:27:45.000 --> 00:28:15.000 For borrowed words. Yeah. So like for teacher you would say most folks would probably say maestro or maestra. Uh, but we do have like, let's say an indigenous term fafa'na'gue, which isn't gendered at all. Um, and then we have like the word saina, which means like elder. But we do also have mom and dad, Nana and Tata. But I believe even those are borrowed. So in its the truest sense, no, but when we borrow words, definitely. 00:28:15.000 --> 00:28:22.000 I see. Alright. Rewinding once again after high school, um, did you go to college? 00:28:22.000 --> 00:29:07.000 Yes. Yeah. So, well, I went to college and then I got DQ'ed, I got academically disqualified, went to community college and then was too proud to pull out loans or ask for money. So I was working. So I did that. School, got kicked out, work. I did that for four years. 2012, joined the military. A lot of irony there. Got out in 2016, went back to school. Well, I went back to school before I even got out. But at 2016, went back to Southwestern College in Chula Vista, got my associates, transferred to Cal State Long Beach. And then I finished up in 2019. 00:29:07.000 --> 00:29:08.000 Okay. And what was your degree in? 00:29:08.000 --> 00:29:09.999 Computer science. 00:29:09.999 --> 00:29:12.000 Computer science. And what branch of the military were you in? 00:29:12.000 --> 00:29:13.998 Marine Corps. Yeah. 00:29:13.998 --> 00:29:26.000 Okay. And after you graduated, did you immediately go into the computer science field or was there a time where you were kind of figuring out what you wanted to do? 00:29:26.000 --> 00:30:33.000 So I went right into it because during my last semester, I had an internship when I was at Cal State Long Beach. I had an internship with Northrop Grumman in their, like, aerospace sector. They like renamed it. At the time it was called Aerospace. It might be called something different like space. Oh, it's called, I think now it's called Space Systems. And they have aeronautical systems. 'cause they wanted that elevation difference . Um, but I, so I was doing that. And yeah, it was a mix of like computer science, computer engineering, what I was doing there. When they gave me a job offer, I asked them if I can go to San Diego. They got me one, went down to San Diego, one of the offices in RB (Rancho Bernardo). And yeah, I was doing, I would say it was still like a mix of what I was doing. There was like a little computer sciencey somewhat IT, like some--they call it DevOps. Like it's kind of like the middle boat. And then now I work at Apple and I'm doing like legit software development. 00:30:33.000 --> 00:30:44.000 Very cool. Congratulations! And do you meet Chamorro software engineers frequently or Pacific Islanders software engineers? 00:30:44.000 --> 00:31:55.000 Yeah. I wouldn't say frequently. 'cause that definitely whenever I meet even a Pacific Islander in, in tech, it's always like, oh wow. Um, in terms of Chamorro's though, I wanna say the first software engineer I met was through one of Dr. Michael's classes. I'm not, I'm gonna just call him Miget , um, Miget's classes. And he's a software engineer for Costco. I think he lives in the Pacific Northwest. And I was like, oh wow, that's cool. Like, I've never met another one. He's like, oh, have you met Benny? And so he introduced me to another, another guy older than me. I was like, should I call him uncle? I don't think so. But Benny, he's a, he's been a software developer for like 20 something years. Doing mostly like web development. And so I was like, oh wow, okay. There's more of us. But aside from that, I don't think, I know there is, I haven't met this person, but I know someone is running, there's like an online dictionary. They took this Chamorro dictionary and made it into a website. And I know they're running it or like they were given the grant to do it or something. And so I know, I don't know who that person is though. I, I should reach out. 00:31:55.000 --> 00:32:03.968 That's very cool. So they're like a, so it sounds like there's like a network--Or at least loosely? 00:32:03.968 --> 00:32:28.000 If there is, I'm not a part of it yet. I have always wanted to, because even though my interest started in computer science, because I got so deep in the language space, I, I have always wanted to do something in the computational linguistics field. Ever since I started learning, I'm like, man, this would be really cool. But I just haven't because I've been too busy trying to learn the language and trying to teach the language. 00:32:28.000 --> 00:32:48.000 Do you feel like you're close to a point now where you might be able to move towards that computational linguistics? Because from an outsider's perspective, it sounds like you're very fluent and very knowledgeable about the language and how it's structured and you could teach it. 00:32:48.000 --> 00:33:27.000 Yeah, I don't think so. I think it's, to me, it's still a dream just because I have found so much community and love and appreciation for the work I'm doing. Like, just like on social media, you know, or just by meeting with people and speaking the language to them. I think right now, that outweighs my desire to try and beat Google at creating a translate. Because if you go to translate.google.com, they have Chamorro. And in the past month we've been roasting it 'cause it's incredibly wrong. It's so wrong. It's funny. 00:33:27.000 --> 00:33:42.000 Okay. Um, speaking of social media, I noticed that you have an Instagram page that's kind of devoted to the Chamorro language and Chamorro culture and experience. What caused you to want to create that? 00:33:42.000 --> 00:33:53.000 There was a time, I think I started last year. So currently I'm on break because I have a four month old at home. 00:33:53.000 --> 00:33:54.000 Congratulations! 00:33:54.000 --> 00:34:32.000 Thank you. But I was like, I'm gonna take a break because I'm probably not gonna have the time. And then my wife's back in school, so it was like, okay, really no time. But when I had started it, my cousin had showed me a video from TikTok and there was a guy, he's not even Chamorro, but I think his wife is Chamorro, and he was just speaking Chamorro. He was a student of the Chief Hurao Academy. He did their adult program. He's like, uh, he's like, I should learn because my kid, I want my kid to learn. And so he had a video and he made stuff he like, was just saying, I think, I don't even remember what the video was about. 00:34:32.000 --> 00:35:14.000 I think it was just phrases. But you can tell from the video that he was on island because he was making references that like, you probably only understand if you're around the culture. And specifically on the island though. And my cousin showed me this and she was like, Dabit, you should do this. You should make videos like you're a good teacher. 'cause at the time too, actually, I was doing my own Zoom class with my cousins, which reminds me, I told them I'd start back up and I haven't, but I was doing that and they're like, you should do this. You're so social, you're so out there. Like, you should just do it. And yeah, that's really it. I just, one day I was like, you know what, here's some lines. Make a video. I put it out there. And then I did it again. 00:35:14.000 --> 00:35:51.000 I don't think it was until maybe the fifth video where people were like, who is this guy? Why are you, you know? And then I had people comment, I had friends who were like, do you write scripts? And I was like, not really. They're like, you should write scripts, blah, blah, blah. They're like, it looks like you're doing all your videos in one take. I'm like, I am. They're like, don't. They're like, just say what you can. Don't stop recording if you mess up. Just like kind of run it back and just stitch things together. And I was like, oh my god. Yeah. This is so much better. Um, and then it's actually funny because I haven't made a video since like four or five months ago. But recently I went to Oregon. They had the first annual, the first ever, I don't know what the correct term is. 00:35:51.000 --> 00:37:01.000 There was a Mariana's Festival in Fair, Fairview, Oregon. And I went there and there's another Chamorro social, um, like social media person who doesn't make language content necessarily. It's like, not the focus, but she's trying to incorporate it. And she was like, we should go around and ask people stuff. I'll ask in English, you ask, you want, and when I checked this morning, I think the video, the video's been up for like a week and it has like over a hundred thousand views. Wow. People are texting my mom and she's like, is this your son? Because it came up on my feed. You know, people are, people are texting my wife, they're like, is this your husband? Like, what? he popped up on my feed? You know? Or like my sister-in-law, she's like, oh my God, look what just popped up on my feed. You, you know? And I'm just like, wow. Um, and yeah, like, man, like practically every comment is like, wow, it's so cool to hear the language. Because at the festival I knew the, I knew like my friends who were there, who were speakers who were in the same classes as me, so I felt comfortable asking them, you know, I was like, yeah, like blah, blah, blah. And people were like, wow, these people, these kids, you know, they look at me and they're like, these kids know the language and Okay. 00:37:01.000 --> 00:37:15.000 It, it's a very cool video. I actually watched it before our meeting today. It's really interesting. And I actually had a couple questions regarding the video. Mostly to do with kind of food and culture and how those two kind of intersect. You have mentioned that one of your favorite foods was apigigi'? 00:37:15.000 --> 00:37:19.000 Apigigi' 00:37:19.000 --> 00:37:21.497 Apigigi'. And what is apigigi'? 00:37:21.497 --> 00:38:02.000 So it is a, it's a cooked dessert. So you get like coconut shreds. Well, I used coconut shreds. I don't know if some people use the shredded coconut. I'm not sure. Actually. I use coconut shreds. But you put that and then you have, um, we call it mendioka. It's, I think it's tapioca like the starch and stuff. Um, with some leche niyok , which is the coconut milk and sugar, you mix it all together, you slap it in, traditionally a banana leaf and then you wrap it up, close it, you grill it, and then you wait until it closes down and then you can eat it. 00:38:02.000 --> 00:38:03.499 Sounds delicious! 00:38:03.499 --> 00:38:07.000 It is! Yeah. And it's not that many ingredients, you know, so it's like really easy. 00:38:07.000 --> 00:38:11.000 And the other dish that I heard mentioned was, um, Kelaguen? 00:38:11.000 --> 00:38:12.000 Kelaguen. 00:38:12.000 --> 00:38:16.000 And it sounded like you could have kelaguen with multiple different kinds of protein? 00:38:16.000 --> 00:38:17.000 Yes. 00:38:17.000 --> 00:38:18.998 So what is kelaguen? 00:38:18.998 --> 00:39:18.000 Kelaguen is effectively, it's kind of like an escabeche. That's how we say it. I don't even know what the?...a ceviche? Okay. Um, I think technically the term comes from a Filipino word, kilawin. And their kilawin was, I wanna say more fish based. But yeah, you, you effectively take a protein and cook it in acid. Like that's really all it is. I think. I was actually taught recently that the traditional word before kelaguen was just, um, naynay. And I could see how that can fall out of use. Mm. Um, but technically that, yeah, that it's just cooking something in like acids. So the most popular one is kelaguen mannok or chicken kelaguen. You grill your meat, you chop it up, not too big, not too small. And then you get like, salt, lemon, add your decorations, like your green onions and stuff. 00:39:18.000 --> 00:39:57.000 But effectively the salt also helps cook it. And it come and you serve it cold though, you know, so you, after you cook and everything, you mix everything. You don't serve it, you can eat it the same day. Growing up, my family always did it, and then we ate it the next day. Because it's a bit softer. The first and last time I made kelaguen katne, which is beef kelaguen. Um, I cut it too big. But yeah, it was just that. And then it was like lemon vinegar, soy sauce or something. So I forget all the ingredients I added. Put it in the fridge the next day we were eating it, you know, and I was like, I was like, is this really gonna cook it? And they're like, yes, chemistry, it's gonna work. I promise 00:39:57.000 --> 00:40:05.000 That's great. And when you prepare food, is it a communal thing or is it a single chef preparing meals for everyone? 00:40:05.000 --> 00:40:50.000 You know, growing up it was definitely a communal thing. At least when it came to, I mean, especially when it came to the Fiesta, you're doing a lot of things. You know, at the Guam Club, they have an outdoor kitchen, or they had, I haven't been there in a while, like the kitchen area, but I remember they had a table that was really just like a cutting board. The, the whole table was like a cutting board. And yeah, they would have people grilling, they'd bring the chicken over and you chop it up, you know, you're doing everything and then you pass it on to the next person. Each person kind of had a role, you know. You had people grilling, you had the people tearing the meat off the bone, then you had the people cutting, then you had the people mixing, you know, and then you had the people like, um, setting it aside, preparing it and stuff. 00:40:50.000 --> 00:41:44.000 When I, the last, the first and last time, no, no, no. It wasn't the first last time I made apigigi' I did it for the language immersion program we did here. Prugraman Sinipok. And I taught the class. And so like, that was a communal thing. We had everybody make it. I was worried at first 'cause like, oh, they're not gonna all be the same. But I think it gave it a kind of like, nice little style. It's like, oh, some people made it this way. Some people made 'em real small. Some people made 'em big , you know. And, and I remember when we brought it to the, the following day, there was a picnic for the Guam Liberation. And I brought it and people were so surprised. They were like, nobody ever does this. And in my mind I was like, what? This is the easiest thing to make . And so now it's like something I want to do, kind of a tradition. Like I almost wanna start in my family now. Maybe with just me first, like, oh, I think I can show you how to make it if you like it. Um, so traditionally I would say very communal thing. 00:41:44.000 --> 00:41:58.359 And you mentioned your family and bringing the Chamorro culture into your family and making it a part of your own family. Do you speak Chamorro to your children? 00:41:58.359 --> 00:42:50.000 So I try to with our 4-year-old, gonna be five in October. I try to as much as I can with him because he is more cognizant and more responsive. It can be hard, but I know he's getting it. With our baby. I only speak Chamorro to the baby. Sometimes I'll say things to my mom in Chamorro because I know she understands. Not so much with my dad though, because I know his understanding is less. And so I guess it would depend on what it is. Like, if it's like, I'm like, oh, where's mom? I'll say that, you know. But with my mom, I can say like, oh, are you gonna go outside because if you are, can you do this? You know, like longer thoughts. My wife picks up the things I say to the kids. So she knows those words, but I don't talk to her in Chamorro. 00:42:50.000 --> 00:42:52.000 Okay. 00:42:52.000 --> 00:42:56.000 And my sister lives with us. She said she wants to learn. She's waiting for me to start teaching 00:42:56.000 --> 00:43:00.000 So you gotta get on it. . 00:43:00.000 --> 00:43:02.994 Yeah, gotta get on it. 00:43:02.994 --> 00:43:09.000 Has your wife or your father or mother, have they shown more interest now that you are so into the language? 00:43:09.000 --> 00:43:23.000 Yes. My mom, especially now that I only speak Chamorro to this baby. And so within the last four months I've heard more Chamorro come out of my mom's mouth than the last two or three years we've lived together. Which is something, you know. 00:43:23.000 --> 00:43:24.000 That's wonderful. 00:43:24.000 --> 00:44:01.843 Yeah. Even if it's funny little things like, did you poop? Or why are you stinky? Let's change your diaper. But because it's the only way I communicate with this baby, I think it makes my mom want to. And my dad will say words like, you're stinky, you know, or you pooped, you threw up. You know, very short things. But definitely again, like the most Chamorro I've ever heard, leave his mouth, you know? Um, yeah. 00:44:01.843 --> 00:44:09.000 That's great! And, you mentioned the Prugraman Sinipok and that's a cultural immersion program. For two weeks or so outta the year, they take students from all over and immerse them in the Chamorro cultural and language. 00:44:09.000 --> 00:44:09.500 Yes. 00:44:09.500 --> 00:44:11.995 And how did that start? 00:44:11.995 --> 00:45:35.000 So this was the third year. This was the first year I helped though. It started through someone else. Uh, her name is June Pangelinan. She lives in like the Bay Area (near San Francisco, CA). Or near there, I would say. But she, it, it was like her thing. She was also a student of Miget's and was like, I think we should, I think we should do a language immersion program. You know, and Miget was just like, if you plan it, I'll do it. You know, 'cause Miget is always down, but in, in the same way. For me, it's like, I'm always down, but I don't want to plan. Like, if you tell me what I can do or give me a spot, I will fulfill that role for however long. I'm just not good at planning though. But yeah. So it was, it was June's like, whole vision. You know, she linked up with Miget and the first two years they actually did it on Guam. And like, so yeah, like that first year I tried to go. It, it didn't work out for me 'cause I was actually in the middle of switching jobs. So when the program was happening, that's when I was going to join Apple. And so it didn't line up. I tried to, I tried to make it line up. I was like, no, okay, I'll leave work, go to Guam, come back, start working. 00:45:35.000 --> 00:45:37.495 Just didn't quite line up. 00:45:37.495 --> 00:45:38.495 Yeah, exactly. 00:45:38.495 --> 00:45:45.000 And how many students in general have you seen the program grow over the last three years? Or has it stayed kind of the same core group of students? 00:45:45.000 --> 00:46:29.000 It's stayed the same number of students. I would say. Like no more than 20, maybe especially the first two years. Because they had to fly to Guam and then pay for the program and then probably get housing if they didn't have family or know anybody out there. Out here, it was less of a, I would say a burden, but maybe less of a interest for some people. Because from my understanding, from what I was told the first two years, I would say we're definitely more culturally focused. Not as much language. This year, there was a lot of language, but we didn't have as much culture. We definitely had culture and they definitely had language, but the offset was there for sure. 00:46:29.000 --> 00:46:34.000 Because it was harder to do here in San Diego. Couldn't go to the same Island towns? 00:46:34.000 --> 00:47:04.000 Yeah. I, we had a Liberation picnic at Balboa Park. They have a house of Chamorros, which is like amazing within itself because usually it's relegated for countries. Right. and then the Guam Club. And then we have local folks whose parents are still alive. And so like, there was a day where we went out, we went down to Chula Vista and, you know, tried to get with them and hear the language come from them. 00:47:04.000 --> 00:47:12.000 Very cool. Is it, is it common that elders will want to participate in the program? 00:47:12.000 --> 00:47:54.000 I would say not common. Definitely not common. We have some elders. We have some elders in the classes that Miget teaches because for them they're like, oh, I know the language, but I don't know how to read it. You know, or I don't know how to write it. So that's what they join for, but they speak the language mm-hmm. So it's like a big benefit to the other students who join. 'cause they could hear it come fluently. But then, and it's always funny too. Yeah. 'cause when I started communicating with, with these folks and when they would write stuff, I'm like, they're literally writing it the way they say it. And to me, that was amazing. You know, it's like, oh, I wasn't sick. 00:47:54.000 --> 00:48:15.000 But yeah,it was really hard. This wasn't my job and I'm thankful it wasn't my job. It was my friend, Clarissa Mangiola, I call her mames, which just means sweet. Reese, it was, it was, it was her job to find folks who would want to participate. And from what she told me, it was really hard. Yeah. 00:48:15.000 --> 00:48:17.000 Why do you think that is? 00:48:17.000 --> 00:48:49.000 There's, I think this goes back to maybe the trauma part where some folks might not see use in the language. A lot of times they don't feel qualified to teach us. And I, I think it's part of the approach of the way we approach them, where it's like, can you teach these kids what you know? Or can, you know, impress upon them your knowledge or whatever. And they feel like, well, oh, they don't want to hear me speak because I don't speak like academically or I don't speak professionally. 00:48:49.000 --> 00:49:45.000 I don't speak eloquently. You know, which is to me always been funny because that's not the Chamorro I've ever wanted to learn. Like, I didn't want to learn like a city academic, Chamorro, you know, I wanted to hear the way my grandparents spoke, specifically my mom's mom. When I think back, my dad's mom did kind of feel, she definitely had an accent and stuff, but it definitely felt more proper. And where, and the village she's from is like the capital of Guam, you know? So it's like, very much surrounded by the like American culture, but where my mom's mom is from, considered the south and very much different. You know, more rural, you know, country living, so to speak. And so that, that's when I actually started learning the language. She, my mom's mom is who I picked to model my speak chapter. 00:49:45.000 --> 00:50:04.000 And my aunties are like, that's not how mom sounded, you know. But it's gotten me a lot of compliments from elders. They're like, wow, you're good. Like, where did you learn to speak? You know? I'm like, memory really? Because I don't have any audio recordings or anything of my grandmother. Just kind of what's embedded in me. 00:50:04.000 --> 00:50:07.000 Were you able to speak more with your grandmother while she was here? 00:50:07.000 --> 00:50:36.000 No. So I didn't start learning until 2020. My dad's mom passed in, 2009, 2010. And then my mom's mom passed in 2012. And so yeah, I did not. The closest I would say is my mom's sister. She's still around, thankfully. And every time I get the chance I talk to her in Chamorro. 00:50:36.000 --> 00:50:44.397 If you could have a conversation with your mom's mom, what would you like to talk about? 00:50:44.397 --> 00:51:30.000 Wow. That's a good question. I would probably, I would ask her about her childhood and just start from there. Because there's, when we started learning the language, when Miget started teaching the language, he told everyone, if you have speakers in your family, talk to them. He's like, don't ask them about the war. Do not ask them about the war. You know, he was always very, you know, because it's definitely not something they like to talk about, you know? Um, but I would definitely just be like, where did you actually grow up? 'cause I don't know if she grew up in Yona, it's the village. She repped and claimed, but I don't know if she like spent her childhood there. I would ask her what she remembers about her grandparents or her parents. What her favorite foods were, what her most annoying chores were. 00:51:30.000 --> 00:52:16.000 Things like, what did you do for fun? You know? 'cause that's like another thing that I came to realize was, something that kind of skipped--it would come into this language barrier where the things, as I've talked to other elders, I asked them what they used to do for fun. It's like stuff I wouldn't consider fun. It's like, not stuff I thought they would say. You know, like I had an elder tell me, oh, when we were cleaning, we would race to see who could clean certain-- a board of the house faster. You know, they would like, okay, these are my two boards. These are your two boards and we'll race. And the reason it was fun though, is because for scrubbers, they would literally use coconut shells, you know, the really husky ones and they would just like scrub it. 00:52:16.000 --> 00:53:03.000 They're like, whoever can do it first, you know, wins. And he told me that and I was like, oh, okay. Yeah. I mean, I could see how that could be fun if you're doing it with your siblings. You know, your friends. And so I definitely would like to know what my grandmas liked doing for fun, what her favorite foods were. 'cause they're definitely, I would assume different, you know? 'cause even something like kelaguen mannok, I wouldn't even consider that like an everyday meal because it takes so much labor. It's not, it's definitely not something you're doing all the time. You know, we have like soups for that, you know. If she remembers what kind of music. As I've learned, as I've delve deeper into the language, I've become more aware of cultural things. I'd probably ask her that. I'd ask her if there were any talageros who's in her family, which are like the fisher people who go out and throw the nets. 00:53:03.000 --> 00:53:39.000 If any of her family sang. Kantan Chamorrita, which is like a, it's like a free verse style singing, which I've come to been told is some folks used to communicate like that. Like just through singing they would say the language, they'd be singing what they're doing. And then if the other person knows the tune, they do it back. You know, some kantan chamorritas are meant for competition. Some of 'em are meant to be endearing. Some of 'em are meant to be wooing someone, you know. So I definitely would ask her like very specific her things, maybe village things. But then definitely would like, I'd be interested about the culture, 00:53:39.000 --> 00:53:45.000 That would be a very cool way to communicate with somebody in kind of a song. Call and repeat kind of thing. 00:53:45.000 --> 00:54:33.000 Yeah. When I went to Oregon, actually, when I was hanging out, I went there with two of my-- I went there to visit two of my friends, they live there. They're speakers. They're like, I would consider them my teachers now, you know? And we were out in the city, we were like walking back from dinner or something, and my friend just starts going with a tune, like, you know. And he was like and then he looked at me and I was like, oh, shoot, okay. I was like, you're not done with your verse, but I'll go, you know . And we just, we did that for a good couple of blocks and I was actually surprised. I was like, wow. Like I was able to do that, you know? 00:54:33.000 --> 00:54:35.000 I was like, sometimes they didn't make sense, but-- 00:54:35.000 --> 00:54:48.000 You just stuck with it and you were right there in the, the melody and verse.--and I know we're running out of time here, but did you have anything that you wanted to talk about or anything that you wanted to say? 00:54:48.000 --> 00:55:51.000 I don't know if I have anything specific. Just that I'm very grateful that I'm able to learn the language because I've had tremendous support from my family, from my friends, from my wife, my kids, you know. I know people who struggle to find the time, you know, struggle to fit it within the typical schedules, right? Like Miget's class used to be Fridays at 4:00 PM until-- 4:00 PM or 5:00 PM and 6:00 PM all the way up until 7:00 PM. And then, once November rolls around. We do daylight saving times. Guam doesn't. And so it's like 3:00 PM--, you know, now though, it's Saturday in the States 'cause he does 'em on Sunday, so it'll probably be a little bit easier. But, I just know so many people. There's people who we started in the same classes 2020 January. Right. And I'm so far ahead of them. 00:55:51.000 --> 00:56:53.000 It's, and I don't know if that's a testament to just how deep I went or also how much time I've been able to give because, yeah, like, at the festival I ran into someone and I was, we've been in classes for years and I was, I didn't have a good grasp of how fluent they were, but when I saw 'em, I was so excited. I hugged them really tight and I was like, oh my God. And then I just started going, you know, and she was just like, you're so fluent now. What happened? You know? And so, yeah, like honestly, I'm just incredibly grateful that I've been able to learn as much as I can. And actually recently, well not even recently, it's been since December, I have another teacher who's teaching me stuff too. I would say like deeper context of things because as much as I love Miget's class, there was a point where he has to start over. 00:56:53.000 --> 00:57:25.000 You know, it's like college for him. Gotta start over, gotta start over. And so there came to a certain point where I was like, shoot, I need more. You know? 'cause I definitely don't think staying in his classes forever will benefit you as much as getting the taste. It's like college, getting the taste and then going on. And so I'm just happy that I was able to find other people who also want to go deeper into the language, learn as much as we can. We found a teacher and so, I mean, that's really it. I'm just incredibly grateful. 00:57:25.000 --> 00:57:31.000 That's awesome. We're very grateful for you coming out here and spending the time and giving this interview. So I just wanna say thank you very much. 00:57:31.000 --> 00:57:33.545 Yeah, of course. Thank you. 00:57:33.545 --> 00:57:38.545 Alright., take this. We were an hour on the dot. NOTE TRANSCRIPTION END ]]> 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. 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&#13 ; from this collection. 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. 0 https://archivesoralhistories.csusm.edu/ohms-viewer/render.php?cachefile=TaitingfongDavid_SheehanRobert_access_2024-08-30.xml TaitingfongDavid_SheehanRobert_access_2024-08-30.xml https://archivessearch.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 Taitingfong, David. Interview August 30th, 2024. Description An account of the resource David Taitingfong is a member of the Chamorro community and involved with the group Prugraman Sinipok, which teaches a two week Chamorro language immersion program. David describes his involvement with Prugraman Sinipok and how his interest in sharing the Chamorro lanugage and culture has shaped his life. Identifier An unambiguous reference to the resource within a given context SC027-083 Subject The topic of the resource Language revival Chamorro language Chamorro (Micronesian people) -- History Chamorro (Micronesian people) -- Social life and customs Colonization -- Spain -- Oceania Colonization -- Japan Colonization -- United States -- Guam Decolonization -- Guam Date A point or period of time associated with an event in the lifecycle of the resource 2024-08-30 Format The file format, physical medium, or dimensions of the resource video Asian Pacific Islander Desi American experience Community history https://archivesoralhistories.csusm.edu/files/original/1498564f1d3d6285c3208cc178e223fb.pdf f1b8f51c40feae933ebcff6608d835fc 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 Blankemeier, Rick. Interview transcript, January 3rd, 2025. Description An account of the resource Rick Blankemeir was a quality manager at Stone Brewery from 2010 - 2017. Rick and his colleague, Robbie Chandler, was the first to win Stone's internal brewing competition which was called the Stone Spotlight in 2014. Rick and Robbie's beer was called Sprocketbeir and it was brewed and distributed nationally as part of the competition. Rick was also the Director of Brewing Operations for Modern Times from 2017 - 2019 and the Quality Manager of Belching Beaver from 2019 - 2022. He also taught a brewing course at UCSD. Creator An entity primarily responsible for making the resource Rick Blankemeier Contributor An entity responsible for making contributions to the resource Judith Downie Robert Sheehan Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-03 Subject The topic of the resource Brewing industry Stone Brewing Co. Brewing industry -- Quality control Microbreweries -- California -- San Diego County Belching Beaver Brewing Modern Times Beer + Coffee Brewing industry -- Accidents 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" target="_blank" rel="noopener">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. Rick Blankemeier Format The file format, physical medium, or dimensions of the resource text Identifier An unambiguous reference to the resource within a given context BlankemeierRick_DownieJudith_2025-01-03_transcript Brewchive(r) Community history https://archivesoralhistories.csusm.edu/files/original/cfbcfdbddbd9beedbf64c24022cc850d.pdf d78973bff43fc03bd6d4bc72e7bc7d93 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 McWilliams, Marilyn. Interview transcript, April 5, 2021. Description An account of the resource Marilyn McWilliams retired after 23 years at California State University San Marcos, where she most recently was the Administrative Assistant for the Office of Inclusive Excellence. McWilliams has been particularly active in advocacy and assistance to underrepresented communities on campus, and has been recognized by the Black Student Union at their awards night, named a Civility Champion, and received the Jonathan Pollard Award for social justice through student affairs. In her interview, McWilliams gives an in-depth account of her Black Experience starting with her childhood. McWilliams considers her childhood connection to education and how that led her to an administrative role at California State University San Marcos. McWilliams also discusses the CSUSM Black Student Center, her function in a supportive capacity, and the important role students' advocacy played in the creation of the Center. Creator An entity primarily responsible for making the resource Marilyn McWilliams Contributor An entity responsible for making contributions to the resource Sierra Jenkins Date A point or period of time associated with an event in the lifecycle of the resource 2021-04-05 Subject The topic of the resource Anti-Black racism California State University San Marcos -- Staff California State University San Marcos. Office of Inclusive Excellence California State University San Marcos. Black Student Center Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant San Marcos (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">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. Marilyn McWilliams License A legal document giving official permission to do something with the resource. <a href="https://creativecommons.org/licenses/by-nc/4.0/">https://creativecommons.org/licenses/by-nc/4.0/</a> Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context McWilliamsMarilyn_JenkinsSierra_2021-04-05_transcript Is Part Of A related resource in which the described resource is physically or logically included. Black Student Center Oral History Project Black experience Black Student Center Oral History Project CSUSM history https://archivesoralhistories.csusm.edu/files/original/189c1d079e520446dd42eb120b6f7ab1.pdf 204fd44f3c4c9c8820cf04c1b51da5a2 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 Boyd, Tiffaney. Interview transcript, April 15, 2021. Description An account of the resource Tiffaney Boyd is a CSUSM alumna and former president of Associated Students, Incorporated (ASI). She was a driving force in the creation of the Black Student Center (BSC), Cougar Pantry, and Sigma Gamma Rho. In this interview, Boyd Tiffaney details the process in which she and her fellow ASI cohorts proposed the idea of the BSC. She also discusses the politics that were involved in the process and the major contributors helping to bring the BSC to life. Creator An entity primarily responsible for making the resource Tiffaney Boyd Contributor An entity responsible for making contributions to the resource Sierra Jenkins Date A point or period of time associated with an event in the lifecycle of the resource 2021-04-15 Subject The topic of the resource California State University San Marcos. Black Student Center California State University San Marcos. Associated Students Incorporated California State University San Marcos -- Students Activism, Student Black experience in America Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant San Marcos (Calf.) 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" target="_blank" rel="noopener">In copyright</a> Rights Holder A person or organization owning or managing rights over the resource. Tiffaney Boyd Format The file format, physical medium, or dimensions of the resource text Identifier An unambiguous reference to the resource within a given context BoydTiffaney_JenkinsSierra_2021-04-15_transcript Is Part Of A related resource in which the described resource is physically or logically included. Black Student Center Oral History Project Black experience Black Student Center Oral History Project CSUSM history Women's experience